• The Grand Bounce

    This week on the podcast, jD is joined, as always by the fearless crew, Craig, Justin, and Kirk to discuss the third record in Gord's ouevre, a magnificent effort, The Grand Bounce.

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    S4E4 - 1h 52m - Jun 11, 2024
  • Battle of the Nudes

    This week on the podcast Craig, Justin, and Kirk experience Gord's second record, the blistering, Battle of the Nudes.

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    S4E3 - 1h 31m - Jun 4, 2024
  • Coke Machine Glow part 2

    This week on the show, jD, Craig, Justin, and Kirk wrap up Coke Machine Glow and pick their MVP tracks. Join us won't you?


    Track 1:

    [0:56] Minneapolis hotel room. Here I sit, cool as a garage, writing by lightning. I don't mean lightning as a metaphor for inspiration. I mean lighting. Intermittent lightning. By lightning really turning it on. A lightning-powered hotel room. It's the most lightning I've ever seen in one room.

    Track 2:

    [1:19] Welcome, music lovers. Long Slice Brewery presents Discovering Downey.

    Track 3:

    [1:28] Hey, it's J.D. here, and I'm joined, as I am every week, by my pals Craig, Justin, and Kirk from Chino. While our love for the hip unites us, it's Gord's solo ventures that remain uncharted for our trio. Hence, I've gathered this team of enthusiasts to delve into the musical repertoire of the enigmatic frontman of the tragically hip, the late Gord Downie. Come along with us on this exploration as we navigate through his albums one by one in chronological order, embarking on our quest of discovering Downey. This is the second of two parts of our gang covering Gord's first solo record, Coke Machine Glow. If you listened to part one, we discussed the album as a whole and then got into a song by song breakdown. Down on this episode we'll pick up where we left off with a song that has to be about cottage country doesn't it well in my head it is craig why don't you kick things off with your thoughts on black flies right.

    Track 4:

    [2:31] Away what hit me was the laminar flow line because i was at that show and i'm not sure if this was something that he did all through the the roadside attraction the first tour that I saw. But the Vancouver show or the Seabird Island show in 1993, I believe.

    Track 4:

    [2:50] Um maybe 94 93 um he goes off on this rant about the laminar flow and you can actually find it online too and uh and he's talking about you know it's the flow of liquid and he's sort of talking about the crowd and the movement of the crowd and this was my first hip show we're talking i'm not sure how many thousands of people there are 20 000 this wave of people and this is like the early hip fans right this is this is roadside a partying crowd yep and it was this it was in the In the middle of nowhere. That's your first hip show? Huge. Wow. Yeah, huge. Yeah, just in the middle of a forest, really. And, you know, just like you see on the videos with, like, Canadian flags and drunk, you know, jock types. And I was quite young. I think I was 18 at the time. And not really knowing how to take gourd. Like, I loved the hip at the time. Like, I think fully completely. I'd either just come out or was about to. Loved that album. Loved, you know, the band since up to here. And at one point, and you can actually see it in this video, he starts getting angry with someone in the crowd saying, don't look at them, look at me. Like, you know, referencing, you know, the other band members. And he was obviously joking, but at the time I had no clue. He just looked, I was like, this guy really is starved for attention because not only does he sing all the songs and he's talking in between all the songs, he's talking over top of the guitar solos. And at first I didn't know how to take that. I thought it was really...

    Track 4:

    [4:15] It was really jarring for me being a musician and, and I was kind of thinking, what are the other bandmates think of this? Like he's, um, of course over the years you get to, you come to appreciate that and, and know it's just a part of the act. Right. But, but yeah, that, um, don't look at, don't look at them. Look at me.

    Track 4:

    [4:32] You have to find the clip. It's so good. It's called laminar flow. Find it on YouTube. It's so funny. My friend, I went to the show with who I still am in contact with. He would always talk about the laminar flow and I didn't remember it really. And then he, He, a few years ago, pointed out the video to me and I'm like, oh yeah, I do remember that trim. Gord had the big beard at the time. He had the almost like pajamas on. And when the pajama top came off, he had the Save the Human shirt on, which I actually saw in one of the videos for this album. So he brought the shirt back out for Coke Machine Glow. And the timing of that wouldn't have been too far removed from the Killer Whale time. Probably not, yeah. I don't remember him doing that. But again, I was young and it was craziness. It was it was a fun fun time see the bull moose checking out another drac, like sorry that was the highlight i made from from a lyrical standpoint and then you know from a musical standpoint and i think i also read about this um it's pretty prevalent where they're strumming the piano strings and they brought a mic and recorded it and just love that love that like what's that and uh they decide to bring bring bring in the bring in the mic and record the track so on to lofty pines all right let's go to lofty pines where paul langlois shows up and makes uh an appearance one of two appearances.

    Track 4:

    [5:59] On this record to provide his sublime backing vocals god damn is this guy good.

    Track 4:

    [10:46] I think it was a week or so ago, I took a trip up north. I think you guys know about. And I was driving back and it was, it was raining and which we don't get a lot of rain. We don't get a lot of anything in California other than the sun. So, you know, when it's raining out, it's a big deal. Yeah, yeah, yeah. I remember listening as I was driving and buddy I was with was, you know, was, I think he was taking a nap or working on something. And I remember going, the mood, you know, my mood was, okay, I got a long drive. And, uh, there was kind of like a monotonous monotony that had been coming from song after song after song, because this is typically slower than that hip stuff, um, that, that I was used to. Um and and i know that they made a conscious effort or at least gordon made a conscious effort to keep the hip away from this right like i read as well like they didn't they didn't want to record anywhere that the hip had recorded they didn't want to use any of the gear but then paul who's right his that's his long longest friend or buddy for sure yeah yeah and then he comes in and and And he's on another tune as well, I believe, on this album.

    Track 4:

    [12:06] But you hear that, and for me, driving, I was just, I got that like, okay, thank you. Thank you for giving me a little just reconnection. I know this is Gord, but I also know that Gord is that kind of heartbeat and pulse and provides the lyrics to. And I liked having that friend along, me personally. Um and uh and i couldn't you know i couldn't get the you know twin peaks type lofty pine uh connection correlation uh going there not not that i was you know fully into the twin peaks world or whatnot but yeah so uh that's what i had for my some of my notes the the lines that are in french i was hoping for something revealing and it's literally just i was born for the heat we can't, I was hoping one of you guys would research that. I was too lazy. They, my only note for this song. Yeah. If you could see my notebooks, just better call Paul. Cause he's, um, he just is so effortless. I just picture Gord being in the studio. Like, ah, yeah, I can't quite get the sound I'm going for here. And.

    Track 4:

    [13:16] Calls up Paul and he just comes in and, you know, smoke hanging out of his mouth. He just rips off one take and that's how I, it's just so effortless. You can just tell by the, you know, he's just sang with Gord for so long, sung, sang with Gord for so long that he, he just knows what to do. I guarantee it was one take and he was done. Yeah. Again, it gave me that, uh, just, uh, the combination is something that, that, That definitely fills you up.

    Track 4:

    [13:42] When I was doing the research as well on the French part, the first thing that came up was, I want to say a province in Quebec, but it was like a lake chalet.

    Track 4:

    [13:53] So that's where I was going at first and then obviously did a little deeper and found out. No, not quite, but thought we were referencing something there at one point. Well, I mean, that could be. There's a lot of lofty pines in Quebec and a lot of lakes. So you never know. The Lofty Pine Hotel was in cottage country in Ontario until I don't even know when. Like, not that, like, pretty recently. So, to me, I hear this song and...

    Track 4:

    [14:26] It's like one of those, it sounds sticky. It sounds muggy. It's like one of those August nights in the city where, you know, it's extra hot because air conditioners are spitting out hot heat. Like the city's just got this almost dense air that you're walking through. The cool side of your pillow is sweating, you know? That's the kind of heat.

    Track 4:

    [14:50] And they're just daydreaming about getting up to the cottage. Just getting the fuck out of dodge and going to the cottage dreaming of those lofty pines i don't know that's that's sort of what i get from it so just a real quick note building on what you just said about it's so freaking hot and the spectacular part in the lyrics and there's a matchbook or whatever that falls like we needed something hotter right yes you know and here's matches you know i didn't get that but yeah totally what do you believe he's referring to in the uh i give the editor my pitch a series on the cultural wealth uh about the era of catalogs and lists i just think he's good at creating protagonists uh i think it's like a protagonist of this song um like but i but i guess i'm very literal yeah don't don't make me say hitler again no i don't i think this is i don't know literal more literal you know but he's proven to not do that so often that it seems like not likely but that's how like he's answering a question that we haven't asked you know let's go to the next track which is boy bruised by butterfly shake I really didn't have anything to say about the song for a while.

    Track 4:

    [16:14] And then I listened to it, um, actually just today. And it kind of came to me that this is.

    Track 4:

    [16:21] Somewhere between consciousness and unconsciousness or life and death somewhere in the middle um you know he he references someone was crying i as i lay in the dirt i could hear their hearts breaking but i wasn't even hurt so that's kind of like i'm slipping away and i don't feel anything sort of thing that's just how i interpreted the line i came across um something just by chance glancing through the cd booklet last night um and there's a little article it says bruised by a butterfly chase and it looks like um it's actually photocopied from a newspaper it says four-year-old andrew herrit holds his winnie the pooh blanket at a hospital in halifax the kentville boy survived a 20 meter fall from a cliff at blommadon provincial park while chasing butterflies during a family outing so it could be very literally about a boy down down down falling yeah exactly yeah it made so much sense when i read that so yeah there's an extra song and i didn't get to listen to it yet but is it this it's it is down down down yeah it's the same lyrics yeah yeah and i guess that makes sense the grass felt so good and there's they're talking about he didn't have shoes so that makes sense that it's a four-year-old um the day was so blue i must have tripped i don't know do i remember falling away nothing that i hold on to and not being afraid so that's when you're that young you probably don't have much.

    Track 4:

    [17:46] Memory of it as an adult and especially i would assume there's some trauma there and justin though i i.

    Track 4:

    [17:53] Mean just your your first explanation that that in between um before we.

    Track 4:

    [18:00] Heard the story like you took me there and i think musically it does as well like my notes are the guitar like you know guitar is prevalent in some of these other songs but you don't hear.

    Track 4:

    [18:12] Guitar lines and guitar melodies as much and there's some very clear guitar work going on here both acoustic and electric which you also don't really get a lot of in in these songs or you know the song is almost poppy yeah it's super radio absolutely and i thought it could be a hip song yeah yeah you know those and i guess obviously see that could be true to anything, but change up some of the instrumentation, change up some of the tempo and, and, uh, yeah, yeah, you're definitely in hip territory. Definitely hip territory. Let's go to mystery, a sonic soundscape. Yeah. And, and it really is, it starts off in, in that sonic soundscape world and then goes to the spoken word. Sorry, a bit of humor. You know, one of my favorite flicks is, so I married an ax murderer and turn off the base. It's your rollers. The soccer game is on somewhere.

    Track 4:

    [19:13] There's a soccer game. and uh being being you know the background with that i i at a loss in the sense of that that journey that gourd's going through and and doing some research and finding you know with with the book of poetry that came out uh that he was you know it was not received from the poetry world as it were um and yeah it was yeah they they it was not received from a it's like oh this is just you know and they made the joke of oh yeah what what are you going to do give bob dylan a a pulitzer or uh you know uh it it's just it's that being someone that's written songs before and and And I can't say that I've written poetry, but it's very much frowned upon to have, you know, they said, you know, Jim Morrison killed that. So why is anybody else doing it? And so then the counter argument goes.

    Track 4:

    [20:17] Well, yeah, it sells well because of who Gord is and what he does and how he moves people. And then what came afterwards was, yeah, in the libraries and in the bookstores, there was a lot more people in the poetry section than had ever been there before. So what are you trying to do? Are you trying to be completely inclusive or exclusive? And does the inclusivity then start damaging the art? I'm of the belief and the ilk that you need people to dive into both lyrics, dive into poetry, dive into the spoken word side. So, yeah, sorry, I digress. And this is just coming off the song Poets on Phantom Power, which in live shows, he's sort of, don't tell me what the poets are doing. I don't want to know. I don't care about the poets. Or it could be perceived that way, whether he meant that or not.

    Track 4:

    [21:21] I know from a musical standpoint, this song gave me vibes of, of the rain song by Led Zeppelin. And I know it sounds nothing like it, but if you listen, and it took me a while to figure out what it was, but if you listen to the bass notes, he's playing really high in the register and it just gives that cascading feel of, of the rain song. And, um, yeah. And, and near the end too, he's playing up the neck on the bass and it's just some really nice playing. Yeah, I have avant-garde. I would imagine that the Dinner is Ruined gang had a heavy influence on this. Yeah, and this is the other Adam McGaughan track as well. So that guitar you hear, the little classical guitar, that's McGaughan. Ah, cool. Sorry, help me understand, not being as familiar outside of in the research, does he hold a special place in a Canadian heart?

    Track 4:

    [22:14] Um adam mcgoyne he was a filmmaker i i can't say i'm an expert on him but he's um he had a movie called the sweet hereafter which was very well received i believe it won awards and actually i believe uh didn't sarah harmer sing i think a version of courage on the soundtrack sarah polly sarah polly right right yes yeah well i'll have to do a little more research and check some of that that out justin were you familiar at all only from reading the never-ending present book had i had i heard the name no anything else on mystery uh only that the the phantom power outtake version is so drastically different and also equally amazing it is so yes the one on phantom power is so dark and so so moody and i have here a note that it's almost like a more depressing version of landslide by fleetwood mac it's just haunting oh yeah yeah yes like i mean they're wildly different but so funny they share the same dna ultimately what's i think what's funny is that the version that's on the phantom power re-release would have been recorded two years before this so this is reimagining this is part two yeah it makes you wonder is it just that he really loved the words and he you know the track got cut for whatever reason just didn't fit in maybe with the album and he it was something he really wanted to put out there and And, you know, I'm glad he did. I love both versions.

    Track 4:

    [23:43] Okay, next up, we get a song of 3-4. It's got a country-ish little tinge to it.

    Track 4:

    [23:50] And that's Elaborate. Elaborate.

    Track 4:

    [29:10] I imagine cowboys after having driven cattle across the plains, just sitting around a fire, drinking a beer, you know, and somebody's got a guitar and then somebody works out a mandolin three minutes into the song, you know, but it's about, it's about death. It's about somebody's sick, somebody's dying, has cancer. And in the poem version in the book, the title also has a parenthetical Toronto No. 2, which Music at Work has the song Toronto No. 4, which is about Gord's grandmother dying. So there's a common thread there. I don't know. It is very much a end of the day.

    Track 4:

    [29:51] Things are happening and they may not be coming to us. Yeah, I have a tough time hearing this, knowing what we know about what happened to Gord. Like, I can't help but hear it through that filter, and it makes it difficult to listen to for me. Yeah, I had the same thing, JD. It felt to me like a song that was meant to have a little bit of, I don't want to say humor, but a bit of lightheartedness to it in a way. But then knowing what we know... What happened with Gord, it definitely changes the way you hear it. Interestingly, my head went to Now for Plan A instead of Gord's own diagnosis. And also, I'm not sure if you guys heard this at all, but again, I'm less of a lyric guy, more of a music guy. The mandolin solo comes in, a little mandolin melody, and it reminds me so much of Neil Diamond's Play Me. And I swear, if you listen to it, you'll know what I mean. It's so funny. It doesn't quite go in the same place, but it's very close. Yeah. Great tune. And at the end, they're kind of going on for a while. And then Gord kind of clears his throat, like as if to say, come on, wrap it up, boys. I have that in my notes. So JD, if we're going on too long, just clear your throat and we'll know it's time to wrap up. No, not at all.

    Track 4:

    [31:11] One thing that I picked up on, which is a timestamp on this album, is Gord mentions cell phone. And a lot of bands in the late 90s, early 2000s for just like a three or four year period mentioned cell phones because that's when they came out. We didn't have cell phones before 98, 99. And if we did, they were in a bag that weighed 30 pounds. So I thought it was interesting that cell phone was topical for their 2000s. It's a country song. You said it. It's a country tune. That's my first note is country tune. And then you hear the guitar tremolo, that ringing, that just doing single notes and it's just ringing. And then the mandolin. But yeah, you're talking about modern topics on a cowboy song, on a country tune. There's also a great live version of this I found. It's the black and white. It's like a full concert that someone's put on YouTube. There's this pretty epic Gord rant on it. And he's talking about stem cell research and the Pope. And it's worth a watch for sure.

    Track 4:

    [32:18] And he actually, and he dedicates the song to Dave Bedini, which I found interesting from Reostatics. He's still alive. So I don't, I don't know why he just says, you know, the songs for, for Dave. I wonder if he went through a battle with a family member. Yeah. Possibly maybe, maybe a mutual acquaintance or yeah. Who knows? The beauty of the beauty of where, where we're being taken on this, this particular album is, is pretty incredible yeah and then you go into frigging a polka right with you're possessed.

    Track 4:

    [32:52] Yeah yeah i did not expect that coming i'm just like you're hearing all these songs that are very kind of melancholy yeah you know outside of canada geese that that that has a little bit of drive to it yeah you're another two man yeah and then now for two but if you guys know um have you.

    Track 4:

    [33:11] You guys seen spinal tap i'm guessing oh of course okay so my mind went right to you know yeah yeah the the nigel and david uh st hubbins their first song the you know the dune duga dune dune dune walking down the railroad track to get dune dune dune dune wait for my babe to bring me back um that's where my mind went but um funnily enough my my daughter picked this song out uh we were in the car listening to the cd and she wanted to pick a song so she went through the the track listing and she picked you're possessed because uh her favorite hip song is you're not the ocean this is my 11 year old daughter and so she loved the spelling of of year and uh she put this song on and her reading of it like the i told her what what i was thinking and she said this sounds to me like emmett otter, and i'm not sure if there's a ref i can see kirk knows what i'm talking about so here's a quick Oh my gosh. We could just be finished right now.

    Track 4:

    [34:09] I grew up in a small town called Peachland in the Okanagan in BC. A small town. We had maybe, I don't know, a couple thousand people when I lived there. And we had two channels. We had channel four, CBC, and channel nine, CTV. And there was no cable company in town. But on the outskirts of town was a large satellite dish, like a huge satellite dish that someone put there and uh and so the whole town got free hbo for years like pirated stolen hbo i'm talking like five six seven years and uh let's go every you know three months you'd come home turn on hbo and it'd be scrambled and so that it would be all down for a couple days until they repositioned the satellite and so every christmas time and you know this is early 80s Emma Daughter's Jug Band Christmas would come on HBO.

    Track 4:

    [34:59] And to me, I just thought this was a thing that everyone knew. And as I got older and I found a DVD copy in a bargain bin at Zeller's or something, I started talking about this show to people and no one...

    Track 4:

    [35:14] Except for the people i know from peachland know this show and it is it's a jim henson production from about 1977 it's and it's like it's a cult classic it's just paul williams yeah, and to me yeah that's what my daughter said and i was like yeah that's that's it this is this is a jug band you know with a tuba instead of a jug t-shirts i have stickers i um am on the verge of learning river bottom nightmare band to cover with our band um right christmas does not happen in the Lane household. I'm the same way. Emmett Otter's plays. We have, you know, obviously the DVD copy. And in fact, it's a running joke. Sorry, JD and Justin, if you haven't seen it, but like anything that's $50, Craig, $50, that's a lot of money. So my whole family, anything that's 50 bucks, the first response is $50. Yeah, yeah. Or yeah, anytime we have mashed potatoes, just mashed potatoes i love mashed potatoes hey yeah man how are you doing catching anything good today sorry guys so jd and justin you haven't seen that christmas your life will will begin begin to exist afterwards so let's let's change the focus for episode two please the music is so good and it's this christmas story doesn't once mention you know religion jesus it doesn't once Once mentioned Santa.

    Track 4:

    [36:44] And it's the best Christmas show you'll ever see. It's so sweet. Huh. The music. Yeah, it's just, it's amazing. It tears me up every time. And I love that connection that your daughter has to this song, Craig. I mean, that's, I really did start welling up. Not only finding someone that loves him and Otter, but that she made that connection. Yeah, it's really cool. That's fantastic. Yeah. Fantastic. And of course, Paul's back singing the backups here. And I have to ask, have you guys been to Boston? They mentioned Lansdowne Street, Fenway Park. I'm guessing Lansdowne is. So that's where Fenway Park is. And that's my only note on this song was just after that, he says, no one's going to hurt me like you did. Well, he's talking about the Red Sox. He's totally talking about Bill Buckner missing the catch or the grounder in 1986 to throw it away. Maybe, or I watched a live version of this as well. And he tells a story and I don't remember all the details, but he tells a story about a fight with his brother, Patrick. So yeah, I'm not, I'm not sure if it could be, you know, a brotherly story. Well, and Patrick was the sound guy for the garden where the Bruins play and the Celtics play.

    Track 4:

    [37:57] Um, and of course the, um, Harry Sinden, the Bruins coach was the godfather. Yeah. Yeah, absolutely. Yeah. yeah sure he wore the sweater in um courage in the video for wow yeah this is a great great tune i mean just in all of it you know you've got the spoken word stuff you've got uh some of the melancholy stuff and and and then boom you know you get this boom boom and and the solos uh.

    Track 4:

    [38:28] Yeah we're at a pool party in 1946 and uh and also quick canadian tie-in um another i know j uh jd you know the other canadian classic with a tuba can you you know what i'm talking about i don't off the top we talked about this spirit of the west and if venice is sinking oh my god like tuba part yeah yeah so the only two songs i can think of featuring a tuba i'm sure there are others but it last i checked there weren't that many bands featuring a tuba not enough every irrelevance i spoke a lot already on this last one but i can i just share my experience with this one because so i'm doing doing dishes i'm often listening to um music or podcasts when i'm doing dishes and and uh i'm listening to this song and i'm just getting into it's just this beautiful like instrumental sounding song. I love the tremolo guitar.

    Track 4:

    [39:22] And I was just thinking, okay, this is probably, maybe there's no words on here. And I was really digging it and thinking, okay, I like this. I like this choice of an instrumental near the end of the album. And then all of a sudden Gord starts singing and just this beautiful melody. And then the snare comes in halfway through the verse and I'm just like elevating. I'm just like my mood. And what I thought of later when I was thinking of how to explain this was the Vince McMahon meme, you know, the levels of Vince McMahon's like elation. And so I'm like- Which doesn't play so well now.

    Track 4:

    [40:01] And level one, that's the instrumental. Level two, Vince is the singing. And then all of a sudden he hits me with, catharsis my arses is capable of more flesh and i'm like oh it's the line from from the from the live album and you know um and then i'm just like loving this song and all of a sudden the there's the piano and so i'm all of a sudden on fourth level vince and just when i think i can't love the song anymore that trumpet comes in at the end and it is so tasty just the the muted trumpet tasteful perfect like the both the piano and the trumpet play just enough they don't overplay and i just love this song who did the horns it wasn't this from another can't think of his name though is it andy mays i'd have to look at that i i don't that sounds familiar yeah yeah well i'm pretty sure that's who he's talking about an emperor penguin as well right like the first two lines yeah yeah tony or trump that was my other thought yeah i like the tony yeah there's There's another line that I can't remember which live show it's in. It might even be from the live between this album, but it's leading into a head by a century. He talks about adolescence in essence is all about trust. And that, that line pops up in here.

    Track 4:

    [41:20] Um, I don't think he mentions adolescence in this song, but yeah, I'm looking at the credit. So does Andy Mays, is it? That's what I thought. Yeah. Yeah. Nice job, JD. And one thing, um, did you guys notice in the, uh, in the credits to this album it's very specific it mentions the type of guitar being played by each member the type you know the types of drums and um and it very clearly says that gourd was playing on a gut string guitar which is you know the old old style string made of you know, animal guts basically yeah and it just gives a way different um you know timbre.

    Track 4:

    [41:57] I like the echo on the snare on this particular and, and it sounded like a standup bass. I'm not sure if it was a standup bass. It was just the way the notes were played. Um, but you know, I, I have a jazz reference obviously in my notes. So yeah, I agree. Craig musically, it was phenomenal. And then, then again, you're not quite sure we're going to get a spoken word or, and then you get the, you know, the beautiful, the beautiful voice and the beautiful, uh, song. Hmm.

    Track 4:

    [42:28] It's it's definitely one of the best ones on the on the record i think i i love the song i'm i'm a big fan as well i i love when he leaves little breadcrumbs in in a what seems to be like an improv rant or a throwaway rant not that any of them are throwaway but you you turn it turns out that it's been a line in his notebook for five years prior and it's got six underlines under it you know like god damn it i'm going to use this line somewhere down the line yeah when it presents i'm going to rhyme catharsis that's right i've got this great lyric i'm gonna use it sometime you know and uh i think that's so cool he's so talented let's just go right now to insomniacs of the world, good night.

    Track 4:

    [43:56] Thank you. I can see the line of your reserve, I can contemplate it from here, there's no need for breathlessness when we're so far apart. I can see us writhing in a phone booth or laid back in the dewy grass of our youth and gathering our sweetnesses and wishing on the never-ending sun.

    Track 4:

    [48:05] So, the research that I saw, this was supposed to be the name of the album? Does that jive with what anyone else saw? Yeah, that checks out. Yeah, that's what I heard. And then um again capping it off with you know more of a spoken word and just straight up i can see the line of your brassiere i can contemplate it from here there's no need for breathlessness when we're so far apart i know um one thing i noticed was um.

    Track 4:

    [48:42] What I picture here is, is there's a point where he starts recapping some lyrics from some other songs. I know he brings up the Fenway park again. And what I think this is, is, is recordings of Gord in the middle of the night, grabbing his tape recorder when he's got a melody going through his head. And he's kind of singing because it almost sounds like he trails off. Sometimes he doesn't always have the full melody melody developed. And I think this might be his like audio journal, like little excerpts.

    Track 4:

    [49:09] Wow. listen to it again i i swear i'm i'm very quite confident in this that's amazing that and a perfect bookend as well to to star star painters just um bookends the album the spoken word on both sides the sort of um i don't know that's i think it's an organ this time not an accordion but a similar sound and oh and julie uh dwaron is pocketed or is credited with with playing the a pocket trumpet so just a just basically a tiny trumpet shakespeare pops up in in some of the hip works and there's that um if i could sleep there's a chance i could dream which is from hamlet um he changes it a bit because it's perchance and shakespeare right so it's it's interesting yeah right this line yes arguably the most notable line that shakespeare ever wrote and changes it and keeps it the same but just that little word change like what what does that mean what is that all about and more to the point and it's the elephant in the room, is the version from phantom power.

    Track 4:

    [50:20] Where do you guys stand on those two versions? Can you enjoy them both? Can they both be your children? Or if I asked you to make a selfish choice, which one would you choose as a preference? I can't answer it because I don't know the one from Phantom Power as well. That's cheating, but okay. But I do remember. It sure is. That means I just don't love one of my children, right? Right. Um, I do remember him screaming the line at live shows and in some performances. I had heard that reference and, and heard a scene that reference for in some. Yeah. My preference is, is this one. I, I, I really like this, this version of it. One thing that I really is so amazing about this song is it lulls you like you're ready to until the crash. Yeah. That's the same thing. Massive cymbal crash. Yes. Oh God, I love it. I love that so much.

    Track 4:

    [51:25] And fast forward to the final album that the hit put out, Man Machine Poem, and there's the song Insomnia. Insomnia. Which was supposed to be Insomnia. Yep. And if you read the liner notes in that, Insomnia is scratched out in every line. And I don't know what that means, but interesting.

    Track 4:

    [51:44] Well, I think the whole record is interesting. what did you guys think overall is an experience with the record and uh after you tell me that what is your mvp track and you have to pick one this time justin i'm gonna go first i'll make it easy because i think i've already referenced it and and and it it's you know probably unlikely but But Star Painters was my, and again, it's the lyric. It's that line. Like anytime I hear that line, whether I'm walking the dog and I listen to it or if I'm driving and I hear it, you know, the scaffolding. Scaffolding.

    Track 4:

    [52:29] The scaffolding is in its place. The Star Painters are taking over now. And then your anesthesiologist tonight is washing up and on her way. So for me, it was that line. And I think it's because, again, I wanted to separate and I'm glad that I had the wherewithal to be able to go. I wasn't looking for hip light. I was looking for Gore Downey. And, and you didn't, I, it's me personally. And I think we even mentioned it with, with the book ending with the spoken word, you were going to get Gord Downie and you were in a, not just, you're not just going to get the energy that we know and from the hip, but you know, that he's going to take all these, these amazing musicians that were part of obviously his career.

    Track 4:

    [53:20] His musical background that, that, that created the hip and that he's going to give them that opportunity for them to get together. And then just when you hear the story about how they recorded it and where they recorded it and, uh, you know, meshing that together at the same time, he's, he's, he's, he's writing, you know, he's putting out the book along with it. So I'm, I mean, yeah, a little bit of criticisms on some of the recording maybe techniques and could have used a few more mics here and there. But that's just, I guess, the musician in me. But overall, I can understand why it was what I would assume mostly fairly well received. And again, I know there's a lot of hip fans that weren't even going to give it a chance. And then the song that I chose as my MVP kind of pushed him away from the get-go, at least for me. So, yeah, I'm...

    Track 4:

    [54:22] I'm glad I found the hip or maybe I should say the hip found me and I'm glad I didn't give up on them. And, uh, you know, the energy and, and the feeling that Gord always gave me when I, uh, had the great chance to see, uh, see the band and see him. And even when I met him, I actually, I wore this shirt on purpose. This is the shirt that I was wearing when I met Gord backstage house of blues Anaheim. It's a harley davidson shirt with big letters hd and the ac are masked with a canadian flag, yeah and this i got this up in vancouver on a trip when i went up there i fancied myself i was going to be a harley rider one of these days and and still don't have a bike um but went through that phase and uh i wore this shirt because i felt like i needed to because i'm you know go see the hip. And, uh, and this is the first thing he said, he just goes, that's a really nice shirt, man.

    Track 4:

    [55:23] And he shook my hand and, and, uh, and there was just this gentleness about him. And, uh, you know, I was starstruck and I don't typically get that. I mean, I'm, I'm in a business where I meet people all the time and I'm in LA and Hollywood and, and, and done all that, but this guy is different. And it was a moment where I definitely paused and couldn't put together a whole lot of words. I didn't know that I was necessarily going to meet him. I wore this in honor of that moment and taking this journey with you guys. So I am so excited because I think this was a great start.

    Track 4:

    [56:07] Outside, I've heard a little bit of some Secret Path. I absolutely had not heard anything from any of the other albums outside of Coke Machine Glow, and again, a little bit from Secret Path. So I'm just, I'm really jazzed, right? Because I get to dig, you know, we get to dig deeper into this individual that's just, wow, he's pretty special. And you could see, you know, the impact that he's had on so many. So I'm excited about this journey and I'm picking that song and I'm sticking to it. Nice. Craig, how about you?

    Track 4:

    [56:45] Well, being one of those hip fans who took a bit of a break around this time, and not that I completely abandoned them, I think for me, I was just at an age where I was just exploring so much music. I was in school for music, so I was being bombarded by classical music and music from all through the ages. And on top of that, I was getting into a lot of more experimental music. And I just started drifting away from not just the hip, but all the bands I had been listening to in the 90s. And, you know, a lot of those bands I did come back to, some I didn't, but I came back to the hip big time, kind of the mid 2000s or, you know, yeah, around 2006, probably. And um and so for me i this is an album i never gave a chance i'd heard you know a couple songs here and there chancellor and vancouver divorce i think but um i'd never listened to the whole thing and wow i'm i'm so grateful for this opportunity to do this it's just i love this album i i put it up there with with you know some of those great hip albums and um my my um mvp track is every irrelevance i again i explained already the vince mcmahon meme um that that was me during this song just i by the end i was just you know spent lying down with the smoke.

    Track 4:

    [58:14] Justin uh it's sentimental for me with it's trick rider um because my daughter is six um and And I build bike ramps for her, you know, and, and then tell her don't ride so fast off that bike ramp. I just built you, you know, and, um, don't ask me to explain. Um, and, Yeah, I just, that's, it drives, you know, it really, yeah, I don't know. I love that song for different reasons. I also really love Canada Geese just because it's a sweet rock song. And I know, I just like what I like. I grew up on Yes and listening to 22-minute opuses that were way beyond what a 13-year-old kid should be listening to. So, I get weird stuff and I get out there stuff, but I also just love rock and roll.

    Track 4:

    [59:06] And, uh, you know, that's a, that's a pretty good rock and roll song. I, and I'm going to echo you guys that I'm super excited for this platform. Um, because as a kid in the States who had the secret about the hip, you know, my last name is St. Louis. So everybody thought I was Canadian and I was a Montreal Canadians fan. So everybody, you know, they'd pick on me. And then I talk about the tragically hip, which was in the periphery, you know, nobody, nobody listened to it, but they'd at least heard of them. And then be like, Oh, that's who the hell is that? Why are you listening to that? And it's stupid. Well, now I can finally celebrate it and talk about it, you know, and, and I'm Canadian for the next eight weeks. Oh, that's great. Eh? Yeah.

    Track 4:

    [59:49] Well, this has been a great deal of fun.

    Track 4:

    [59:55] This Saturday afternoon. You'll be listening to this on a Monday, of course. If you have anything you want to shout out to us, please send us an email. We would love to hear from you. The email is discoveringdowney at gmail.com. That's discoveringdowney at gmail.com. You can also find a link on our website, discoveringdowney.com, and there's a link to email us right from there, which makes it easy peasy. So it's been a blast doing this with you guys this week. I'm really looking forward to where we go and learning more. I am a somebody who has listened to all the records, and I've listened to them on a number of occasions, but I have a very poor short-term memory, and it's tough to recall them sometimes. Times so it's been really fun going through this and listening the shit out of this record and then getting to talk about it with somebody it's like a book club so i had a lot of fun and if you like what you heard send us an email discovering downy at gmail.com we'd love to hear from you, and on behalf of kirk craig and justin pick up your shit.

    Track 1:

    [1:01:13] Thanks for listening to Discovering Downey. To find out more about the show and its host, visit DiscoveringDowney.com. You can email us at DiscoveringDowney at gmail.com. And hey, we're social.

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    S4E2 - 1h 1m - May 28, 2024
  • Coke Machine Glow part 1

    Welcome to Discovering Downie. I'll be your host, jD as we listen in on the experiences and analysis from three huge fans of The Hip who have a blind spot for Gord's solo works. Meet Craig, Justin, and Kirk as they part in this epic 11-part podcast.

    We kick the show off by starting at the start with Coke Machine Glow part 1.


    Track 2:

    [1:26] Welcome, music lovers. Long Slice Brewery presents Discovering Downy.

    Track 3:

    [1:34] Hey, it's JD here, and I'm joined by my pals Craig, Justin, and Kirk from Chino. While our love for the hip unites us, Gord's solo ventures remain uncharted territory for our trio.

    Track 3:

    [1:47] Hence, I've gathered this team of enthusiasts to delve into the musical repertoire of the enigmatic frontman of the tragically hip, the late gourd downey so come along with us on this exploration as we navigate through his albums one by one in chronological order embarking on our quest of discovering downey we've assembled quite the motley crew here to talk uh to talk about gourd's oeuvre and we're excited to do that we're going to do this all summer long so buckle up fellas how are you doing not too bad living the a dream amazing excited excited to go on this jaunt with you you gents for sure yeah it should be pretty fun i agree i agree completely i i am i am from a hip starved uh area of the world which you know i guess most of the u.s unfortunately was hip starved for a long time but specifically down here uh in the la market i got to see some amazing shows in really small places but like to, to like find a hip album in a record store or, you know, like anything that comes close to hip preference for me, I just like, I get all giddy. So when we, you know, we connected to talk with other hip fans, um, was pretty exciting, but then just to learn more about Gord, um, yeah, this is, this is going to be quite the adventure, my friends, quite the adventure.

    Track 3:

    [3:17] Yeah, I think so. What do you think, Craig?

    Track 3:

    [3:20] Yeah, I've been sitting in this room, my office slash music room, with a couple of unopened Gord CDs that I have collected over the years and just looking for the right moment, I guess. And along came that moment, and thanks to you, JD, to make this happen and to bring me on board. Ah, but I am but one hand on the rudder. The other three hands you see belong to Kirk, Justin, and Craig. Egg so there's that justin tell us about your experience with the hip so uh the u.s is hip starved for the most part but uh growing up in vermont we are just quebec junior and uh we get a lot of uh tv and radio stations uh down here in the greater burlington area so i i grew up with hip on the radio and um i didn't really know anything about him but in high school i discovered phantom power on my own.

    Track 3:

    [4:19] And, uh, that was it. I've been hopelessly blissfully lost ever since. And, um, my dad was kind of a hip fan, but you know, I think he was from like the old, you know, the, the hip crowd that they were trying to get rid of in the nineties, you know? And, uh, and so when I, when I came along, it was music at work and, you know, kind of the newer stuff that, that the old man probably wouldn't have liked too much, but, um, yeah, it's been a lot of fun. I got to see three hip shows and I was at the show in Ottawa two nights before the finale, uh, which was really amazing. Um, I got to see him in a basketball gym in Burlington and I got to see him in a bar in Albany, New York. And, uh, I feel like I got the, a pretty good sample size. Uh, I love them. I love them. Yeah. How about you, Craig? You have a unique role in this trio as well with your Tragically Hip experience. Share some of that with us.

    Track 3:

    [5:19] Um, yeah, I've, I've been a big hip fan way back going to probably grade eight when I, when I first heard, I think New Orleans on the radio and, uh, you know, I liked it and I, um, I didn't buy the album right away. I was into heavier stuff at the time. I was a big GNR fan and I was kind of a metal guy. And, uh, then I heard 38 years old and funnily enough, I thought it was, um, uh, Tracy Chapman at first, when I first heard the voice, the vibrato and, you know, it's just on faintly in the background. And then I kind of turned it up and this is a good tune. And then, you know, they, they announced it was the hip. And so I went out and got the CD. I think I maybe ordered on Columbia house through my, uh, through my parents or, you know, five CDs for, for a penny or whatever. And, uh, 12 here in the U S yeah.

    Track 3:

    [6:09] And yeah, I've been a huge hip fan ever since. And, and, um, yeah, I've been to, I think maybe 15, 16 concerts and, um, yeah, about a year ago, year and a half ago, I started playing in a hip tribute and it's just been a blast to sharing the music with, you know, the fans who don't get to see them anymore. And, you know, I wish I could, I wish they were still around and I could quit my job as a hip tribute guitar player, but unfortunately they're not playing anymore. I wonder if there's a Tracy Chapman angle, I wonder if we can get Luke Combs to cover some hip stuff and get them on the mainstream radio. you. It's a great idea. It's actually not. I don't think I want to hear that. No, but definitely giving them the credit they deserve. And man, Craig, like I seriously got goosebumps when you'd mentioned Tracy Chapman, like, you know, if you guys saw the Grammys, you know, that was performed and Tracy just sounded amazing. And, uh, I hadn't thought of it from that perspective. And, and yeah, I think you hit that spot on that. I haven't looked it up, But I'm guessing if you look up the release date of Fast Car and up to here, I'm going to guess they're within a year. Yeah, that's probably very true.

    Track 3:

    [7:27] So let's start at the start here with Coke Machine Glow. Kirk, any nuggets that you gleaned from production notes, anything like that, that you gathered on your fact-finding mission? Yeah, absolutely. Um, you know, I, I actually did because I'm a musician as well and, and, and do appreciate, uh, what goes into making an album. Um, uh, there, there was some pretty good information out there and, you know, especially knowing the hips catalog and, you know, they've had, they've had some different experiences from different producers and engineers and, and different recording experiences. And, um, so, you know, of course you're going, well, I'm going to get a lot of that. And, and then boom, you get hit right upside the head with, you know, But in the research that I did, I mean, they basically just, you know, had a couple, I think they had a kick mic and an overhead mic and just kind of a room mic. They played everything acoustic because they wanted to hear Gord's vocals.

    Track 3:

    [8:30] They were in, I believe, in the studio that is no longer there. It was like a loft in Toronto that was owned by a couple of musicians that were a part of, you know, the band that was there and part of the recording team. Um and obviously getting all their you know getting all their schedules together and and you know various musicians from from various different bands within the area and uh and they just wanted this to be uh just kind of that raw essence right that it you know for us as hit fans at least for me like that's where i fell in love is like whether you listen to the music or see them live, like the energy that comes out of every song is, is palpable on so many different levels. And, and, you know, I think those that, that have had the experience to enjoy their music and especially live, like there's such an energy to it and whether it's, uh.

    Track 3:

    [9:29] You know, whether it's one of their upbeat, you know, just rocking tunes or, or, you know, a simple acoustic there, they really know how to capture the emotion. And this album, Coke Machine Glow, I mean, yeah, wow. I mean, it was, again, it just felt like maybe one mic in the room and they just were circled around each other and they went for it. And one of the other notes that I heard that I thought was pretty surprising is they got a lot out of what was actually recorded and it sounded a lot bigger than what took place. I can get that. You could get a small little eight-inch speaker and, uh, put a mic on it and it could sound like you've got, you know, four Marshall, you know, full stacks grinding in front of you. So, you know, there's definitely some magic that can happen in the studio, but, um, uh, yeah, I, I think, uh, you know, I do a lot of stuff in theater and we always talk about how the set or the lights or the sound can become a character. And I think for me, the production elements of Coke Machine Glow became a part of the album.

    Track 3:

    [10:37] It had to be done that way, in my opinion, to be able to capture the energy that it did. Yeah it's very sparse sounding production wise like obviously there's songs and we'll get into them really rich and really lush and uh you know have a lot going on but predominantly this record like you said is pretty sparse craig i wonder what you learned um in your research about the album proper.

    Track 3:

    [11:09] Well, I went into this with a different approach where I purposely didn't look at any info for the first couple of weeks. And then I actually planned on recording this without having looked it up, but I decided I couldn't not. And the reason I had to look at the liner notes is because I was hearing all these voices that I recognized from Canadian bands. And what I was really thinking about was um what was can con and and the uh you know all the if you don't know the the story of can con basically it's the canadian content rules that um you know radio stations in canada have to play a certain amount of you know canadian written produced um music and the variety of musicians playing on this album we've got you know sky diggers we've got eric's trip we've got the hip We've got Dinner Is Ruined, who wasn't a band I had heard of out West, but looked them up today and quite interesting. And just this all-star cast of musicians from all these really cool indie bands. And that's what really struck me. Yeah, I couldn't put it better. An all-star group. And I should have mentioned, I guess, The Odds, of course, with Stephen Drake. He was so heavily involved with engineering and playing bass on it. And, and, uh, that was the voice that actually I was referencing. And I'll talk about that on the track when it comes up. Oh, cool. Okay.

    Track 3:

    [12:36] Justin, I'm wondering for you what the title means to you. What does it evoke? Um, I kind of, my brain goes to the golden rim motor in right. And late at night in a hotel, just kind of looking out the window and there's that freaking coke machine that's probably buzzing and nothing's cold in it and there's that glow lighting up a couple of cars outside the hotel room um it seems like a pretty good time to write an album or a book of poetry yeah just in my my mind went the same place yeah the lofty pines motel the the golden rim motor in.

    Track 3:

    [13:19] Yeah. There's a couple other hotels mentioned on this record as well. There's the Phoenix. Um, I'm trying to think, is there another one? Hmm. There's a poem, uh, in the book, Minneapolis hotel room. Oh, wow. Yeah. So definitely a road record, huh? Yeah, for sure. Yeah. And the other thing I think that, um, I didn't know going into this, that it was so closely connected to the phantom power album with a lot of songs that now with the re-release of phantom power we're we're seeing alternate versions of you know mystery and some of these other songs which is really really neat to discover at the same time yeah i agree with that i i delved pretty deeply into the the poetry book and it was amazing how many references to hip songs especially of that era um but even dating back to the early nineties with some live shows and how long this material had incubated. I bought, I don't know which album, but it came with a recording of a concert in 94. And there are several references that made their way into the poetry or into the lyrics of some of the songs.

    Track 3:

    [14:31] It's not on the music album, but it's in the, I think it's the first poem in the book was was bumblebee what is now bumblebee as the bonus track from phantom power right um the usa today bit was in this concert in 94 and it took you know years for that to come out and and there are other references from that show that are that are in coke machine globe of the album and the book it's it's really interesting how long it took for all this stuff to, surface. You have to imagine though, that as, as a writer, you know, you're going to go into recording an album and, and, you know, Gord being primary, you know, after a time writer, you can end up with some stuff that just doesn't make it. And, you know, it's hard to let go of stuff. You know, if you've, if you've done any type of creation, I don't care if it's video creation or writing or poetry or songs or whatever, like it's hard to just let that stuff go. Cause it's, It's whether you're telling a story about yourself or something you experienced or, you know, you want to get it out there, especially if you're a creative person. So I imagine Gord had, you know, and you read all the time and you hear on the interviews and he carries around a notebook and is basically writing every day.

    Track 3:

    [15:47] So uh but it is it is amazing and especially being a hip fan to see you know i noticed that as well when i was listening to some of the bonus stuff like hey wait that's a hit song why is that on here yeah you know and then you got to go back and you got to find the album that it's on because i was like justin i i wasn't introduced until the hip you know until i think 2000 uh with a canadian friend that i worked with and then i actually took a trip up to vancouver and it was like there's hip everywhere and i was like this is what's this all about how come i don't know about these you know this this band so yeah you know that i i really kind of came into play during that time and and beyond so of course i love the stuff that that came before it but for me there's something about being a part of what gets released when you're you know i'm i'm buying the albums or cds as they're coming out and then i'm seeing the tour so you know of course that heavy content with with, with those particular albums. So yeah, I have to imagine a lot of that, uh, came back in, into this particular one. And I mean, how long was the band together before this came out? 12 years, something. Almost, almost 15 or 20, maybe.

    Track 3:

    [16:57] Yeah, well, yeah, from the very beginning, but since the recording stuff started, so, you know. 87, the first one came out in 87. Yeah. This, to me, it felt like a release valve for everything that Gord couldn't or wouldn't put on Hips. It wasn't polished, you know what I mean?

    Track 3:

    [17:18] And he had all, I mean, there's a hundred pages of poetry and all these songs that are, you know, objectively strange.

    Track 3:

    [17:27] Um, and I, I think it just stuff that he knew wouldn't fly on a hip album that he had carried with him for years. And like I said, that show in 94 that he was work workshopping this stuff and it didn't make the cut with the band. So let's use it up now. Now, I'm very curious, as we get into the songs, to hear what you guys are thinking about some of these songs in their objective strangeness, as you put it, Justin. Or, you know, are some of them hip-adjacent? Are there any on here that you think, you know, the band could have put together? Obviously, other than the last track, which they did, and we can compare and contrast that when we get there. But are we ready to go into this record track by track? Let's do it. All right, we start with Star Painters. Who wants to kick this one off?

    Track 3:

    [18:29] Well, I'll take it. Yeah, Star Painters to me was like a palate cleanser. This was like Gord saying, this is not a hip album. And right off the bat, it's, it's a little strange. Uh, you got the accordion and, um, you know, the almost like a spoken word type thing. And yeah, it's just very obviously not the hip. So the first line, um, is, uh, ended up in music at work with freak turbulence. The myth is neither here nor there. So there are definitely, you know, there's some continuity there. And I think those two albums came out the same year. Didn't they? 2000. Coke Machine Glow was 2001 Okay well But Very close Very close They were likely recorded Right around the same time Yeah Yeah.

    Track 3:

    [19:19] There are themes that do persist for sure. But yes, this is not a hip song to be clear. I agree. And Craig, yeah, I think you hit it right on the head. You know, Gord was like, hey, come along for the ride, but this is going to be something different.

    Track 3:

    [19:40] And I really appreciate it. I mean, and I've heard that this song actually turned people away, right? Right. Like they didn't want to give it any more of a listen because of it. And, you know, I can say, yeah, I can say that, you know, for me again, I'm hip starved. So I'm actually really surprised at myself that I didn't dive in at the time and that that it really took this project to, you know, get me to start paying attention. Attention and at first it was difficult you know obviously this song but the entire album was like you're like you wanted a little more hip but then you had to understand you know what he needed to get out this song honestly for me is is one of my favorites off of the album and i'll tell you why it's the line the star painters are taking over now the scaffolding is in place your anesthesiologist tonight is washing up and on her way like i heard that and i just stopped and smoking your joint.

    Track 3:

    [20:50] Packing it up yeah getting the next one it it it it's it's it's gordon it's it's it's the, this is this song this album is not going to be for the faint of heart and uh and you know strap in like you said buckle up so i i had never heard anything by the dinner is ruined but you know trying to dive into to see what these guys are about the avant-garde and very strange ambient sounds and there's uh accordion and all kinds of weird stuff and that's very much dinner is ruined i i did listen to them um during this process and with that in mind on On the rest of the album, they feel pretty restrained compared to what they would normally have written or put out. But I think on this first one, they're just kind of like, to hell with this. We're going to do what we're doing. Yeah, sequencing is so important. You know, when you make a record, there's no accident that this song is first, like Greg said. You know, that sort of palate cleanser, introducing what the concept of this record is going to be. And you're right like if you came here expecting fully completely part two you know you're barking up the wrong fucking tree so there's that yeah vancouver divorce.

    Track 3:

    [26:08] Yeah, definitely a departure from the first track from Star Painters, right? This is a, I mean, almost written for radio hit. It's so easy to listen to and it's so addicting. The thing that really struck me, and it took me a couple of listens to hear it, but the bass is just one note over and over like a heartbeat, just a rhythm. And it's just the same note for 20, 25 seconds. And then, you know, it, it moves on from there, but, um, it was really, it was lovely. Um, but I, uh, one of the things that, that started to strike me and I don't know if it was Vancouver divorce or, or something else, but I think there's two schools of thought about this album. And again, this is a common theme with Gord Downie is it's either a little bit about Adolf Hitler or it's really a lot a bit about Adolf Hitler.

    Track 3:

    [27:13] There are so many ties to World War II throughout this album and the book and everything that Gord kind of does. Um, and I, I, I tried not to think about that going into all this, but it does, it does kind of get there, um, pretty quickly. I think, I don't know. I don't know if Vancouver has anything to do with the song or it's just, it fits well, you know, like the way that he explained writing Bob Cajun, it just, it rhymes. Right that's the town we're using you know i know in one of the live clips i saw before this song he said something about you know if if this couple can't make it in in paradise which in this case paradise is vancouver um debatable debatable maybe but um he um yeah then then i guess they can't make it anywhere yeah and i i didn't get any world war ii from it but i i didn't dive into lyrics quite as heavily i'm more of a music guy the lyrics are the last thing i digest when i listen to music so it takes me multiple listens um i don't typically read lyrics i like them to sort of hit me you know over the years um yeah did you guys get the uh the hortons reference.

    Track 3:

    [28:27] That one made me chuckle so the thing that i that i picked up on the hortons thing is he says sitting here at the hortons so you know this is important nobody sits at a tim hortons well they used to it used to be it used to be like a bar yeah oh yeah and it had lots of tables and chairs Yeah. And that's, that's far different from our experience with, with any Hortons chain down here. Yeah. Well, the thing that I think is interesting is that syllabically he could have said Tim Hortons, but instead he says the Hortons. The Hortons. I wonder if that's like to avoid the.

    Track 3:

    [28:57] Commercialism of saying Tim Hortons or like, it's just an interesting choice when it's the same number of syllables. Yeah. And I also think just, um, a lot of times Gord will choose a word that is almost unrhymable on purpose. And I think this is one of those cases Hortons. So it must be important and important. Yeah. It's, it's just, I love that. I love that. How about you, Kirk?

    Track 3:

    [29:21] What do you think? From a music standpoint? Cause like Craig, I, I, I do, do i i enjoy both and and and i'll end up reading lyrics as i go and and in this particular thing it was hard not to read uh a lyrics just to understand the connection as you're listening but this is one of those songs as well when when you think about it here you know how they recorded like holy crap how did they get that big of a sound out of what you you know at least in the the research that i did was very minimalist type of recording you know this kind of a squarish box and and and not really acoustically treated and you know in in you know you know in in the heart of toronto and all kinds of other stuff going on like i heard as well like they were being evicted and so they only had a certain time schedule to be able to get this recorded and then you hear the story about how like they're having a party downstairs and they're throwing couches around and gourd shows up and in his cowboy hat and goes uh hey would you guys mind you know being quiet for a little bit i'm i've tried to record i just can't imagine you're in that room and gourd down he walks in and says hey i'm recording tracks upstairs i think he was with kevin hearn from uh.

    Track 3:

    [30:36] You know uh bare naked ladies and and and uh and then they go back up and they record but just the fullness of this, this album. Um, and to me, I, you know, that's the thing I wanted to mention. Uh, uh, I believe it was this tune when you hear the keys, I don't know that Kevin got a credit on it, but I know he recorded a couple of tunes here. And so for me, I'm actually a pretty big BNL fan and I've seen them 20 times, something like that. But Kevin Hearns keys was very kind of prevalent. Um, and even if it wasn't him, you could, you could definitely hear the influence of it. So the powerfulness of this song is, is, is palpable for sure. Yeah. Yeah, looking it up, I think it was, sorry, it was, yeah, Jose Contreras played the organ on this tune. So he's the leader of By Divine Right, which is another very cool Canadian band that I remember listening to. I had their first album. But yeah, Kevin Hearn is definitely all over this album. Them yeah i gotta say as well from a lyrics perspective my money there's a phrase in this song that belongs on the podium along with you know it could have been the willow nelson could have been the wine you know taking advice from a prost or taking a compliment from a prostitute the line which by the way i play that song every night for my daughter at bedtime and my wife still Still haven't caught on yet.

    Track 3:

    [32:00] That's a good line. What the hell is this? You said it's art. Just fucking mirror it. Mirror. Yeah. Like you hang up your hat when you write a line like that. You just, you're done for the day. Put your briefcase together and you walk out the door, punch out, you know, that's a fucking great lyric. So I think, I think if, if I may, the, the person being divorced is an artist in this story. Right. right? And there are many references to art. There's the line, when the stampede's an optical course, when ancient train has hit old transient horse. And ancient train and old transient horse were capitalized. And I said, what the hell is that? So I deep dove that. And it is in reference to horse and train, which is a Canadian painting, which is based on a poem written by a South African anti-apartheid poet with the line and against a regiment. I oppose a brain and a dark horse against an armored train, which is just spectacular imagery.

    Track 3:

    [33:03] But again, tying in the art theme to the first line is such classic Gord Downie writing. Jesus Christ. Yeah. You've just blown my mind. Blown my mind. Like for real. This is track two. So get me. Yeah. Yeah. And I have to say too, the noise guitar at the end by I'm assuming Dale Morningstar is just amazing. I have a thing for loud, screechy feedback guitars. It just puts me in this state of zen for some reason. Like if you know the song Drown by Smashing Pumpkins, there's like four minutes of feedback at the end. And to me, that is so relaxing.

    Track 3:

    [33:45] I have that same thing written down, Craig. I have excellent screeching guitar going into and continuing through the third verse and out. One of the other things I have written down, though, I just want to share with you guys quickly. This is just sort of funny. When he says he's sitting at the Tim Hortons, or he's sitting at the Hortons, I know that's not true because on two occasions, I was walking down the Danforth and saw him sitting in the front bench of Timothy's Coffee, coffee, which is like a, like a Starbucks adjacent brand that doesn't exist anymore, but it used to. And it was minutes from his house. I didn't know where his house was, nor did I stalk him, but I knew it was in the area, like minutes away. And he would just sit there and he was sitting there with a, with a fucking notebook the one time and another time he was on a Mac book. But to me, it was, you know, one of those cool moments that I was like, I live in the same neighborhood. It's Gord Downie. This is so cool.

    Track 3:

    [34:41] Man, I wish that the Tim Hortons here in the States had a place to sit because mostly you just find them at a rest stop on the highway or you go in and you order a donut and you leave kind of establishment. No Hortons down here in California. I have to travel. Thankfully, I get to travel a lot for work. And if I see a Hortons, it's like, it's immediate picture and text to my family because we did a road trip and, you know, we went through Detroit and we went through Niagara and went through Toronto. And so my family fell in love with Tim Hortons. So is there a sponsor, right? JD? Oh yeah. The big sponsor. I'm eating Timbits right now.

    Track 3:

    [35:22] Mmm. Delicious Timbits. Thanks Tim Hortons. Um next up is uh sf song and to me this is like observational songwriting 101 to me i can just picture him under the covers of his hotel room with a pillow over his head trying to drown out the sound of this chambermaid tap tap tapping and knock knock knocking on the door it sounds as though and then him walking through the lobby and out into the front area of the phoenix hotel and he just describes everything he sees now i'm sure there's more to it than that but to me that's just beautiful.

    Track 3:

    [36:03] Yeah. Yeah. For me, one of my first shows was actually in San Francisco at the Fillmore West. And, um, you know, there's been some, you know, or so I've, so I've researched, there's been some pretty classic, uh, um, shows that have happened there. And, you know, I, I had a pretty, pretty amazing experience as well. I was with, with the Canadian friend that had, um, you know, introduced me to them and, and, uh, uh, but you, when I heard that song at first, I just immediately thought, you know, I'm like, hmm, I wonder if he was writing the song when he was there, when I saw him in 2000. And, uh, you know, whether he is or not, that's what I'm going to go, go to, go to bed with and stick to. I also noticed and really appreciated, um, uh, the breathing in the beginning of the song. Um, and then the reference towards the end, uh, about it, uh, uh, I miss my lung, Bob.

    Track 3:

    [37:04] That we talked about and, and, and, and then remembering the ads, remembering the ads that were going around at the time on the sides of buses and on, um, on, on billboards and, uh, you know, growing up in, in, in Southern California and, and, uh, seeing smoking ads. And then all of a sudden smoking ads start going away. And then you see the ad of, I miss my lung, Bob, or Bob, I miss my lung. I like to paraphrase. Yeah. I, uh, that's one of the lyrics I had to look up. I had no clue that was an actual thing. So that was pretty neat to, to come across those posters. I remember them from when I was a kid, of course, I'm East Coast, so it's not like they were around here, but I do remember seeing it on the news or something like that, the campaign.

    Track 3:

    [37:52] The other thing that struck me was Chambermaid and the references to Chambermaid, which are a continuation of Phantom Power, right? With vapor trails and escape as a hand. Right. Right. I also picked up on the click, click, click. You mentioned J.D. Off the top and those sounds. And he later on experimented with those types of things like drip, drip, drip and We Want to Be It and the chick, chick, chick of the matches in Seven Matches.

    Track 3:

    [38:24] Oh, wow. Yeah, it's just a little thing I picked up on. And also, I have a note here about just the low register, like just him singing in that beautiful low voice. And he, on this album, covers so many different subtleties in the way he uses his voice. Like a song like Coming Up Canada Geese, all of a sudden he's just a totally different singer, singing very um yeah almost like an indie indie rock singer yeah totally get that um you know also i think there's many examples of him singing in alter egos on on this record really expanding his repertoire you know as it were right like we start to hear him singing like this on the post phantom power records uh on occasion and um it's not startling because we're sort of used to it should we move on to trick rider only if you want me to cry right like this okay so this song says it's it's dedicated to c it's i believe it's his daughter I don't know. On the album that comes along with the new release, his daughter, I'm blanking on the name, starts with a C, reads this poem.

    Track 3:

    [39:53] So I'm guessing she was the girl on the horse.

    Track 3:

    [39:56] So I can't remember the name, Claire maybe or Chloe or I forget. Makes complete sense.

    Track 3:

    [40:04] I don't know this, so I'll ask it. How many kids does Gord have and are they spread out in age quite a bit? I don't know the second part of the question, but I know he's got four. There's Lou and Willow, who both played on his former partner's record, played keyboard and drums, respectively. And then there's Willow, who is an artist, like painter and jewelry artist, and she's very talented. She did the away as mind cover as well I did know that I think I think I asked that question because at the end you know of Gordon's life he did that interview with Peter Mansbridge, and talked about his son and got very emotional and his son was young he referenced his age and said he was quite young and this was 2016 or 17 whenever the interview was, and which would have been 15 years after this album came out.

    Track 3:

    [41:03] So, that's where my head went with how many, how old, just trying to put the puzzle pieces together. I was going to make mention when I was doing a little bit of research, there was a, uh, uh, you know, a fan video, uh, when, when I guess they toured this album and I believe they were actually in, uh, it might've been in Vancouver when they're playing it, but he was, you know, having an exchange with, with someone in the audience about, you know, uh, your nightlights on going to bed. And uh i think the fan might have been thinking that the song was about something else and and he referenced that right back to her very quickly in kind of a snide mark saying i don't think it means what you think it means about going to bed and and uh that stuck out to me it was you know one that he had no problems interacting with the fan and and kind of correcting them on on their interpretation uh of the song but it the song is is is beautiful and in so many different ways and you know all of us being fathers and and and having you know those experiences and and then obviously having the emotional tie-in with with gordon and what he's done with the band you know in the tragically hip and and and then with his solo stuff and and uh it it's it's gorgeous it's beautiful whatever adjective you can come up with that that uh you know brings that feeling to you.

    Track 3:

    [42:31] As a father in those moments when you're just you can't even can't even process i did this i had a hand in this and this human is is going to grow out into the world and And I'm a better human because of it. And to be able to, you know, put that, um, you know, in lyrics and in a song, uh, again, just adds to the, uh, adds to the amazement, uh, that that gentleman was able to give us.

    Track 3:

    [43:04] Yeah. And the vocal performance by both Gord and, uh, Julie Dwaran is, is so full that they have such control of their voices. Pitch perfect, emotional, just such a song. Her soft awe in the background puts this song over the top. It wouldn't be the song without her contribution to it. That's no disrespect to Gord, but the song isn't the same without Julie Dwaran. And I thought that my favorite father-daughter song was Thrown Off Glass from In Violet Light, But this one, my daughter is the one jumping off shit. She is trick riding 24 hours a day and I'm like, oh my God, kill me. Yeah. So I looked it up. It is Claire Downey who reads the poem on the new edition. So I'm guessing that's who C could be. Got to be.

    Track 3:

    [44:05] The song is way too personal for it not to be. is is julie did i understand that she's she did some stuff with the hip as well yeah, yeah she sang um in some live shows with them and i think was part of some tribute stuff at the end too i may be wrong um i know i know kate fenner was um on one tour as a backup music Music at work. But I feel like, I'm pretty sure I've read, yeah, that Julie was on, doing some backups on one of the albums. I could be wrong. Yeah, I remember that too. I feel like, maybe now for Plan A, possibly. That sounds right. I know, although I know... Oh, yeah. Oh, that's her name. Yeah.

    Track 3:

    [44:52] Also from Kingston. There's another woman who does now for planning the title track. Yeah, Sarah Harmer. She's the vocal on... Anyways, that's a different album, different band. Different podcast. Different podcast, yeah. Oh, and I have to... Last thing about Trick Rider for me is that slide guitar that just doesn't quite hit the note. I just love it. It's kind of that quarter tone or something. It reminds me of, if you know the Faith No More cover of Easy, right before the solo when Mike Patton goes up to the, ew, and almost like purposely is in between notes. I just think it's so neat. I was going to say both vocally and musically with a variety of instruments throughout several songs, obviously this one as well, is there's just that, it's not quite there, but it's also, it adds again to that character of the song. I heard something or read something about one of the musicians, I believe the guitar player that, that was part of this, like he hit a note and he, he would just beat the shit out of it until it became the note that was right for the song, whether it started off right or not, he, it, it was going to become that.

    Track 3:

    [46:03] And, and I love that thought or that prospect, right? We get so, we get so caught up in, Oh, everything's got to be perfect. I got to tune my guitar up exactly right. I've got to have the mic place perfectly. And I've got to have, you know this tonality and and sometimes it's just good to just just let it go and let that emotion come through more so than you know the technical note of itself yeah yeah there's no such thing as a wrong note if it's you know played with with with confidence and intention and yeah yeah so next we go to a song that i think could totally be a hip jam to me this song he's singing It's the first song on the record where he's singing in a tone in a register that we recognize.

    Track 3:

    [49:09] So Craig, you said it, um, this is punk rock and Gord loved punk rock, right? Yeah. Yeah. Um, but it's old guy punk rock. Like it's, it's, this is guys who are not punk rockers anymore trying to, to do punk or at least the story, right.

    Track 3:

    [49:26] Um, within the song. And, and I'm not saying that about the musicians that played the song. I'm saying that about the story Gord tells here that, you know, they're, they're, they're buying weed from each other in a cornfield, right? In the dark you know um like i can picture my old man and his uncles or and his brothers my uncles just you know hiding from the cops at age 50 55 years old just feeling like be cool man shut up uh i love this song yeah great song i i gotta say i'll take the bullet guys here's my first criticism even though as much as i love um how they recorded it my goodness gracious i needed the drummer to use some sticks and not brushes like i needed to feel that those drums coming through in this song and and to make it punk rock like it was like they they you know hey let's find the jazz drummer to do the punk song um and not that it didn't serve it well and it's a in fact probably what i would have liked was that drum track with the brushes and another drum track on.

    Track 3:

    [50:35] Top of it with sticks and then also maybe adding the mics to get more of the tonality of the drums but again now that's just the music guy and me going i wanted to hear that i needed to hear that snap i needed to hear that crack i needed to hear the pop right sorry gonna use a uh a breakfast cereal reference but um i i i i wanted that for this song still love it it's It's funny because it opens on snare hits. Right.

    Track 3:

    [51:08] Yeah. But if I'm not mistaken and I'll, I'll completely eat my words, I believe they use brushes throughout Craig. Do you, did you go that deep or what did you think? I didn't, but I know for me, I definitely noticed that it, it, it felt like it should be heavier but i think that's part of what gave the song character was those heavy guitars that almost sounded like they were played at a low volume in a room jamming and i i thought it just gave it a unique character and and i have to say though my favorite part is actually at the end when when all of a sudden i actually picked up a guitar today just to see what was going on with this and and they go up from you know they're playing and you know you're one four five e e b and a and then um they go right up they just go up to that f and i know the first time i heard it it's just just so striking it just sounds so out of place and then after you've heard the song a couple times just so perfect such a such a great dissonance and.

    Track 3:

    [52:05] Really really um almost like a two you know 2000s indie rock feel almost like an arcade fire kind of three years before arcade fire was doing it kind of thing so wow it felt like a one take demo to me and they said fuck it it's good like run it i like that we'll do it live yeah me too do it we'll do it keep it but kirk yeah i think um it would be really interesting to see what the hip would have done with with that song like a fully polished yeah you know but but i felt the same about the next song chandler um you're listening to it again today in fact and again was like man with some different instrumentation you know change changing the tempo a bit on this is this is absolutely the uh potentially a hip song uh for me you know uh and uh yeah hard hard not to uh go into you know as he speaks about letting the opening the window inviting the vampires in and if i'm not mistaken this this song did pretty well was it a single.

    Track 3:

    [53:15] I don't think any of the solo stuff did particularly well. It was sort of under the radar, especially after this record came out. This record was highly anticipated, but I think early on the word got out that it wasn't hip, and so there were a lot of hip people that jumped up. A lot of people stayed on board, don't get me wrong. but um there was a good cohort that sort of veered away and it's interesting that the sum of the parts you know um the hip are it just goes to show you how magical they are as a as a fivesome because you take one component away you know and it's just not the same like gort sinclair's solo record is dynamite so are you know paul's three records they're really really good but they're not the hip yeah you know so i'm just and i think this is where i got it from i'm just you know looking looking up on spotify and if you go to gordonie this song has the most downloads of all the solo stuff oh okay so that that makes a lot of sense yeah i know there's a there's definitely a video for this yeah yeah but i i don't recall ever hearing.

    Track 3:

    [54:31] This song anything from this album on the radio i i had i did hear some later songs um but definitely not that you know that i heard so this is where hitler comes in big time um the.

    Track 3:

    [54:47] Hitler had a very odd sleeping pattern. He stayed up very late and would go to bed at like 6, 6.30 in the morning and then get up at noon and just spend his whole day working out maps and plans and this is where the advancement is and all this stuff. And there are so many, if you read between the lines references about the night of a thousand missteps, the loss that made him dogged, or it could have been the doggedness that caused the loss in the first place.

    Track 3:

    [55:18] And Chancellor, I mean, that was Hitler's position, you know? Wow. Marching armies in the night, smiling strangers riding by on bikes. That would be, you know, when the allies come into Paris or something, you know? Children's smoking, which there was a huge anti-smoking campaign in Germany during World War II, sloganeers. And he mentions in one of the first lines, invite the vampire in, open the windows before we go to bed to get the coldest air in the room, which is just before the sun comes up. And then at the end, talking about a few things that vampires don't like, all the things referenced between the vampire references are Hitler-ish things. So I don't know it that's that's where my head went and then um before you are wow i know that but but damn it i'm following gordon's path you know and he like i said he references justin you're taking us into dark places my friend and the word chancellor for me it was like hmm and then i started to kind of read into it and i was like yikes and by the way guys spoiler alert this won't be the last time i talk about hitler during this thing not that i love him let's put that out there but there are There are some real references to the war throughout this album. Yeah, that's really interesting.

    Track 3:

    [56:41] My mind went a completely different direction. I was thinking like a chancellor of a university. And again, I didn't read the lyrics. I didn't dig that deeply in. But it was funny because my daughter really likes this song. We kept playing in the car and I was explaining what a chancellor of a university was. And she said, oh, I thought it was like Chancellor Palpatine. Wow. and it turns out she was she was the right one yeah i guess she was she was closer than i was yeah wow look at that cross my read is so completely vastly different again my read is like bittersweet and romantic uh the chorus yeah i couldn't be a chancellor without you on my mind if i wasn't if i wasn't obsessed with you or thinking about you all the time time. Um, you know, who knows what I could have become. And on the, and in the video, isn't he riding around? He's on the swan boats. It's just, it does not make me. Swans. Yeah. Yeah. He does not make me, uh, feel like, like, uh, like he's referenced, referencing world war two, but that's fascinating. I can't wait to hear it again now.

    Track 3:

    [57:49] But at the end of that video, if you watch the full video at the very end, he's, it's revealed that he is the guy working the dock at the, at the swan boats and he takes off his coat and underneath it is a uniform that says guy. And he's the one taking the coins or the tokens or whatever for the people to ride the swan boats. So it's kind of like, uh.

    Track 3:

    [58:13] You know, when Hitler was a struggling artist before he became this global force and kind of took control, you know, he was romanticizing the idea of, of being chancellor of Germany. Wow yeah wow and i don't know wow reference to it or yes it's dark man because and again think of think of uh the song scared every hip show you go to everybody's everybody's slow dancing that's not a slow dance it's like we talked about in the other podcast it's like yeah that's the hips trick right or it's gorge yeah yeah 38 years old same thing long running same thing fiddler's green you know and and on and on and on these slow slow songs are are yeah miserable yeah and i have to say good yeah yeah yeah yeah and and the the vocal phrasing that the gourd uses on this just that, laid back where he just sort of hesitates on certain words i just just love it he's so unique that way. I think that's what separates him as a singer, is that phrasing.

    Track 3:

    [59:22] Oh, yeah. This is a really hard album to sing. And you guys are musicians and you play guitar and other instruments. I've always been a singer. And I cannot keep up with Gord on this album. I just can't. Like the chorus of this song, like, I'm discovering uses for you. But the way he throws uses for you together, it's like, it's almost like one overlaps the other. And it's like, that's impossible. And then on the more quaint side, I love that he rhymes pajamas by mispronouncing in a gourd-like way windows to rhyme with pajamas, right? Instead of windows. Oh, so great. By the way, that uses line, again, going back to Hitler's underlings, you know, doing experiments on twins and stuff like that. Like, this is, I think this is a dark one. I'm going to listen to it again tonight. And I can't wait to hear it. No.

    Track 3:

    [1:00:19] I hope I'm wrong. I think you're right. No, we know he likes the Second World War.

    Track 3:

    [1:00:26] And, you know, we've heard references to, you know, Nazis moving works of art or Russians moving works of art, you know, to stave off the Nazi army. And really quick, sorry, really quick shout out for the piano player. I'm guessing it was um hern but but man that piano is is really nice improvised piano solo yeah yeah it's a very sweet sounding song yeah bait and switch man yeah he got us the never ending present i was listening and and if you're a you know canadian of my age you knew right away who was singing backup so that was Stephen Drake because my mind went right to Wendy under the stars and um and you know right back to my you know my first car and being you know 16 years old and listening to the radio and and hearing the odds for the first time and and yeah just an unmistakable voice the harmonies are very distinct you know distinctly the odds and distinctly The one thing that I picked up was he mentioned his shoes were polished, which as we learned in the longtime running doc that he polished his shoes before every show.

    Track 3:

    [1:01:46] So I think he's talking about himself and it's kind of an introspective – I mean, he says I in every song, but I think this one might actually be about himself personally.

    Track 3:

    [1:02:00] I picture him standing on Broadview Avenue waiting for the streetcar. He says bus, but in my head it's a streetcar. And all the rest of the lyrics are the stuff that happens until the bus crashes the hill. Him dropping money inside the little money grabber on a bus. There's talk of that um but what i really what i really love about this song is how ahead of his time he is because this is like living in the present like being in the moment is so important and i've learned like through my mental wellness journey like how important it is to live in the moment and the idea that the moment can be never ending if you come about it with the right frame in my mind is so refreshing to hear. Amen. And of course they named the, um, uh, Michael Barclay wrote the book with using the title of the song.

    Track 3:

    [1:03:05] Sorry, I'm going to take a little detour off of this that I just have to bring up being, being the, uh, for the South American and someone that, uh, uh, you know, again, was always starving for hip. I've loved in this journey, discovering other Canadian bands. You guys were mentioning the odds. And, you know, I did the research a little bit on the dinner's ruined. And of course, you know, of the real statics from, you know, grace too. And we're all richer for having heard them. And, um, uh, I'm, I'm very excited, you know, during this to be able to take a dive into that music that I never got. Right. Cause I like Justin, you were lucky because you get a lot of that music, uh, in the Northeast.

    Track 3:

    [1:03:49] Um, no, no, no, we only get the hip and rush. Rush. There's no Canadian music except for the hip and Rush. I will say that. And Alanis, of course. but to do as a you know as a musician and and and being a big fan of many canadian bands you know rush is up there for me bare naked ladies is up there for me um obviously the tragic the hip is up there for me um but these other bands uh blue rodeo that has i think a little bit of a a um you know it did well here in the states um of course alanis and some of the others you know i want to I know more about the, uh, the ones that didn't get, uh, similar, similar stories to the tragically happened. And I'm really excited about taking that journey as well. And I love that, you know, that's one of the things that I've heard about in different, uh, uh, reading and, and interviews is Gord was such a proponent of getting, I mean, music out there, but, but specifically, obviously Canadian music and, and giving, you know, these, these not as well-known bands an opportunity.

    Track 3:

    [1:04:56] So, um, sorry, I just needed to take that little side journey there and, and, and share that with you guys. I'm with you. I'm with you a hundred percent. Just going off what you were saying, yeah, apparently Gord would actually stand side stage and watch a lot of these bands. Like he would just stay there for the whole set. And all these bands, you know, Eric's Trip and The Odds, they were all change of heart. They all played with the hip.

    Track 3:

    [1:05:23] And for me, it's been fun because I've been doing the same thing. I was listening to The Odds last night and I couldn't believe how many hit songs they had. You know they're a band i enjoyed but never really really got into i think i've seen them live a couple times but man they had their pop song they were yeah that's exactly it they were they're you know pop writing you know machines but yeah i'm excited i'm excited about the journey for sure and and especially getting connected with you guys and having the experience you know know, uh, um, uh, being from Canada and, and, and really experiencing that not only on the radio, but, but live as well, that, uh, that's going to be a great journey. Cause isn't it great when you go to see, you know, you go to see one of your favorite bands and the opener shows up, you never heard of them. And, and all of a sudden they become, you know, one of your favorites and you're, you're falling around and, you know, and then it's always hard if they do make it, you're kind of like, man, that was my band, but I liked it when they were small, you know, I want them to be big, but not that big. I, that's, I mean, I mentioned it with, with the hip, you know, like all my experiences and I got to see them, I don't know, seven, seven, eight times, something like that.

    Track 3:

    [1:06:36] Like the biggest venue I saw them in was, was probably 1200 people. And, um, you know, the Troubadour, I got to see them in and, and, and up in San Francisco, the Fillmore's, you know, it's, it's over a thousand, uh, might be closer to actually, I'm not sure. I'll have to look that up. But the thing that I loved about it is, you know, I'm a hockey guy. And I think I mentioned the story to, to you, JD, like we're close to the ducks and the Kings and, and most hockey teams are, you know, 50 plus percent, if not close to 70% Canadians. And so I'd go to a show, I'd be in Hollywood and I'd look over and be like, Oh, Hey, look, there's Luke Robitaille or, you know, Oh, there's Chris Pronger. There's, you know, Scott Niedermeyer, you know, I'm hanging it out and oh oh hey paul korea how's it going you like the hip too you know and um what an experience and then canadian actors as well i got to meet dan akroyd at at the house of blues hollywood and he introduced the hip on stage and then you know he's rat so uh you know for me it's so weird um when you talk of this band they were a club band to me you know i i've seen what they've done and where they've played. And so anyway, I I'm, I'm taking us off the, the album, but just wanted to share that with, with you gents. No, that's cool.

    Track 3:

    [1:08:04] So now we take a hard, right. And, um, we get the track, the soundscape, uh, nothing but heartache in your social life.

    Track 3:

    [1:11:14] Did you say a hard right or a hard Reich? Because again, the Hitler.

    Track 3:

    [1:11:20] I'm serious. So again, this goes back to the poetry and there's a poem called Toiletten in the book and it is about Hitler's, I'm not even inferring this, this is about Hitler's podium at Zeppelin Field in Nuremberg and it now has signs pointing tourists to the toilet. Um, and the, uh, similarities between that poem and this song or spoken word, whatever, um, it's a hundred percent about that. And Gord even stumbles on a lyric that they, that they leave in the song, um, when the podium sprouting weeds and he stumbles on rendered ridiculous by the time. So the podium is this massive concrete structure that when you see film of Hitler speaking to 150,000, 200,000 Germans during wartime, that's where this is. But it's still there, and it's sprouting weeds, and the podium and its purpose have been rendered ridiculous by the times. When are you thinking of disappearing? I mean, when are you falling off the map when the unknown that you're fearing is in the clearing? That's totally about surrendering in the war and the allied forces moving across the field to wipe out the Nazis.

    Track 3:

    [1:12:46] When you're getting king-size satisfaction in the turnstiles of the night from all the shaky pill transactions, if that's not Jewish prisoners going to a concentration camp running down the train tracks in the middle of the night. I don't know what it is. It's, again, a very dark thing, and I think it leads to Hitler's suicide. That's when are you thinking of disappearing? Yeah.

    Track 3:

    [1:13:16] And it is interesting to note that the asterisk that comes with the title in the lyrics, it says Dale Morningstar provided echoing screams at the end of the song. It doesn't just say backing vocals or call and answer. It's echoing screams. I was wondering who was calling back and forth with them. They kind of sound like, even though the topic sounds quite serious, they're having some fun with it. At the end kind of yelling back and forth with each other and um and also of note um adam agoyan the filmmaker plays plays uh the classical guitar on this track and and one other track and so he's uh i think i read that that maybe this song was sort of based off some some things he brought in, came into the studio one day and they they sort of riffed off what he was doing and put this sort of spoken word. I also got, I don't know if you guys got this, but I almost got like an M&M vibe, like just like attitude wise. And of course I believe this would have been before M&M anyways, but, but just that, that sort of attitude and way he was rattling off these lines.

    Track 3:

    [1:14:29] Yeah, I get it. Absolutely. So the other me, you know, I was trying to get my, my head out of World War II with this, and it was easy to see in 2024 that Gord predicted the future of social media, right? This is before Facebook and MySpace and all this stuff, but this is 100% in line with everybody's mental health problems stemming from not having enough likes on their posts, right? This could absolutely be interpreted 20 plus years later in that way, if you were to look at it from that angle. Yeah, I...

    Track 3:

    [1:15:13] Obviously still like absorbing everything in the referencing that you're speaking of, uh, Hitler and world war two and, and how, you know, JD and Craig were like, didn't necessarily get that right away. I, I definitely, you know, heard the references. I, I knew of the references from some of the hip tunes. Um and uh and then just seeing this whole journey that he's taking with just coming out there with a solo album in the first place and then you hear about how um and again it's it's you know i don't know the exact i haven't spoken with the other members but some of the solo stuff really caused a bit of a rift within the band and then if you start thinking about the product of the hip you You know, this is where a big portion of their fan base starts turning away.

    Track 3:

    [1:16:04] And I wonder if that tension came through in some of the music. For me and you, Justin, we discovered them during this time. And like most bands, you don't become close to them. And, you know, I'll take a few exceptions. You know, Led Zeppelin. I wasn't there when the albums came out. But the band meant a lot to me later in life. But nothing like, I'll give an example of other bands, Rush and Barenaked Ladies. I went to those shows when those albums came out, same thing with The Hip, as it relates to 2000 and beyond. And so my reference point is there. Um, and then Gord goes off and decides to, to do this solo work. And, um, and not only does he does the solo work, but he starts taking that poetry side in the book that comes out along with it. He starts throwing in spoken word and we could spend a lot of time with the discussion about poetry versus spoken word versus lyrics versus, um, uh, you know, the, the, the written prose and, and, and where it all comes together and the different attitudes towards it. Um, but I, I'm, I'm honestly kind of shaking inside just thinking about the, the ability that, that Gord has to take a historical perspective.

    Track 3:

    [1:17:23] Area and put it into a spoken word and or song. But then in the same breath, depending on how you come at it, you get something completely different. If you don't know those references specifically, you're going to find something from a meaningful standpoint. So sorry. I mean, you really got me goosebumps in there, Justin. Well, I think that if I had never read lyrics from the hip, I would never have approached it from this angle.

    Track 3:

    [1:17:51] But it's kind of hard to not look at some of that stuff. He did an interview in the early 90s with some TV, whatever, and they said, what are your songs about? And he said, all of our songs are about war. And I remember seeing that on YouTube about 10 or a dozen years ago and thinking, oh, okay. Now, whether he was speaking Speaking of literal war or a relationship or conflict within the band or whatever, family, something, but there's a struggle or something that needs to be resolved in each one of these songs. And so I've, for better or worse, looked at a lot of hip stuff from that point forward, whatever year it was, as is Gord talking about literal war here. And that's just where I picked up on. Was he a history-type major? Did he have family that maybe participated in the war? There is a short poem in the book that is about his grandfather serving in World War II.

    Track 3:

    [1:18:56] Yeah, I could see that. Both my grandparents served in World War II, and I was a history major, and so I can see where that tie comes from.

    Track 3:

    [1:19:08] I hope we can move past the war stuff soon. Thanks justin yeah anything else from you craig well yeah i know i have nothing to add other than i love the little bait like bass kind of jazz odyssey thing that steven drake goes off on at the end if you if you notice the last like five seconds he just does this little improvised producer as well noodle it's pretty right bass player yes yes yeah engineering okay engineer anyways yeah Yeah, engineer. Well, that's what we got for you for this first episode. We're going to take a break and recuperate and recalibrate and take some electrolytes and we'll be back. Now, pick up your shit.

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    S4E1 - 1h 12m - May 21, 2024
  • Discovering Downie

    Welcome to Discovering Downie! Each week, Craig Rogers, Justin St. Louis and Kirk Lane are joined by jD to experience one of Gord Downie's solo outings.

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    S4 - 1m - Apr 18, 2024
  • Call for Submissions - Gord Downie Podcast Playlist

    jD makes a call for submissions

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    1m - Mar 18, 2024
  • The R.E.M. Breakdown trailer

    Dewvre podcasts & such has several new podcasts in the pipeline we think you're gonna love. Here is the first one. It drops on February 19th. You can subscribe at linktr.ee/rembreakdown

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    0m - Feb 14, 2024
  • Merry Christmas 2023

    jD is back with a holiday greeting.

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    S3 - 5m - Dec 25, 2023
  • Remember Montreal December 6th 1989

    jD shares his version of the song Montreal to shine a spotlight on the atrocity that was the École Polytechnique massacre on December 6th, 1989 where 15 lives were lost and 14 more were injured.

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    3m - Dec 6, 2023
  • Phantom Power boxed set thoughts

    jD, Dan from London, Pete and Tim are joined by a very special guest on this episode that is dedicated to the new reissue of Phantom Power for its 25th anniversary.

    And make sure to listen to the VERY END!


    [0:05] On August 31st, 2023, The Tragically Hip dropped the first track from the Phantom.

    [0:12] Power 25th Anniversary box set, a song called Bumblebee.

    I will always remember this day because my friends Dan from London, Pete and Tim were in Toronto for our big live finale and the four of us were off to Kingston to visit the Bad Houseand sightsee the tragically hip scenes in Kingston.

    The first thing we did inside the car was fire up Bumblebee.

    It was so odd to hear something so familiar but so new to my ears.

    I hadn't heard this melody or these bending guitar licks before and I wanted more.

    [0:53] Lucky for us there are several other tracks included on this box set.

    Songs we either hadn't heard, or maybe we've heard snips and pieces of in live performances, or maybe on a bootleg.

    And of course there are complete song ideas that wound up on Gord's first solo record, Coke Machine Glow.

    There is also a fantastic live show from Pittsburgh, demos, and alternate versions of songs that did make the final cut.

    In essence, this is an exciting time to be a hip fan.

    Although we are all collectively gutted that we'll never see our boys on stage again, as long as I've been a hip fan, I've clamored for these songs that somehow wound up on the cuttingroom floor.

    And I'm sure you have too.

    [1:41] Today we'll get a sense of what Dan, Pete, and Tim think of the Reissue and we'll speak with a very special guest about the making of this spectacular box set and so much more.

    So sit back, relax, and let's start getting hip to the hip.

    Track 4:

    [2:23] Hey, it's Shadeen here and welcome back to Getting Hip to the Hip.

    This is an out-of-sequence bonus, episode for everyone.

    We are going to be talking today about the box set of Phantom Power, and I am joined as always by my friends Pete and Tim, and today's special guest again, Dan from London. How's itgoing, everybody?

    Well, Dan got his ears lowered, looks like Dan got his ears lowered.

    Yeah, I lost some hair over the course of the last thing, yeah.

    He was shorn. Maybe it was his younger brother stepping in. Yeah.

    [3:07] So fellas, when we last left off and we talked about Phantom Power, I recall the conversation really revolving around fireworks.

    You guys both really loved that song.

    Something On was a little underwhelming for you.

    You got into Poets, you thought that was a good kickoff and here we are just like six months after, not even six months, like four months after releasing that episode and The TragicallyHip goes out and releases a 25th anniversary box set of Phantom Power.

    So we thought it would be cool to get the band back together and talk about that for a little bit.

    And we'll be joined by a very special guest who we won't reveal quite yet.

    Is there anything that in particular, Pete or Tim, you remember about your experience with the record, thinking back, and Dan, for you following one of them, what was your experiencewith the record in general?

    [4:24] Um, it's funny because I went back and I found my notes from the original and it's it's just crazy to look at.

    It's like it's a it's a time it's a time capsule because, yeah, there were certain songs that was like, this is good.

    And like and now I look at, like, some of the songs that I was.

    [4:44] You know, Gugu and Gaga over and I love fireworks, but I mean, by by and far, you know, Bob Cajun is probably one of the most just, I mean, it's on loop in my home.

    So many, so many days. She also listens to it as well, right?

    Oh, yeah, she absolutely loves that song. We're listening to the live version today, we went for a hike.

    [5:07] And Cherrigan Falls. Poets is like, I think didn't, didn't, goodness, 50 Mission, didn't they?

    They came out with Poets when they played the live event.

    That song just, I had like one line written for that song. And this is the line, this is how sad it is. Dig it.

    Verse phrasing is key to the song. Lines go to the next measure.

    Layers and guitars. Nice. Now I'm just like, I hear that song.

    And I just fucking stop what I'm doing. And I just like, I fucking love that song.

    It's crazy how this album grew on me like a fucking virus. It's amazing.

    Timmy? Great. Yeah. Great, great question, JD, for sure.

    I mean, there's still a few on it that I'm not a super fan of, just to start off being negative here.

    Like, the rules to me is still a yawner, you know, but like, I kind of dig Chagrin Falls more than I did last time.

    I don't think I was anti, but in Emperor Penguin, I've read so many times across platforms that people love Emperor Penguin, and that song's slowly growing on me too. It's one of myfaves.

    There's still some really good ones in there.

    [6:31] Thompson Girl I could still live without. That's another one that grew on me, Timmy. I feel you, but I grew on it.

    With the new songs, and this is a question for a few minutes ahead, but somebody asked with the new songs, are any of those potential replacements for what's on the original?

    Oof. So yeah, that got me thinking a little bit.

    Tim, why do you always have to embroil things in controversy?

    I mean, that just is a controversial question.

    I mean, probably because of aliens, I guess. Oh, stop it.

    [7:15] Dan, what did you think of Phantom Power? I mean, Phantom Power is an absolute solid album.

    It's just a kicker, isn't it? I mean, I always love something on, I think it was the first track I got into off the album and I still absolutely love it. I think that song kicks ass.

    Something about the bass drum and the bass just driving it and the timing is just fantastic.

    Obviously, yeah, Bob Cajun.

    That always used to come on at a certain point on my commute when I was arriving at a certain station and I now still have overwhelming feelings when I pull into that station.

    [8:02] I can't believe how big a song can be, how overwhelmingly amazing a song can be.

    But yeah, I mean, the other stuff, I mean, Escape is at hand, I think, is just my favorite track on the album.

    You know, again, it's a whole other different story and different sentiment that it carries.

    And I don't know, I think that is a Bob Cajun and Escape is at hand, I think that just works a genius.

    And I can't say much more than that.

    Yeah. You know, the loss related with Escape Is At Hand is so relatable for me. And probably everybody.

    But I tend to live with you, Dan.

    I think Escape At Hand is... There's something about that song that just hits home, I think, probably for most people.

    [8:58] Maybe not sociopaths. I don't know. Maybe not.

    I think, Dan, you hit on the point. It's crazy how songs, even if you listen to them and enjoy them, it's like they get to a point where you've listened to them so many times, and perhaps thesame situation, like you said, pulling into that particular tube station or whatever it is, that maybe you don't hear it for a while, but then you hear it again, And, and just like a flood ofmemories and images come back.

    Just weird how the human brain works, man. I mean, this summer, we were go, go ahead.

    I mean, I just, I was just gonna say also in terms of that as well, it's the same station that I come into, I used to come into every time Fiddler's Green came on as well.

    So there's a time in all the albums where some of this stuff happens.

    [9:49] That's cool. That's cool. So have any of you guys had a chance to listen to the bonus tracks or the outtakes or the live show or any of it?

    And if you haven't, that's cool.

    All of it. All of it? Yeah. Yeah.

    I'm just happy to have more live music from these guys.

    For the obvious reason. It's a nice sounding show. So I read some kind of critique, so it's not the best sounding live show they played. I mean, who cares?

    I'm just happy to have more live music. That's an easy go-to wherever I am, in the car, on a plane, whatever.

    So as far as the new songs go? Yeah, back to your question.

    Yeah, I dig most of them. What's the best of the bunch? Eh, I don't know, I'm not there yet, I wouldn't say I'm there yet, I kinda like them all for different reasons.

    [10:52] Vegas Strip may be the least, but I like all these songs. I haven't gotten to it yet.

    It's my least favorite, but I still really like it.

    Yeah, like Songwriters Cabal isn't my favorite, but I love that song.

    Mystery, just lastly. Mystery is kind of a phenomenal ending to this group of songs.

    It's just this somber kind of tearjerker.

    Yeah, that was that was a happy listen. Joy meant either you fellas dabble.

    [11:31] I dabbled today and a couple of days last week, not yesterday, but I think Thursday and Friday in the fly stuff, which I concur with Timmy, I just love the live shit and I don't give afuck If it was a, you know, if it was a tape recorder jammed behind a, you know, bathroom stall and you got it picked it up in the background.

    It's just cool to hear this band live, but I loved it. Um, of the new tunes.

    I agree. I'm not there yet, but I, I got, um, I did hear bumblebee a lot when that came out, cause that dropped first, if I'm not mistaken, right. It dropped the day we went to Kingston.Kingston.

    So we got to it on the way to Kingston. That was fun. That's right.

    But I would say of the new tracks, I think the strongest one is Insomniacs. Me too.

    I just think it's very brawling, fucking harking back, just cool, fucking, just has that cool, easy, fucking hip, early shit to it.

    Early feels to it. Yeah, you know, has the road apples feel to it or something.

    Yeah, yeah, yeah, yeah, I agree with that. I like that too. I could be swayed.

    [12:50] Okay. Dan? Yeah, and I mean for me, I've listened to the extra tracks.

    I mean, I still love Bumblebee.

    [13:04] There's something about that with the guitar bends, that like, I mean, I think we next sort of hear those kind of guitar bends on my music at work.

    Something very similar happens towards the end of that, doesn't it?

    But in terms of the live stuff, there's a few little things going on in there.

    I mean, obviously, when you get down to 100th Meridian, there's a kind of improvised extract of Bumblebee in there, which is fantastic.

    And also, in the Chagrin Falls live version, he breaks into Born Free, but in the alternate version of Chagrin Falls, he's singing Chagrin Falls with a Born Free kind of lilt to it.

    So there's these kind of little parallels between some of the stuff that's been chosen, I think.

    Yeah, so maybe that's the reasons for some of those selections.

    Yeah. To you for choosing this live this light those like cuts you mean I Think so. Yeah.

    Yeah. Yeah, there's definitely some some thread woven throughout.

    Yeah Too bad. We don't have anybody to ask We might get some insight from our special guest Yeah, we should kick to him right now.

    We'll go to a song and then we'll come in with our special guest Johnny fucking thing.

    Track 6:

    [17:35] Hello, hello, hello, hello, I hear you guys now. There we go. Oh good. Am I good?

    Am I good? Yeah Hello Hi johnny Good doing well Sorry about that Hi, that's my fault. Not yours.

    I'll take full credit for that We're just waiting for one more to join Okay, he's uh in the waiting room now.

    Oh, there he is amazing how everything just Clicked and then johnny came on because we were having some severe problems, Dan, can you hear us? Yeah, absolutely. Awesome. Can youhear me? Yeah. Grant.

    [18:18] How you doing technically there, Danny? Good. Can you hear me?

    I can hear you. I can see you.

    Perfect. So then are you done? Are you done taking the McDonald's in London?

    London? London. Yeah. Yeah. My dad, my dad's hometown. He's from Woolwich.

    Woolwich, really? Yes. Oh yeah. South of the river. And we got to Canada and some friends would say, are you from London, Ontario or London, England?

    And my dad would just shoot back, he'd go, there's only one, London.

    Ooh. Although they have a Thames where the Canadian one. Ooh. Anyway.

    [18:59] That's beautiful. Isn't there in London, Missouri or something, too? There's a London... Oh, they're all over the place.

    Yeah. What's the deal with that? What's the deal?

    I think there's one in India also. You can't throw a shoe without hitting a London, is basically what you're saying. Yeah.

    All right. Well, let's get things on the road here.

    Johnny, just a brief introduction. We've ran a podcast from May 2, 4 to Labor Day this summer, where I took my friends that have never heard of the hit before. One is in Spain, Malaga.

    One is in Portland, Oregon. That's Tim and that's Pete, who is from Spain.

    And then Dan is from London.

    And we took them through a record a week, starting with the Baby Blue record and working up to Man-Machine Poem and just.

    [19:54] Inculcated them into the world of Tragically Hip.

    We ended up with a big party at the end downtown at the Rec Room.

    We raised like almost four grand for Donnie Wenjack.

    Oh that's amazing. Incredible.

    Yeah, so that's our story. I'm sorry I had to get the The music stuffed down your throat like that.

    [20:19] Can you imagine doing it, Johnny, like of a band that you've never heard of, right?

    And I've heard of you guys, but like never heard of you guys. I mean, I never heard it.

    But it's crazy how we did get it literally shoved down our throats.

    And now we were going back today talking about Band and Power, about what our first reactions were for it.

    And even compared to now, how much everything's just grown on us.

    It's just like, and we're diehard fans now, but go back a year from today, we didn't know. That's incredible.

    Wow. It's crazy, man. Thanks for sticking with it. It's not always easy.

    My Spotify algorithm is still totally convoluted, but a lot of a lot of hit playing in there.

    So Johnny, let's start at the start and get to know a little bit about you as the drummer of The Tragically Hap.

    And youngest member of The Tragically Hap. That's right, that's right. It's a dig.

    [21:27] It's Gord Sinclair's birthday today, right? It is indeed.

    Yes. Yes. I had dinner with him and Paul the other night in Toronto, and we had a nice evening.

    And, you know, we're 40 years young next year.

    I was in high school when we started, and I guess here we are.

    Wow. Wow. Who, before you got into the band and as you guys were forming, um, you know, your sound and your, you know, cadence, who were your big influences?

    I've, I know Stuart Copeland came up at one point. Oh, without a doubt.

    Yeah. I've heard a story about an exam or something like that, that you missed.

    That's correct. Yeah, that's correct. Uh, and we later ended up working with Hugh Padgham, the great British producer. and Synchronously was coming out and it came out on the daybefore my.

    [22:29] My math exam for Mrs.

    Griffordy and Lynn got this record and I listened to it.

    I'd heard Every Breath You Take on the radio, but then when I heard Synchronicity II and just the blistering drumming of Stuart, I just had to drink it all in.

    I remember making the decision. I was like, I can listen to this record, I can study for the exam.

    If I don't study for the exam, I'm going to summer school, which I did.

    And then I took one day off to go see them at the Olympic Stadium in Montreal, but it was worth it because that was, that was really my education was living, eating and breathing.

    And if you were a drummer in the eighties, who, uh, the guy, he was instantly identifiable by a snare drum.

    Um, just the hit one snare drum, there was Stuart Copeland.

    So, And this was an era of drum machines, don't forget, this was Len drums and sequencers, and I loved all that stuff too, absolutely did, but to be on the radio, and Stuart was it, he was,and I'm still finding things out about him, that he held the drumstick between two fingers, he didn't hold it, he held it up here.

    [23:48] Instead of the two fingers, which is the traditional way to hold the drumsticks.

    But he invented a way to play and invented a kit, which was a sound, you know.

    And he really, I can't say enough things about Stuart Copeland.

    Yeah, he's amazing. But I'll also listen to Alan White of Yes, who was fantastic. and of course, you know, Neil Peart, Bob Rush.

    That's a pretty good pedigree.

    Well, you try and take a little bit from each guy, you know, you don't want to be a lab rat. You don't want to copy them.

    You want to just take all the little things you like the right hand from this guy, this snare drum from that guy, the bass drum.

    And of course, the great I saw him the other day, the Manu Katché, Peter Gabriel's drummer, who is the Picasso on the drums. He has hands down, Art Picasso on drums.

    High praise. Dan?

    Yeah, so yeah, those are your sort of past influences. But who do you enjoy listening to now? Who does it for you now?

    Well, it's really funny because what's on my turntable right now is Heavy Weather by.

    [25:12] Weather Report and I'm listening to Jaco Pastorius.

    I'm trying to get as much of him into me because he was the guy really, you know. You hear Geddy Lee talk about him, you hear.

    So I'm listening to a lot of bass players these days and loving it.

    So that's what's going on.

    [25:36] I gotta I gotta ask you, just because you mentioned synchronicity, this is just a this is just a note.

    And if you didn't know it, then I think we brought it up with Paul.

    But do you know that that record had 33 different covers?

    [25:53] I did, yes I did. I didn't know that I thought it had.

    I thought it had. Well, I guess it would because each guy was sort of on one of the strips and it changed.

    But I didn't know there were 33. 32 or 33. But yeah, it was when I found and some some versions are rarer than others. But that record is.

    And that song Mother is just nuts. And isn't Stewart Copeland singing that song?

    No, that song is Andy Summers, and I heard a story, they did part of it in the Moran Heights in Montreal and the engineer asked Hugh if he could bump himself off a cassette in the day.

    In those days there was no internet so it was cool. The engineers usually got to be able to do that.

    Here's a record I'm working on, just happens to be with the police.

    And he asked Hugh Padgham if he could leave that song off.

    A lot of people hated it. It's a hard song to listen to if you're not into the record. You know, what went into the trash bin was I Burned For You, that was slated to go on that record.

    And think about how that would have, you know, from Sting's soundtrack work, would have changed that record. Totally.

    [27:22] I'm a little curious of then and now also, when you first started playing drums, I raised a drummer.

    I have a 21 year old who plays drums.

    Awesome. Actually, yeah, the past year or so he's been out of the country and he's been more focused on DJing, techno of all things.

    But he's, you know, can hear kind of a drummer influence. But anyways, you know, we got him on hand drums early and drum lessons early.

    And I lived through, you know, a drum set in the basement.

    Just anywhere you went in my house, you had to go outside or take a call.

    It was just, you know, what was it like for you in your early years playing drums? Like what pushed you over to the drum set or being interested in it? And...

    Conversely, do you still play now? Do you still have access to a drum set or a drum set at home?

    [28:13] Great questions. Number one, my brothers had a friend who had a drum set and they said to me, they went and got the snare drum and they said, we'll get you the snare drum.

    And after a year, if you're still playing, we'll go get the rest of the drum kit.

    And I'm still playing. And so they Then I had an eye injury, which for three weeks I had both eyes sort of closed off with cotton batting.

    And it was a really weird, weird accident.

    I still, when I'm explaining it to people, my dad was on the phone.

    He was a pediatric cardiologist and he was talking to the hospital and we were at a friend's house.

    And it had this jar of erasers and pens and pencils and elastics and he was talking and I remember he had his hand on my head like that and I grabbed an elastic band and a pen, and I shotthe pen into my eye and yeah it was very bizarre I thought it was shooting at the other end so it went right in and I remember my dad saying to my mom don't touch it leave it leave it andshe was trying to pull it out and so I went in and my sense of hearing was heightened.

    [29:33] I could hear my dad walk down the hall after he had his morning rounds.

    I could hear the cadence of his footstep and so you know for that three weeks where I was unable to see, it just kicked that.

    At about seven years old into a different gear for me. I started hearing rhythm everywhere.

    As you do with your indicator of your car, to industrial sounds, trucks backing up. I can put a rhythm into it.

    Like your son, his, like you're saying about drumming, and now he's DJing, his internal clock is always going as a drummer because that's where it started. Absolutely.

    Yeah. So it's the same. Drummers are that way. You just pick those things up.

    And then second question. No, I'm not playing. I'm kind of doing what your son is doing with drum machines.

    But I have two drummers in the house, two nine-year-old boys.

    [30:29] And one is a lefty. And I would set a kit up for him and then my other son, Finn, and then I would forget about Willie.

    And then, so I just said, well, I'm going to set it up on the left for you because he has a great acoustic kit, a set of Gretsch 1960s.

    And now I play left because I'm not the drummer that I'm not, you know, I'm not that drummer anymore. So now I'm discovering all kinds of new things about playing on the left side, andleft-handed drummers I find are way more creative.

    It's funny you mentioned that because we often notice when I've gone to shows with my son, we'll just say immediately that guy's left-handed.

    You just see it like that. That's very cool.

    Ringo was left-handed, they say, and that's why no one could ever duplicate the way he got around the kit.

    Yeah. His left hand pushed his right hand, I think.

    Phil Collins, Ian Pace, they're not good drummers.

    They're incredible drummers. Those two guys for me, Ian Pace and Phil Collins.

    Phil Collins, the stuff that I listened to today, and I'm like, how is he doing that?

    How is he doing that? He was incredible.

    He really was. He is incredible.

    [31:48] Johnny, you've been hard at work on the Phantom Power reissue, the box set, the amazing box set.

    I got it last week, and it was so fun to open and just touch the vinyl, and the book that's inside is really wonderful.

    I'm just, I'm so curious what a project like that.

    [32:17] Entails like from a from a time perspective. And I know you guys are hard at work on another one for next year.

    Like, when does that begin? And what does that process even look like?

    Like, is it just climbing Everest or what?

    It's really fun. It's really great therapy for us.

    You know, we get to talk about the past and if one guy doesn't remember it, someone else will.

    We have weekly calls and it's fun.

    We didn't do any therapy after Gord passed away and we really should have.

    We have just all kind of dealt with things and I think really right now that this is our therapy.

    I'm in Toronto, so that's where the tapes are. I'm very happy to do it and we're digitizing things and Phantom Power was a different one because it was in different formats.

    It was on D88, little digital tapes.

    [33:11] DAT machines were around and kicking at that time.

    We also had our 2-inch machine and then Pro Tools, the dreaded Pro Tools was coming in.

    Well, you didn't have to make a decision and you could have a hundred tracks on something and and I was like the you know There was such economy when we were going to tape andAnd I really liked that.

    So, you know, if you look at the early records, we're still I, Think there's the most that we used was 18 tracks You know Don Smith would consolidate things and that was really a goldenperiod So, it's not as daunting as you think, it's been fun, it's been fun, it's been a discovery.

    [34:00] You know, to listen to some of those tracks and hear Gord Downie speaking in between takes is really these beautiful moments.

    So yeah, it's been a lot of fun.

    Robbie is in charge of the box set, putting it all together.

    So he's doing all of that stuff.

    And you know, Gord and Paul are very involved in it. But they have solo careers too.

    So, um, you know, uh, but we are, we're all together on this.

    Uh, it's not me, uh, just doing, um, the tape stuff there. They're involved in it too. Very cool.

    Yeah. I mean, I was going to ask in terms of the project from the offset, uh, you know, when you're going through the tapes and covering all of these tracks and these, these different takesof the tracks that you have, what, what shape, you know, with those tracks in, did they require a lot of work to get them up to spec, or was there anything that was kind of left off that was,you regard as pretty good, but it was still a bit too rough around the edges to include?

    [35:04] Well, if we did any editing back in the day, if it was tape, we would do chunk editing.

    We would take the ending of one, with the hip, we would play a tune, it'd be great, be great and we would get close to the end and then we'd anticipate the ending and I'd make the otherguy speed up so we get to it and then our producer would say well the ending of this one's good so let's take the last four bars so there we go there's the track.

    So they were in pretty good shape you know the tape that we got was really forgiving.

    The crazy thing is I heard about the Rolling Stones going back and doing stuff that they did in the early 60s.

    And the early 60s tape actually lasted better than the stuff they made in the 80s.

    They had to do very little to get them back into shape, which is cool.

    You got to bake them in what essentially is an easy bake oven for tapes at a low temperature and it just sucks all the humidity out.

    And so record companies are obviously very well prepared to do all that sort of stuff and then it's just digitizing them.

    But when you first have a go through the tape after it's been baked and it's coming off the head and going through a board at the studio, it never sounds better.

    You know and they shoot it over to Pro Tools and they say now we have it We've have it and I always say well it sounded better a few minutes ago when it was going through the machineand so, Yeah Tape is king.

    We lived in the Golden Age. We really did in the in the 80s and 90s When you when you still were spinning tape.

    [40:59] So I imagined with coming across tapes, you guys did so much work, you know, in the recording process that I imagined it was just so fun to go through. It has been.

    It was, you know, but, you know, talk about Bob Cajun being an example.

    We only really have two versions of that.

    [41:23] And Gord Sinclair and I had a conference and we were like, well, we can play that again and we can play it better. And we were like, yeah, let's do it.

    And so the version you hear is the demo version, really.

    It's just we said we would go back and address it later. I think we went on tour and then it was Steve Berlin listening to it, which was really cool because he he recognized you can't beatyour demo.

    And that's what bands try and do.

    And he was so smart with it. And he said, I'll let you play it again.

    But you're not going to beat this. It's just there's a vibe there.

    And Gordon and I were like, we're going to beat it. We're going to do it. And we never did.

    And so I always loved that, that he did that because as a producer, I wouldn't have done that.

    And I would have screwed it up if I was producing that record.

    And he had the brainpower and the knowledge and he'd made so many great records before that he just, he let us play it, but we never beat it.

    It's our biggest song, too. Well, we were talking before, I absolutely love that song.

    That song is the soundtrack of this past summer for my wife and I.

    You jammed it down her throat. Oh, yeah. She drank the Kool-Aid, man.

    Let me tell you. She sure did.

    I've tried. We're getting there.

    [42:46] That's the pocket of that song, in my opinion, and this is my opinion, and if Robbie was here, I'd maybe change it just to be sweet to him, but it's you and Gord.

    It's just that the pocket's so tight with that.

    But you said something earlier about tape, and I want to just touch on it real quick because you were talking about how they have Pro Tools and this and that, and how you would havemade a different decision with Bob Cajun.

    But we cut a record in this last March, our band, we did our second record.

    And the engineer was using Cubase, which is just another version of Pro Tools or whatever.

    You've got a million, you can do a million tracks. But like he was like, no, you're going to do this many. And I'm like, no, I don't like that.

    He's like, nope, that's it.

    Yeah, because you get to a point to where you could just you just go crazy.

    And you could do 25, 30 tracks, you know, on one take or 25, 30 takes.

    And it's just it's stupid at that point.

    You've got to appreciate the moment that it is, you know, whether it's, you know, you're never better than your demo, like you said. You know? Yeah.

    And and I don't know, I guess.

    [44:01] There was, and not to get off the topic of, of, of, of Phantom Power, but for me, and I know we all had this, this reaction.

    We felt like I felt like In Between Evolution was the Johnny Faye record.

    [44:17] Really? Yeah, and there's... I don't remember that record, really.

    Well, yeah, there's a specific thing. That's crazy because there there's at the end of certain songs, there's little, you know, hi-hat touch, there's a rimshot, there's just little sprinkles of youthat is the last sound you hear on multiple tracks and or, or the beginning of a track.

    And I'm like, I wonder if there's something to this, but they must have just been the take that you guys did and it's taking up, maybe so.

    That was confusing record.

    Well, it's interesting about the tape to dress the tape thing.

    Yeah. And you have limitations. You got to make decisions.

    Uh, and you know, and I didn't say that I read Keith Richard's book and he was like, give me eight tracks and I'll write you a hit.

    And, you know, when they went to 16, he was like, man, okay, but I can still do it. Nay. And it's true.

    Um, you know, that, that the a hundred guitar tracks or whatever, the layering and, and, uh, it's just, you know, it goes, just lets up on records, John Bonham.

    I worked with a guy named Terry Manning and he had, John Bonham got very upset with him because Terry Manning said to me, I was the guy who put the third microphone on thedrums, he didn't like that, he only wanted two.

    [45:36] Only wanted two. So yeah, Inbetween Evolution was, we worked with Adam Casper, he was fantastic, obviously he's a guy who worked with Pearl Jam and we were very chuffedabout working for him, with him.

    And we seemed to move around studios a lot.

    For me that was a little bit confusing, so I never knew what we really had in the can.

    And it was in Seattle, where I love. I absolutely love Seattle.

    And so that was cool to be there. But yeah, I don't sort of...

    It's just a record that's easy to associate with you.

    And I think at that time too, we were looking at videos. I remember talking about this video I saw of you.

    You were so in the friggin zone playing live.

    You broke a cymbal and somebody just came like middle of the song.

    You just kept going along, replace cymbal.

    That would be Mike Cormier. He was my drum check and he was amazing.

    He could tell when they were broken. He sort of mid-song and he'd say, should I wait for the end of the song? I was like, no, just get rid of it.

    [46:44] Yeah, you know, we're going through something now where we're going back even further and with Up To Here.

    And a question was asked earlier about is there some songs that were left off?

    And there was a song that was left off, Up To Here, and it's called Wait So Long. and it was a really, really special song.

    Our producer and his manager and some people at the record company really thought that that was the lead track.

    [47:15] It ended up being Blow It High Dough, I believe.

    Or New Orleans is sinking. But Wait So Long is a great track, and that will come out next year.

    Oh, that's exciting. We have a mix of it and everything from Don Smith, so that's fully intact.

    So when we looked through the tapes and thought, oh, what do we need to remix?

    There was that one, you know, the lettering. It was like, okay, we got that one.

    So that'll be great to get out.

    You know, hear what people think about that. So one of our go ahead, Judy.

    So I have an ammo system set up at home. So I've been listening to the mix and Dolby Atmos.

    And I'm just curious about how that works when you're when you're doing a mix of that because there are instrumentations and sounds that I've never heard in those songs before.

    And now all of a sudden, they're they're shooting over my head.

    And it's, it's really fucking tremendous. It's a great way to experience music.

    But I just wonder what it's like.

    Do you have a mixer that just takes care of that?

    Because I noticed there was there's three writing credits for mixers on the Yeah, on the album.

    So I'm just curious if one is just for Dolby Atmos, sir.

    Yeah, well, we had a guy in the first couple, I think he did Road Apples.

    [48:43] And his name is Rich Chicky, and you might know him because he's done all the Rush stuff.

    He's like the Rush in-house guy for Atmos.

    Since then, we've had our key engineer, Mark Braykin, has been doing the Atmos stuff because he built an Atmos room.

    [49:00] You're right on this one. Phantom Power has a lot of stuff. I was sitting in the back of the room when they were mixing that and it's like there's some backwards guitars and somestuff that just goes out and it makes sense.

    I'm not gonna lie, I'm not the hugest fan of, I get it, you know, let's send the hi-hat into outer space, changes the groove, changes the groove for a five-piece band, we're not gonna lie.

    [49:29] On an album like Road Apples, which Rich did, and he did a great job.

    I just don't get it. On Phantom Power, which would be the closest thing that we would ever have to Dark Side of the Moon, I get it.

    You sit in the back of the room and hear the backwards guitar or stuff swirling around. It's cool.

    But I know people want this in their headphones, but I guess I'm a little bit like Monomix guy.

    I don't mind that either. I love it. I love that. Yeah.

    Dan? I'm with you, Joni.

    [50:04] Coming back to the other aspect of the box set, which is the live recordings, I mean, what criteria do you sort of use for selecting the live recording?

    I mean, out of the three that have been, you know, re-released.

    [50:18] Obviously one was the Horseshoe, but the other two have been from, like, American venues.

    Would you perhaps, like, choose the American gigs because they might be lesser known to a predominant Canadian audience?

    Or, I don't know, how do you choose? We pick a gig that has fewer clams in it and less mistakes.

    We just kind of really, we really do.

    We did a live record called Live Between, it was way back in the day, and we argued about this.

    We had really sort of a good old fashioned fight about it.

    And Gord Downie wanted one from this place called the 40 Walk Club, which we'd listened to and it was a great, great version.

    It was a great night.

    And it's where REM, I think, got their start.

    And so we were sort of between that and another couple.

    [51:12] And then we ended up picking Detroit because it sounded good.

    Um, I think that's kind of what we go on when we're, we're picking these, um, these live, uh, albums and Gord Sinclair's son, um, is the one who really goes through them and says, there'ssomething here.

    He knows the hip really well. And so he really kind of directs us.

    So there's so many tapes out there. Um, and so he, he sort of says this one, um, from, uh, Chicago second night, a house of blues.

    This, this one's got something there. And so Colin Sinclair is really in charge of that.

    I don't think any other guy in the hip can take credit for it.

    [51:52] Can I just ask as well then, so what percentage of hip shows do you think were actually recorded, you know, documented?

    [52:00] It would depend on the period. One tour we went out with D88 machines, other eras we let people tape, like Fish Show or Grapevold Head, we would set up a little area where theycould get stuff off the board.

    That was cool. And there were some remote stuff, not a ton of 24-track, tape stuff. We would do stuff for Westwood One.

    Most of this stuff is going to be in-house, or a record company generated through a live truck, Usually in LA or New York, we have one coming up from a show we did in the States forRecord Day next year.

    Not a ton. There's not a ton. Two scoops in this session. That's great.

    That are coming out?

    [53:05] You mentioned Zeppelin too. I was going to ask you about Hedley Grange, but I forgot what I was going to say. You know where Bonham did that thing with the, for, for, um.

    [53:16] When the levee breaks, you know, yeah, they put the mics up on the stairs. God, that's so cool.

    But, but no, that was Jimmy. That was Jimmy Page. That was Jimmy Page doing that.

    He engineered page based on that. That's that's such a it's such a I mean, never in in history. Can anybody recreate that sound? I mean, it's just so cool.

    No, the sound of like a double bass almost, but people people don't understand that there's the economy of it.

    If you worked with one of These older guys, I always say that Don Smith was like Rudy Van Gelder, he got it.

    He knew, he kept on coming into the studio, back in the control room.

    He would make the live room, the studio sound, the control room sound like the live room. And he was constantly tweaking like that.

    [54:02] The guitar, if you listen to the Zeppelin, it's all the stuff that's implied in the chords I think.

    The drums are what everything is hanging off of. The guitars are really quite small, you know, you know, there's these these bands that came out in the 80s that were trying to be likeZeppelin, use 24 microphones on the drums.

    It sounded horrible, you know, and for John Bonham, it was just the way he played. He was really good.

    Incredible jazz sensibilities, an incredible groove. And he was able to move, you know, all four of those guys were spectacular.

    We went on the road with them. We went on the road with them, Paige and Plant, through the States, and it was incredible.

    [54:49] Yeah. Never a nicer, never a nicer guy than Robert Plant. He was so, so nice.

    Oh, yeah. That's that's, that's, that's amazing.

    Yeah, I'm a huge, I'm a huge Zep fan. But I just got to ask you real quick about the song Fireworks.

    Is there, there's got to be some Rush influence in that. I just hear so much like spirit of the radio in that tune.

    It's just such a, I think that when that song, when we heard that song on this record, Tim and I both, I was like, that was for our first favorite song on this record. Oh, that's sweet.

    [55:26] Don Smith's mix on the box set is really interesting.

    Because for Phantom Power, where we mixed it three different times.

    Yeah, I mean, Neil, I got to meet him a couple of times.

    He was obviously a huge influence and I would say, yeah, yeah.

    I went trick or treating as him one year. I crank called him.

    [55:50] Oh my gosh, amazing. Love Rush, man, love Rush.

    J.D. be mindful of the of the clock too on the thing. You're on mute.

    Yeah, we can't hear you, J.D.

    Oh, sorry about that, guys. I was just going to say we've got a minute 45 left of this session before it cancels out.

    So, Tim, if you've got a quick one and then we'll bid adieu.

    Well, I just had one of our pod listeners asked about Bumblebee and basically was like, why didn't this make the album?

    You know, this it could fit in there so well. So just a quick comment on that.

    And yeah, yeah, that was one that was that was on on the list.

    And I think it just, we just sort of Gord Sinclair was putting the sequences together for that.

    And it just for us, there was just something maybe missing. It's really great.

    [56:46] And I love the line when the moon's a water balloon.

    It just is so great. That's so Gord. You know, yeah.

    And I look at every time I look up at a supermoon and it looks like a water balloon. I think it's very cool.

    Well, it made the box set. So that's, yeah, that's important.

    Yeah. Well, Johnny, we really want to thank you so much for your time.

    It means a lot. And thank you gents for, for all your promotion to the hip. Our pleasure.

    Keep ramming, keep ramming it.

    Hopefully not your family. They love it too. It happens.

    Track 1:

    [57:29] Thanks for listening to Getting Hip to the Hip. Please subscribe, share, rate and review the show at gettinghiptothehip.com.

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    Questions or concerns? Email us at JD at getting hip to the hip.com.

    We'd love to hear from you.

    Track 6:

    [58:25] I can't wait for the music at work box set as well, just so you know, just so you know, we're dying for that one. Oh yes, please, please.

    I'll tell you, I'll tell you the one that I was listening to last night and the demos are really great and and I'm really pushing for this one is in violet light.

    Oh yes. Yeah. In violet light. The demos were just incredible.

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    S3E18 - 58m - Nov 21, 2023
  • For Gord...

    Gordon Edgar Downie - 1964 - 2017

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    3m - Oct 17, 2023
  • GHTTH - Complete Show

    jD, Pete, and Tim welcome Sean Cullen, and 50 Mission to their finale with all proceeds going to Downie Wenjack.

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    S3 - 1h 47m - Sep 12, 2023
  • The last hurrah!

    jD, Pete, and Tim are live from the stage at the Rec Room for Getting Hip to the Hip - An Evening for the Downie Wenjack Fund.


    Introducing The Tragically Hit Experiment

    Track 1:

    [0:00] 16 episodes ago, I invited my pals on a little experiment. 

    You see, they had never heard the music of The Tragically Hit before, and I wanted to take them on a journey for the world to hear. 

    Pete and Tim didn't know what hit them. 

    Now we're here at the end, and it's time to pack it in. I'm not sure what to expect, but I know it's gonna be fun. 

    So, as we taxi down the runway, I'll be Captain JD and get you all landed safely. 

    We want to thank you all for joining us here this evening and throughout this journey. 

    Now buckle up, put your trays in the upright position and let's land this thing called getting hip to the hip. 

    J.D. Introduces Himself and Sets the Stage

    Track 4:

    [1:14] Hey, it's J.D. 

    Here, and, uh, this is it, folks. 

    This is where we say adios to getting hip to the hip. 

    Of course we couldn't do that without my two Brothers in hipdom, Pete and Tim from Portland, let's give it up, they're here! 

    Settling in and appreciating the DIY pod rooms

    [1:54] You guys are here! We're here, we're definitely here. 

    This is exactly what it looks like when we're, you know, at our own homes. 

    In our small, tiny DIY pod rooms. Yeah, right? 

    This chair is much better, actually, than my chair. 

    It's nicer than my house. These are great chairs. There's no doubt about it. 

    If we were to even consider a second season of the show, the chair budget would have to go up considerably. 

    Considerably. So, how are you guys doing? How are your flights in? 

    Talk to me about what's going on Tim Tim Tateka. 

    I mean I got in Before the rest of the guys I got to go to a blue jays game. 

    I got I got to witness hot dog night Wow, I Did the math that was a lot of hot dogs per person, but you know for a dollar And I did bring some amazing. 

    I brought my own sauce to put on the hot dogs, which is over at the silent auction by the way and yeah it was it was awesome waiting for this Yahoo yeah my So I flew further than Tim. 

    Flying and Meeting Dan from London

    [3:14] That's a fact. 

    [3:17] Dan flew further than Tim as well, but I flew further than Dan. 

    You just gave it away, man. Dan from London? Where's Dan from London? 

    Where is Dan from London? Hey, we're here. There is Dan from London. 

    Present. Dan from London. Proper and present. 

    So anyway, I got in and no, you didn't get that warm maple syrup Canadian welcome Canadian, welcome, because I'm at the airport, activate the e-sim, hey, we're at the Arizona Bar andGrill, get the shuttle. 

    We're at this hotel by the airport. 

    Yeah, and I'm waiting to get picked up with a fucking, you know, the bat blue in one hand, and you know, Tim Horton's in the other, and I get a text that says, we're at the Arizona Bar,come meet us, take the shuttle. 

    I was like, so I got there late. 

    No, I'm not bitter about it. No, no, no, no, the music there was a Good experience not at all. 

    But then, you know, we proceeded to Does anybody and does everybody know in this room because I sure as hell didn't that marijuana is legal in the country of Canada So I smelled somemarijuana smoke outside the Arizona bar and then proceeded to trip balls and have to go back to the hotel. 

    Is that correct JD? Sounds about right. 

    That's how my trip was. I'm pretty sure you were escorted. 

    [4:46] It was good. It's been a hell of a week. 

    Memorable Trip to Kingston and the Bathhouse

    [4:50] Yeah then we we went out to Kingston yesterday. Yeah. Almost feels like a month ago because it was just so amazing and memorable. And guess where we went? Went to thebathhouse. 

    Bathhouse, yes. We, it was, I mean, so I told the story to a couple of people. 

    Does everybody know what the bathhouse is, first of all? Yeah. It's the, the HIP owns a home in Bath and it's where they recorded, where many bands have recorded, and you basicallycheck into this home, live upstairs and record downstairs, record upstairs too, they record all over the place and it was just there was a patina to the whole interior you know it was likemight need to change out some of these rugs I like but it was beautiful I thought it was nice but we all showed up and so we get When we get there, we get to the vat house. 

    [5:47] And we're just creeping, there's nobody there. We roll up the driveway. We had no reservation. 

    Yeah, and we're looking around, we're taking pictures. I'm playing fucking horseshoe. 

    There's a horseshoe pit. Yeah, it's a horseshoe field pitch. 

    Pete starts playing horseshoes. Yeah, at the bathhouse. 

    And then we're like, all right, guess time to go home. Fuck it, nobody's here. 

    Langlois didn't respond. Damn you, Langlois. 

    And then a car comes up the driveway. 

    And this guy walks out and his name's Niles and he's cool as shit. 

    And he gets out with his coffee and we're all like, hey, how's it going? 

    JD's like, I'm too shy right now, I'm too shy. And Dean says, well, get fucking un-shy. 

    Full Tour of the Bathhouse by Niles

    [6:37] And then Tim walks over, we're literally getting in the car Tim's like, hey, how's it going, man? Cool, yeah, we're just taking some pictures, and then, hey, we'll see you later, but youmind if we just take a peek inside? 

    He's like, sure, come on in. 

    And takes us for a full tour, because Tim Lydon has the Cajones. 

    That's right. I mean, it was like going to Disneyland and being like, dude, it was so cool. 

    They're sold out, son. You know, we had to go in. 

    We had to go in. Absolutely. So, why don't we take a minute and look at a little package that was put together by Rainy Media, one of our sponsors. 

    Yes. And it's our trip to Kingston. 

    Take a look at the screens all around and enjoy. 

    I guess I'll watch from back there. 

    [7:35] Hey, it's J.D. here and let's do a roll call. We've got Spain, we've got Portland, we've got damn fuckin' London in the house, bro. 

    Let's go to Peakson! Do it. 

    Idea proposed to city council for approval

    [8:45] My co-host thought up of the idea and then posed to the city council, thought it was a great idea as well. 

    To say You're strong, you're the darkest one, You're the darkest one Come in, come in, come in Come in and we'll get ready It's warm and it's safe here and there. 

    [9:58] I almost heard you Here in a time and place caught lost on our imagination You don't explain what you're still doing Peace out yo! 

    The Journey Begins: Whirlwind and Tremendous Moments

    [11:57] It has been an absolute whirlwind going through what we've been through. 

    But this last couple of days has been just tremendous. 

    And I really want to thank Dean and David for putting everything together. 

    Absolutely. Please, Randy. 

    Give them a big round of applause. 

    A lot of fun was had. But you know, a lot of fun has been had since we started recording, and I don't know if we've ever told this, but we started recording November 28th of 2022, and werecorded through April, and then we recorded bonus content on top of that. 

    [12:52] But basically, we were were done when we launched on the May long weekend. 

    And we didn't know whether this was a stone that we were gonna throw that was gonna just go kerplunk or it was gonna skip, skip, skip, skip, skip. 

    [13:13] And you know what? It fucking skip, skip, skip, skip, skip. And here we are. 

    And that's pretty fucking cool, right? It's amazing. Well said. 

    So I want to throw it over to my buddy Tim right now to talk about his experiences with the hip and where he thinks he's landed at this point with this band and this crazy fan base that wehave. 

    Experiencing Awe: The Hip's Impact in Portland, Oregon

    [13:48] I'll just say it's a massive sense of awe. 

    You know, when you experience maybe someone else's baby or puppy, you're like, oh. 

    Or you maybe have something bad happen, you're like, ah, shucks. 

    No, I'm talking about the sense of awe where you experience nature or something beautiful or something amazing that happens where you're just kind of dumbstruck. 

    You know, you're just speechless. 

    And that's kind of what this process led me to. 

    We were, my wife and I in Portland, Oregon, were recently at our neighborhood bar, and it was on my birthday, and there was nobody there, it was kind of perfect, and Monday night, andthere's this, of course, digital jukebox playing, which we never really paid much attention to, probably because on Thursdays, we play bingo there. 

    I'm not, I'm not, I'm not, I'm not 75, but bingo's hella fun at a bar, I gotta say. 

    Anyways, we're at the bar, and I'm like, let's take over this digital jukebox, what happens. So what do I search? 

    [14:50] Thank you so much and every albums in there so I picked all these damn songs and for like two hours We're drinking listen to the hip Yeah. 

    [14:57] It was amazing in Portland, Oregon, and I'm kept like looking around I was waiting for the bartender asked me who this band is and but I had to turn it tell her to turn it up Like fivetimes and said and but at one point my wife Amy said you know this this music just feels just right for this place, feels right for right now, it's just like perfect rock here in ourneighborhood bar. 

    And I'm like, holy hell, this is probably how the hip was for millions of people, am I right? 

    I mean, we all basically ended up in a moment where we're, you know, you pull over to listen to the song and just sit in it and then play it again. 

    And that happened to me so many times, you You know, at the beginning of the pod, my son, who's a drummer, 21, he kind of started listening to the music with me, the first EP, and he'slike, Dad, what are you getting into? 

    You know, are you sure about this? Who's this guy? What's up with the singer? 

    The drums sound pretty good. But are you sure you want to do this? 

    How long are you going to do this? And we pretty much had a nine-month baby podcast happen. 

    [16:10] So yeah, so through the process, really, I got to this point where I was in 

    Sense of Awe: The Hip's Dedication and Impact

    [16:15] this experience, this sense of awe. 

    I mean, these guys started playing when they were 17, 18, 19 years old. 

    And they knew that this is what they wanted to do. And they knew that. 

    They were just focused and targeted and told their parents there's no backup plan. 

    You know, and they just went for it. How how many of us did that when we were in high school or going into our first year of uni? 

    How many of you knew what you were set out to do? 

    So here we are having just a blast with the music and having a blast with this process. And I never would have thought I'd be sitting here today. 

    We're sitting in stirrups right now, Tim. Yeah, I don't know if I can get out of this chair. Because you said we had a 9-month baby. So right now we're like this. 

    And this is the baby, man. Yeah, yeah. Silent auction. It took Pete a little while to push him out, but that's what happened. 

    [17:16] All right, who wants to get into the MVP tracks that these guys put together all year. 

    And see how they broke down. All right, let's do that then. And we will go to... 

    Where are we going to start here? Are we going to start with Pete or Tim? Tim, please. 

    We can start with either, it doesn't matter. I have a hard time seeing this thing so close behind me. We're starting with Tim's MVP tracks. 

    So here is his playlist, which as you can see is already on Spotify for your edification. 

    [17:59] And you can grab that and enjoy. And I will throw to my compadre Tim Lydon now and have him explain just what the fuck he put together here. 

    Why, what? Yeah, so this is my playlist. 

    I blacked out the amount of downloads. The digits were too long. 

    That's a joke. Yeah, so I put this together based on favorite songs along the way and just being a bit of an audiophile I kind of tried to experience it as if I was one of you guys maybe on aroad trip or something, and so each song, I hope, kind of ties or blends into each other really well. 

    There's a little bit of a, you know, cadence to the hips history, but then I mix it up and I think it's pretty good. 

    I think it's pretty fun. The guys, you know, said a few times God, you really picked a fucking weird song on that album, Tim, you know? 

    But sometimes the weird ones are the ones that grow on you. Sometimes they're awesome. I mean, All Canadian Surf Club, who does not like that song? 

    [19:08] Okay, whatever You need to you need to take a trip somewhere warm and tropical Yeah, but yeah I was so fun to put this together and was I was kind of wishing there were moresongs because now I've gone back to many albums of course and I'm finding so many other nuggets and songs that have grown on me and All right. 

    Bob Rock Records: Revisiting World Container and We Are The Same

    [19:27] I have a question about that then I have a question about that then It's been a long time since we dealt with the Bob rock records. Oh Uh-oh. 

    Have either of those records grown on you since we last... 

    Now you liked... Now you liked... You liked World Container. 

    Yeah, yeah. But I'm curious about... I'm curious about We Are The Same. 

    Have you went back to that at all? I... I only... 

    I mean, I get caught up in Bob Rock's lovely flowing hair and I just want to be like him. That's where I go. That's where I go. 

    This is Bob Rock Lock. Bob Rock Lock. No, I have gone back to those albums and I'm still visiting them. All right, that's fair enough. 

    Maybe that will be something we look at in the future. Who knows? 

    All right, our friend Pete. Who wants to see Pete's playlist? 

    [20:24] I'll show you my playlist. I'm gonna just burn through it. 

    Killing Time, cool song I have heard during the first record. 

    Blowed High Dough, fuck, come on. 

    Fiddler's Green, I remember sitting on Avenida de Andalucía and crying as I dropped somebody off on the train station the first time I heard that song. Broke my fucking heart. 

    100th Meridian, really? Grace 2, Springtime Vienna, fucking no-brainers. 

    Memorable Tracks and Experiences

    [20:58] Courage, Tiger the Lion, Jesus Christ. I mean, that was a great guy. 

    That was an experience for us. Tiger the Lion, we talked about that on the pod. 

    We talked about that quite a bit. 

    It's just, you hear it and it's like... 

    John Cage or Philip Glass - Trivia question

    [21:18] It just rips. John Cage? Was it John Cage or Philip Glass that did the... 

    Does anybody know the answer? Trivia question. 

    It was John Cage or Philip Glass that did the song that was seven minutes or so whatever the lore is. 

    [21:36] John Cage. That's the fucking... That's what Gord is speaking about in that song. 

    And it's... fuck number 10 the dark Canuck guess guess who didn't know what a Canuck was okay JD we got a lot of feedback on this Canuck thing and I don't I don't know that'ssomething that we really fuck with right like I mean we don't talk about ourselves as Canucks do we like our like are you like I'm a hardy Canuck or are you? 

    Like if you are, that's cool. Yeah. Okay. Okay. All right. 85. 

    I'll take that. I will take that. And that was the year, Marty. 

    That was a funny moment. Yeah. Yeah. 85. 

    Back to 55. Gus the polar bear. 

    Let's keep going. Gus the polar bear. Yeah. Sorry. Anyway, Gus, the polar bear, um... 

    Animal psychology. Who knew animals had feelings? Depression suite, like... So we're talking about the second Bob Rock record. That's the second one, right? 

    [22:52] What do you want somebody to say who's been on a fucking drip IV of the tragically hip for nine months? I'd say I'm beautiful. Yeah. Yeah, yeah, it's a beautiful song. 

    Experience with the tragically hip - Unforgettable journey

    [23:10] We feel great. Geez. Yeah, it's just been out. 

    I'll say more about my experience, but that's the playlist. 

    Download it. Enjoy it. Whatever. Baptist blues. 

    Oh, that's all. So they're there for you to enjoy. Yes, absolutely. 

    Sorry, Pete. The treasure gift gets like point zero zero zero zero zero zero zero three cents per listen. So, go for it. 

    Every little bit helps. No, I was going to mention something. 

    I just I want to know. I want to know before we go too much further what your experience has been like. We asked him what your experience is like going through this process. 

    [23:51] Well, so most people know that JD asked me to just like he asked him and to do the podcast. 

    And I heard from I heard about the hip since 2007 from Canadian friends. 

    He's come into a bar I worked at and then 2011 sometime around there. 

    2018, I was working for Nat Geo and this guy used to come in all the time and they were Canadian, him and his wife, and they kept hammering me about the tragically hip and I was like. 

    Didn't take. I felt I was getting pushed. Then I meet this son of a bitch, and he's like, let's do this. I'm going to force this. So I'm going to shove this mashed potato down your mouth. Andhe did. 

    And Tim and I just like fucking Matrix style plugged into it. 

    And it was just awesome. 

    Just one of the coolest things and getting to meet and speak with Paul and Gord, Sinclair and going to Kingston has just been an unbelievable experience. 

    Cultural Differences: Canadian vs American

    [25:07] And there's so much I want to say, but you don't want to fucking hear it. 

    So, but being Canadian, you'll be here all night. Yeah, I'm happy to elaborate. 

    But you guys are Canadian, you're different than Tim and I. 

    As much as we speak the same language, the culture is so different. 

    Take it from somebody who doesn't live in the United States anymore and it's like it's hard you'll never be a part of that culture or club I'll never fucking be Canadian no matter how muchhip I listen to and La Bat Blue I drink. 

    At least I have a couple. 

    But that being said it's like such a it's been such an amazing experience to get to know the band and to get to know the catalog and become a superfan. 

    I told JD this was a surprise but I got a tattoo on my arm that's gonna be there for the rest of my life and it's it's a combination of the any Any UFOlogists or followers in the house? 

    No? Yes? Not in here, sorry. 

    Not in here? Okay, maybe next door. Anyway. 

    [26:29] He'll be here all night. Yeah, be here all night The Fermi's paradox, Federico Fermi, his paradox was that he Didn't know if aliens existed or not and it's you can read up on it whenyou fucking Google it and That's a UFO thing. 

    And so the lyrics is we live to survive our paradoxes Because it's fucking springtime in Vienna, which is on the list, the playlist. 

    Fundraising for the Danny Wainjack Fund

    [27:00] This is Pete Marchika here. 

    Love you, too, Dean. If you have not bid on the Pete Marchika package... 

    Yeah, that's Pete's band. ...in the silent auction, you are a greedy son of a bitch. Thank you. 

    I'm going to tell you that right now. And you need this album. 

    All proceeds go to the Danny Wainjack Fund. Directly. 

    Already over 3,200 bucks. 

    Oh! So I don't know where we're going to end up at the end of the night, but make me say 3,500 bucks, and I'll fucking love you forever. 

    Forever. Now, this has been an experiment. 

    This has been a project. This has been a labor of love. 

    And we've had a lot of fun doing this. 

    [27:53] So, I want to thank you for listening. 

    I had a friend once that said, you know, if you did a podcast and you had, like, five people show up in your living room and listen to you talk every week, that'd be pretty cool. 

    We had over 20,000 downloads. 

    Setting the Stage for an Exciting Event

    [28:19] That doesn't even include all the streams, either. In three months, that's not so bad. 

    But what I want to tell you right now is how proud I am of my two friends, Pete and Tim, and all the work that they've put in. 

    I want to encourage you to bid in the silent auction. 

    I want to encourage you to drink long slice beer tonight. Yes, long slice. 

    And without further ado, I want to introduce our good friend to convocate these two gentlemen. 

    I want to invite our good friend to the stage, Dan from London. 

    Yes, Dan from London. Here we go. 

    Celebrating the Completion of the Exercise

    [29:15] Tim, get on your feet, you son of a bitch. Come on up. 

    You can convocate them. You can convocate them. You can read if... 

    Do you want to read it? Do you want to read it? Yeah, I've got the reading glasses on. Hang on. 

    Remember, proper British. Timothy Edward Lydon. 

    Getting hip to the hip. You have completed the exercise and now are considered official fans of The Tragically Hip. 

    Thank you so much. Thanks, everyone. Thank you. Amazing. I'm honored. 

    Peter Natale. You motherfucker. Getting hip to the hip. He used my middle name. 

    Sorry, continue. You have also completed the exercise, and now, I have no idea about this bullshit. 

    Most fucks given, I think. Of the tragically hip. Yes. I give this to you, sir. Thank you. I accept. 

    Introducing Jamie Du, a Special Friend

    [30:20] So none of this would be possible without this guy. You guys know Jamie Du, right? 

    Jamie and I met through another podcast of his, Pete also, through a podcast about the band Pavement. 

    And then I met him in person, first time in L.A. We went and saw a pavement show, which was a hoot, and then we went and did it again and again, really. 

    And it's just been so fun to just have this guy in my life. You know, Jamie Du, I've had no other friend like him. 

    So thanks, thanks to Jamie. Otherwise we all wouldn't be here. 

    And well, the hip, you know. 

    Do we do it now or do we wait till the end of the show? What? 

    [31:07] Do we drop a pick up your shit now or do we do it at the end of the show? 

    We do it at the end of the show. All, right, I real quick. I just want to say one thing. To compliment what Tim said, like avocado spread on toast. J.D., you're a fucking great dude. 

    And all this is this guy. 

    The reason even the two gals who I met who are really sweet, I can't know where you are, but they didn't even know shit all nothing about the podcast They just found it on Facebook andwe're like three weeks ago. 

    Hey, sweetie. What do you want to do on Friday three weeks? And then they found this fucking amazing And again would not have happened if it wasn't for this guy. 

    [31:55] So give JD a big hand for Cheers, cheers, cheers. 

    Cheers. Woo! Do you guys want to hear some more fucking live Tragically Happy music? 

    Oh yeah! Enough of this shit already. Let's do it! Oh yeah! Okay, we gotta move some gear here and then we are gonna welcome back to the stage for another set, 50 Mission! Oh! Boom! 

    Support this podcast at — https://redcircle.com/fully-and-completely/donations

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    S3E17 - 33m - Sep 5, 2023
  • Talking with Sarah Midanik from the DWF

    jD, Pete, and Tim are in learning mode as they speak with Sarah Midanik from the DWF

    Don't forget to get your tickets to the event this coming Friday at gettinghiptothehip.com


    Track 2:

    [5:23] Hey, it's JD here and we are back with another episode in our Talking With series. 

    So far we've talked with 50 Mission, Trevor Stickman, Paul Langlois, Gord Sinclair, and today we are really thrilled to be joined by the President and CEO of the Downey Wenchak Fund,which we are supporting with our event tonight, if you are listening to this on Friday, September 1st. 

    We have with us Sarah Medanek and I'm really thrilled to have you here with us. How are you doing? 

    Track 3:

    [6:03] I'm good. Thanks so much for the invitation to join. 

    Track 2:

    [6:09] Yeah, we're thrilled to learn more about the organization and your role in it and all that good stuff. So without further ado, let's go. 

    Tim, do you have anything? Hey, Sarah. 

    Track 5:

    [6:22] Good to meet you. Yeah, I'm just curious about the kind of inception of the fund and how it all kind of began. 

    I watched some of the videos on your site and read quite a bit. 

    But I'm curious about how it all really, kind of the conversation started with Gord and then when you came along, if you don't mind touching on that. 

    Track 3:

    [6:43] Yeah, for sure. So, I've had the great pleasure and slightly intimidating responsibility of being with the Gord Downie and Chani Wenjack Fund from the very beginning, so beforeGord passed. 

    It was, you know, it was a really unique sort of moment in time. 

    There was, of course, all of the momentum of the HIP's final tour and, you know, very public shout out to Trudeau around reconciliation by Gord to do more as Canadians and how wecould do better. 

    Of course, that was coupled with the work being done by... 

    [7:32] The Truth and Reconciliation Commission and the release of the 94 Calls to Action, and also the Secret Path Project, which tells the story of Chani Wenjack. 

    And so Gord had done a series of concerts playing the Secret Path album with the Secret Path Band. 

    And for anyone who hasn't seen The Secret Path, you can visit that material on an art website. 

    It was, of course, became a series of poems which became the album, which became the graphic novel, which became the animated film. 

    So there's a lot of really incredible material to visit there. 

    And so there is sort of just a unique moment in time where there was a lot of momentum and a lot of, you know, people in Canada wondering what their role was in reconciliation andwhat they could do, to contribute in a meaningful way. 

    And so that's really the root of Downy Wendjack is, you know, there is all this momentum and there is all these folks wondering what to do next and our programs and the work we do isreally based around that, the pillars of awareness, education, and action. 

    [8:54] And so we have two national programs. One is Legacy Schools and so we are in 6,000 schools in every province and territory with over 7,000 educators and we provide them withfree educational tools and resources to be better equipped to teach about the true history and legacy of residential schools and the true history of Indigenous people in Canada, but to alsobe able to incorporate strength-based learning and Indigenous ways of knowing and being into core curriculars. 

    Because you know there is sort of that, that sentiment, you know, well, we didn't learn about this in schools. 

    There was still like back when we were getting started, I would say there was still a pretty big gap in people's general awareness and understanding around residential schools. And that'schanged a lot in the past five years. 

    But curriculum doesn't necessarily get reformed that quickly. 

    Track 5:

    [9:53] Right, right, yeah. 

    Track 3:

    [9:57] So we still see the need, and of course we do lots of really cool stuff in the Legacy Schools program. We have the Artist Ambassador program, which brings Indigenous and non-Indigenous musicians, artists, role models into classrooms. 

    And the Youth Ambassador program, which is a four-week leadership program that we run and every summer, we had 105 youth go through it this summer where they learn how to bechampions for reconciliation within their schools and communities. 

    And we do a lot of programming in which we bring Indigenous and non-Indigenous peoples together. 

    We had a big music festival here in Toronto this spring called Siguan, which featured incredible Indigenous artists, and we always do a ton of programming for June, for NationalIndigenous History Month, and for Secret Path Week, which is coming up here right around the corner from October 17th till the 22nd, and of course, the National Day for Truth andReconciliation on September 30th. 

    Track 2:

    [11:08] Wow, that is a lot. 

    Track 3:

    [11:10] Well, that's just one program. We also have the Legacy Space Program. 

    So when I talk about what we do at Downey Bunjack, I call it the sandwich, which maybe I should find something a bit more. 

    Track 4:

    [11:24] Everybody likes sandwiches. What is wrong with a sandwich? 

    Track 5:

    [11:28] We've had many food analogies on our show. Right? 

    Track 3:

    [11:33] So it's through Legacy Schools, we educate the littles, the young people, so that the next generation of people in Canada understand the true history. 

    But for those folks that are not in school, where do you learn? 

    And that's often through your workplace and professional development opportunities. 

    So the Legacy Space Program really leverages the concept of indigenous placemaking to create physical space within an organization, a corporation, a community that is representative ofthe internal commitment to do the work further reconciliation. 

    And, you know, from a corporate standpoint, is that, you know, equity, diversity and inclusion, hiring and retention practices for Indigenous employees, you know, reconciliation plans,procurement, right, working with Indigenous businesses, so. 

    I always say, you know, we educate the littles and we try and educate the bigs. 

    And in the middle is all the, you know, fun stuff that we get to do in terms of, you know, amplifying Indigenous voices. 

    Like we're taking over almost every radio station in Canada again this year on a day to listen, which will be September 30th. 

    [12:52] Yeah, if you haven't checked it out, this will be our third year, which is very exciting. 

    And we do a series of interviews that amplify indigenous voices each year. 

    And they're, they're really powerful, powerful stuff. So I'd, I'd encourage everyone to check it out. 

    Track 5:

    [13:12] Do you have any kind of standout examples? I don't know, in the past, you know, summer or this year of working with specific businesses, small businesses or specific schools, justto kind to give our listeners like an example of like anything that really pulled on your heartstrings of seeing action in work and just, you know, when you when you do volunteer time,you spend so much time on your own. 

    And then when you kind of finally get out in the field and away from the computer, you get to experience some things. I'm just curious if you can give us like some standout example ofsomething that happened. 

    Track 4:

    [13:48] Oh, gosh. 

    Track 5:

    [13:48] Could you put you as many as him is my my questions are going to be super softball, so don't worry I was I was watching the the, the film last night the graphic novel film and youknow some of the interviewing at the end I think it was with Pearl, you know Pearl said Channy's sister right she said you know we need schools in all of our communities, not just publicschools like outside our own communities. 

    We need schools within our own communities. She said a few things that just really made me, you know, kind of more realize what's been going on up there. 

    And even from the U.S., you know, we never had heard of any of this stuff. 

    Track 3:

    [14:36] Well, and it still happens, right? Like a lot of youth have to leave their communities to go to high school still in their village. 

    The model, the experience that indigenous children experience in residential schools, that model still exists, but it's perpetuated in different systems, whether it's child welfare or justice, ormissing and murdered Indigenous women and girls. 

    Residential schools don't operate anymore technically, but how are there still those systems of oppression, right? 

    And I think that's something that, you know, we try and help to unpack and, you know, the content that we share because, you know, when you look at, you know, the social indicators ofhealth for indigenous peoples compared to non-indigenous and the disparity is so great, you need to dig a little deeper and ask why, right? 

    Track 5:

    [15:45] Sure, sure. 

    Track 3:

    [15:46] Yeah. 

    Track 4:

    [15:51] I... Oh, go ahead. 

    Track 3:

    [15:51] Go ahead, I was going to say, but to answer your question about heartwarming examples, Yeah, yeah. 

    I mean, it's tough, I think, for me to answer that question because literally every single day there's something that is just really beautiful. 

    But maybe I'll just say it Because I flew back from summer vacation, my family lives in northern Alberta, and taking the UP Express from Pearson Airport. 

    We have a partnership with Union Station, and we have a Legacy space there. 

    [16:31] They're featuring an installation by one of our artist ambassadors, Blake Angeknyb. 

    These incredible panels featured in Union until the end of October. 

    The art is so beautiful and so powerful. There's actually a piece that he did of Gord in the series. 

    Just seeing tourists, people not from Canada, but there's such high volume of traffic through Union Station, you know, interacting and learning and literally like tens of. 

    [17:26] Thousands of impressions the opportunity to work with a partner like Union Station in a space like that. 

    Because reconciliation isn't going to happen overnight. I always make the sort of joke that it's slow pressure applied over time, right? Like we're talking about systemic change. 

    So, you know, creating these learning opportunities in our everyday existence. 

    So it's not a question of are we contributing to reconciliation in a meaningful way? It's just a part of our practice. 

    Track 5:

    [18:04] Yeah, that's great. 

    Track 3:

    [18:05] That's great. 

    Track 4:

    [18:09] I want to, I feel like I should break up some of the things I was gonna say to you and some of the things I wrote down, because I feel like it's just gonna be too much of a mouthful.And you'd be like, what was your question again? 

    But I, so I haven't had time to watch the film yet. 

    Because these jokers know I've been traveling all weekend. And I, I just, I'm going to probably watch it if I get a chance to download it on the plane when I'm on my way over to Toronto. 

    But I've done a fair amount of research and I watched the ceremony where Gord was, I don't know how to properly say it, but invited into the community. 

    Track 3:

    [18:51] Given a traditional name. 

    Track 4:

    [18:57] Which like was a, you know, whatever. It was like a super, super duper emotional to even watch it. 

    And a friend of mine had sent it to me. She's from, she's from Canada as well. 

    And she, we talk about her on the show a lot. She's a huge hit fan. 

    Sent it to me after the fact. And I was like, Barb, I've watched it. 

    It's, it's just, and one of the things, sorry, this is a side note. 

    Not related about what I was going to ask you but one of the things I loved about Gord's response in that video or when he spoke afterward he didn't say much and I think he was verycognizant of the situation in that a lot of people would go up there and kind of pontificate and make comparisons and say yeah this is like this and like but he kind of got the The fact that,like... 

    He's like, there's nothing I can say. Like, in a sense of like, like, I can't even relate to some of the suffering, the things that have gone on. 

    I'm just, you know, grateful to be invited into this community and to be a part of it and to do whatever he can. 

    That was one of the cool things, side note. 

    But what I, I guess what I was going to ask you was was because we've talked about it a lot on the pod. 

    I don't know if you've ever, you're aware of at least the concept of this podcast and like, how it came about. 

    Track 3:

    [20:23] I was creeping you guys this morning. All right, I got to listen to a couple. 

    I got to listen to a couple. 

    Track 4:

    [20:33] Well, because of JD, like, yeah, this is about the tragically hit, but like, you know, take the snowball effect over time. 

    Like, I had no idea. I mean, honestly, I had heard mutterings on political podcasts and things that I listened to about reconciliation in Canada. 

    But other than that, it's like a of the surface of what your average American would even know. 

    It's like you hear something in passing at a coffee shop, and that's it. 

    Other than that, I would have never known about the Downey Wendzik fund and all this story of Chani Wendzik, Nothing. 

    I don't know, because I feel like Gord, especially when he called out Trudeau, at the concert, he looked right dead at him. 

    [21:26] I took some guts, man. and you know, the call to action, which I love the education aspect of it, but I feel like that call to action is such an important factor when it comes to thework that you guys do. 

    And like, you know, I guess my question is like, is, do you think, is there anything that you would think if like there's Americans listening to this right now we can do other than just talkto people and be like, Hey, do you know this story about this kid? 

    Do you know, and like share it? Because we learned about it by listening to the tragically hip. That's the only other, there's no other reason we would have, we would have figured this out. 

    Track 3:

    [22:10] And I mean, the experience of Native Americans, uh, is mirrored closely to to that of Indigenous people in Canada too, right? 

    I would say, yeah, I find that in our work. 

    So we have some of our legacy space partners, you know, have offices in the U.S. and, you know, our, you know, North American companies, I guess. 

    And, you know, what's been expressed to us is just like how far behind work around reconciliation and even just any awareness at all of like the true history of indigenous or NativeAmerican people in Canada and the US. 

    And I think, you know, there's really important work being done in the US too that I think will come to the forefront. 

    It just it takes time, right? Like it's, you know, it's by design in terms of how that's been set up. 

    That's right. But, you know, as Indigenous people, you know, as we become lawyers and doctors and politicians and you know, learn how to fight for, you know, rights and restitution,these things has come up. 

    Track 2:

    [27:30] I really like, you know, you're talking about the call to action a minute ago, Pete, and I like the messaging around your current call to action, Sarah, the do something. 

    The do something hashtag is like, I've used that in an email just that I sent out today, you know, reminding people of this event, that that's one way you can do something, You can come toour event or you can donate directly to Downey Wenchak Fund through a link that we have. 

    What was the genesis of that sort of campaign and idea? 

    Because it's very bold. Do something can be very bold, I think. 

    I'm just interested in learning. 

    Track 4:

    [28:21] It's sort of aggressive, which is maybe it's not by design, but it's good. I like it. 

    Track 2:

    [28:26] Yeah. Yeah. Yeah. 

    Track 4:

    [28:28] It's almost aggressive. 

    Track 3:

    [28:31] I think there was sort of this feeling of like, well, you know, that happened a long time ago and you know, I was, I, I was not responsible for the creation of residential schools. 

    So like, what is, what is my role or responsibility? 

    And to that, I would argue, if you live in Canada, if you are part of this society, then you have something that you can do, and that social contract of what we all agree to live here together,that's part of it. 

    And whether it's just learning so that you're a little less racist, a little less ignorant, it's not a bad thing. 

    It's not harmful to you and it only creates a more just and equitable and safe society for indigenous peoples in this country. 

    So, you know, the do something was A. 

    Don't be immobilized by this sort of deferral of responsibility. 

    Don't feel like you don't have a role to play or something to contribute. 

    And seriously, do something because those small actions, we call them reconcili-actions or meaningful acts that drive... 

    Track 4:

    [29:58] That's a cool, cool word, man. Reconcili-action. 

    Track 3:

    [30:03] And it's, you know, it makes a difference, right? Even if it's just, you know, talking to your kids and finding out what they're learning in schools, or, you know, going, looking atwhat's happening in the company that you work for, or, you know, maybe just one of your buddies is, makes a slightly offside joke, and you're just like, dude, that's not okay, right? 

    It's, you know, taking that step to, you know, lean into the discomfort and just do something that creates meaningful and positive change. 

    Track 2:

    [30:38] Yeah, that's beautiful. 

    Track 3:

    [30:42] And it's an excellent hashtag. 

    Track 2:

    [30:43] It is an excellent hashtag. Yeah. 

    Track 5:

    [30:47] That's good. I'm finding kind of a lot of what you're talking about being being executed the smartest way by younger people. 

    You know, my son is basically studying sociology and social issues in university right now and he schools us all all the time. 

    You know, it's just he born and raised in Portland, Oregon, probably the most progressive city in the US really. 

    And it's just so reassuring to hear things from him. He had no idea about the indigenous struggles in Canada, but it wasn't necessarily news to him. 

    He was kind of half expecting what I was talking about as I was talking about it. 

    And it's just so good to share these ideas and share these issues, especially with the younger folks, because they're the ones who have to continue living it. 

    Like you said, all of these things become pandemic across all these other issues. 

    Even though the system may have ended, it's still alive. So it's so good to tap into the younger folks with all this stuff. It's just really. 

    Track 2:

    [32:02] I've done all my learning through my oldest daughter. She's 13. 

    So I'm one of those people, Sarah, who was like, my eyes were widened. 

    And it was like, we didn't learn this in school, Riley. Like, we didn't, like, you're talking to me so matter of fact right now, and I'm so happy to hear you talking matter of fact, but it's like, Ididn't know any of this, you know? 

    Track 4:

    [32:31] Sarah, I wanted to ask you something too, And this is more, and I don't know if this is like a. 

    Opinion of like Donnie Wendjick or your opinion, or feel free to like, be like, this is Sarah speaking and not Donnie Wendjick's being or whatever, however, but I feel like, because youmentioned earlier about the, the kind of this, the same sort of dynamic in terms of the United States and indigenous Native Americans in the United States and, and kind of that struggle. 

    But in terms of the call to action, and I'm sorry if this sounds like a very complex question, but I'll try to be articulate. 

    [33:17] I think when it, because a lot of conversation that I see and occurs in the United States in terms of indigenous people, minority and underrepresented groups in the United States. 

    A lot of times there's the education of it and I feel like the United States is more or less good at educating people and that awareness is there. 

    But in terms of connecting the dots, there's not a really good way that we do it in in the United States. 

    And one of the things that always comes to mind when I think about this issue is a speech that Martin Luther King gave at the Riverside Church one year to the day before he died, right? 

    And you know who Martin Luther King is. You're not living under a rock, but I don't know how much you guys study him in your schools and who he was and what he was really actuallyabout, because they've got statues of him in Washington DC now, but during the time where he was most powerful, people hated him. 

    [34:30] And this particular speech at Riverside Church, he talked about the relationship between the imperialist power of the United States and the military, and how that relationshipdirectly affected the oppression of minority and indigenous groups and civil rights in the United States. He made that connection. 

    Whereas I don't think people, meaning that like, okay, yeah, we can be all for it here, but when we're doing it in other countries, it's like, what's... 

    [35:05] How does that change? And as you know, Canada is very supportive of the United States in many of its overseas conquests, so to speak, as we say here in Spain. 

    So I guess the question I'm asking is, do you even personally, and again, you don't have to speak from Danny Wenjack perspective, but do you, because that's something I talk about withpeople. 

    Do you guys have that connection? Do you guys see that? Is that something that you hear whispers of within this conversation? 

    Because I think it's important. I feel like it's important. I feel like there's value in drawing that connection between oppression and past crimes of a country and what the country's doing atthe moment. 

    And it helps speed along that process of the call to action, as we said. I don't know, does that make any remote sense of what I'm trying to say to you? 

    Track 3:

    [36:03] Yeah, well, I would say, I would say yes. 

    And I can say that is Sarah or as Downey Wenjack. I think, you know, I think that connection is really what allows an organization like the Gord Downey and Chani Wenjack Fund toexist, right? 

    If you think about, you know, What is the true role of rock stars, right? 

    Typically, like political activists, right? Or, you know, poets, but they've always pushed, right? 

    You think of all the greats, there's a social commentary there that's, you know, reflecting on the choices we make and how we live. 

    And sometimes they explicitly call out the Prime Minister, right? You know? And I think. 

    You know, there's been so much work done by incredible Indigenous leaders to ensure that, you know, this didn't stay hidden, like the injustices inflicted upon Indigenous peoples in thiscountry, you know, came to the forefront of, you know, the general understanding of our history in this country and our identity as Canadians, and what that means, and how do you workthrough it, and what does that mean really from a policy perspective. 

    [37:32] I honestly, I've seen so much change in the last five years even, where people actually want to know what the platforms are of politicians with regards to indigenous relations andreconciliation, whereas I would say ten years ago, you wouldn't even be able to find anything. 

    [37:57] On their web pages or whatever around that. 

    That speaks to how far we've come, but there's still a long ways to go. 

    It's just continuing to look at the systems themselves and saying, does this still serve us? Does this still make the most sense? 

    How can we continue to evolve and grow as we evolve and grow as humans and societies? 

    And, you know, it's important for us to be intentional and reflective and sometimes critical, right? 

    We've, you know, I, my sister and my niece came to visit and we were talking about, like, you know, the show Friends and how, like, it has not held up to, like, the test of time, like, it'sextremely homophobic and it's, you know, like, you see a show like Seinfeld, and those jokes are still, they're still funny, right. 

    But, you know, some of the that content that you know, the big hit show, and you're just like, this is so cringy. I can't even like watch this stuff anymore. Right. 

    Track 4:

    [39:18] And I think sitcoms are the lowest common denominator, right of the day when it comes to comedy. So yeah, For sure. 

    Track 3:

    [39:26] But I think, you know, to wrap it all up, I think those connections are pretty prominent in Canada, but I think that's also a byproduct of the fact that Indigenous Peoples have rightsand are, you know, title holder to treaties and also land, right? 

    And getting land back after being displaced, or having the land back. 

    The terms of the treaty is not honoured, right? 

    And, you know, as we become more sophisticated and become fancy lawyers, you know, these things work their way through the justice system and you see Indigenous peoples andcommunities winning those cases. 

    And so it kind of also comes to the point of, like, we have to care about this, right? 

    Track 4:

    [40:28] Yeah, you, I mean, you, you summed it up and I think the, the, the thing that I, that I like about, like you guys, you said sometimes even being critical, which is really cool because alot of, I feel like not, I wouldn't even say a lot, but I, I, sometimes there are examples of organizations that it's weird, like, you know, they, they, they get a win or they get a big win. 

    And then after that, it's kind of like, yeah, we got to win, win for the day. Like, let's, let's pack it up, go home for let's take a vacation or something. No, no. 

    And, and when you talked about like, having the indigenous and non indigenous events, like that's the that's this, that's the again, the call to action, because what you're doing is you'rebringing people together. 

    You know, when you hear people's stories. 

    Everybody can relate. You know, it's easy to say you're so different than me because you're this, you're that, you speak this language, you're born to here, your skin colors that whatever.But like everybody's the same dude. 

    We all try coming out of our mama. We all poop when we're kids. 

    And we all cry the day the moment before we die. 

    You know, everybody's the same. Everybody wants the same. I feel like when you have those, you make those connections with people through those events is really important. 

    Track 3:

    [41:52] When you create cross cultural understanding, it's really hard to other each other, right? 

    Track 4:

    [41:59] Totally. 

    Track 3:

    [41:59] Because there's an appreciation and a respect and an understanding for the strength and beauty and resilience of Indigenous peoples and cultures, right? So, yeah, it's... 

    Track 4:

    [42:11] You recognize the human being in front of you and you're like, Oh, we're literally the same thing. 

    Track 2:

    [42:16] Yeah. 

    Track 4:

    [42:17] Where are we? Where are we? Yeah, dude, that's, that's cool. 

    Track 2:

    [42:23] Is there anything else that you want to add, Sarah, about Truth and Reconciliation Day or the Secret Path Week? Oh, yeah. 

    Track 3:

    [42:34] Well, I guess sort of the thing I always say is if you don't know where to start on your own reconciliation journey, or you know, you haven't really engaged in the conversation thatI'll always say, that's okay. 

    You can always do something, right? And Downey-Wenjack makes that pretty easy, for people to have a place to start. 

    You know, we have the National Day for Truth and Reconciliation coming up on September 30th. 

    So we have a bunch of different webinars and learning opportunities that we're doing ourselves. 

    [43:12] You know, whether it's like for parents about teaching your kids about residential schools. 

    We have one of our team members at Downey-Von Jack, his whole family is talking about intergenerational resilience and sharing stories from families of residential school survivors. 

    So, you know, we have a whole bunch of different opportunities to learn and engage and so I just really encourage everyone to follow us on socials if you don't know where to start. 

    Start. And, you know, when you're doom scrolling, you'll see some content in between, you know, the recipe for next week and some push notifications for waterproof shoes. 

    And maybe that that one that one post will be the one to inspire you to to join us in this path towards reconciliation. 

    Track 2:

    [44:07] That's great. Well, thank you so much for joining us today. 

    It's, It's really nice to get a better understanding of both the Downey Wenjack Fund and your story, to hear your story. 

    We're grateful that you made some time to join us today. So thank you very much. 

    Track 3:

    [44:29] Well, and thank you for supporting our work at the Downey Wenjack Fund through the event. I think it's happening tonight. Yes. 

    Track 2:

    [44:37] Yes. 

    Track 3:

    [44:38] And thank you. Thank you for everyone who's listening and coming out. 

    We really appreciate the support. 

    Support this podcast at — https://redcircle.com/fully-and-completely/donations

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    S3 - 48m - Aug 30, 2023
  • My brain was doing spirals!

    jD, Pete, and Tim are back and this week they're discussing the EP Saskadelphia.


    Montreal - Studio outtake

    Ouch - Studio version

    Crack my Spine (Like a Whip) - Live from Halifax 1991

    Reformed Baptist Blues - Studio version


    Track 1:

    [0:00] If you're a fan of the Tragically Hip, this is your hip fest. 

    Getting Hip to the Hip, September 1st at The Rec Room. 

    Celebrate the music of the hip with a live tribute act, the finale of a hip-based podcast, and a silent auction with amazing hip prizes, with all proceeds going to support the Gord Downieand Chani Wenjack Fund. 

    If you're a fan of the hip, you need to be there. Tickets available now at gettinghiptothehip.com. 

    Track 2:

    [0:28] The first, and to date, only posthumous release by the tragically hip is 2021's marvelous EP, Saskadelphia. 

    [0:37] Borrowing its title from the original name of Road Apples, this record packs a punch in under 20 minutes of non-stop rock. 

    Even the chilling theme of the song Montreal moves mountains with its haunting chorus. 

    I remember downloading Saskadelphia on the mail-on weekend in 2021 and I was immediately transported back to 1991. 

    [0:59] In some cases, we're even invited into this studio with banter between Gord and someone named Bruce. 

    It was a total trip hearing these songs from a bygone era with a pair of ears from the 21st century. 

    In some cases it was familiar, as I own bootlegs of Crack My Spine Like a Whip and Just as Well, but these new versions were bursting at the seams with nuance that only a studiorecording can offer. 

    I felt nostalgic and sad listening, but by the end I was grinning ear to ear. 

    This was a fantastic hip experience, and it's one I hope we get to enjoy with the upcoming re-release of Phantom Power, and I'm calling it here first, but I think we see an Up to Here boxset celebrating 35 years sometime in 2024. 

    But don't quote me on that, unless I'm right of course. 

    At any rate, I'm nervous about giving this one to Pete and Tim. 

    Although they both enjoyed Road Apples initially, will they appreciate the significance of this EP? 

    Will nostalgia be a factor for a pair of people who only first heard the band in November of 2022? 

    [2:08] What kind of impact will this have? We'll have to wait and see on this episode of Getting Hip to the Hip. 

    Track 5:

    [2:40] All right hey hey it's JD here and we are back again for another uh well let's call it the penultimate episode of getting hip to the hip i'm here as always with my friends Pete and Timto discuss Seminole Canadian rock band The Tragically Hip we're going through every album and we find ourselves at the last album. 

    An EP as it were, Saskadelphia. 

    It was released for the May long weekend in 2021 and it's a it's it's a trip back to the road Apple days. 

    Before we get too deep into that discussion though, how the fuck are you guys doing? Well you know I'm a little a little of a Climbed a little tongue-tied. 

    I don't know. I told my kid, Sage, this morning, I was like, this is sort of one of the last recordings. 

    It's about 20 minutes of music. 

    [3:41] And he was very encouraging on moving on to more pod stuff, because he knows I've totally loved doing this. 

    But at the same time, I'm like, do we have to do this today, guys? Can we postpone it? Pause right here and do it later. 

    Because it's like the last bunch of songs, really. The problem is, in a week, you'll be here. 

    It's true. It's true. You'll be here, and we'll be doing the For Real last episode. 

    Hope to see you there at Getting Hip to the Hip, an evening for the Donnie Wenjack Fund. Tickets are $40. You can get them on gettinghiptothehip.com. 

    [4:20] Slash click the ticket button. 

    Do that. It'll be good. Pete, how are you, man? 

    I'm good. Um, your cadence threw me off there at the beginning, JD, because when you said I'm here with my good friends, Pete and Tim to discuss, and I thought you were going to,you're going to say two disgusting fucking individuals, but just to discuss. 

    And then you were like the penultimate record. 

    So, no, I'm good. Everybody knows that by now. Yeah. Yeah. Yeah. 

    Kidding me with our link or that way. 

    We fucking two sailors, three sailors here. That's right. With your captain Pete who we've gotten, I think we've gotten, uh, we've gotten a couple of emails from people saying, do you haveto use the F-word so much? 

    You swear like sailors, ahoy motherfuckers. 

    Yeah. Yeah. I'm, I'm, I'm still looking forward to the, to the, uh, to the live event. 

    I cannot wait. It's going to be so much fun. I'm I just I just hope I hope people are that show up want to that want to just talk about the hip. 

    And I'm like, I'm wondering what other people say because I only know you guys. 

    [5:37] Like, I've only I only really well my friend Barb too, but like, like, yeah, I don't talk about the hip, but I'm gonna be surrounded with a shit ton of people who fucking love the hip. 

    It's going to be cool, man. Has Barb, has Barb confirmed? Barb's not confirmed, but Barb's on the fence. 

    She's, she's, I think she just, we need to, we need to push Barb over the edge. 

    How do we do that? We're pushing her right now. Barb, if you're listening. 

    It's a, it's a love push, Barb. Barb. We're just giving you, we're just giving you a little, little bump you need. You need to be there, Barb. 

    Careful, one person's love push is another person's incarceration, so you want to be careful with that. 

    Well, I said bump, I meant like a little tiny, you know. 

    Was that a Burning Bush reference? Is that a Bible reference? 

    I missed it, went over my head. I'm out of swords today, gentlemen. 

    [6:37] Are we gonna tackle this record? Well, let's talk about where you guys listened to this record for the first time. 

    Where did listen to it, give me the environment, give me the background, give me the details, and then we'll go song by song. For me, no, my car is not a Yugo with the premium audiosound system. 

    Surely it is not. Surely it is not. They're out of business. 

    No, I listen to it in the car a lot, listen to it on my computer a lot. 

    I've been doing a lot of work at the desk and was really surprised with this record, really surprised. kind of. 

    [7:18] Yeah, I'll save all that, but yeah, listen mainly at the computer and in the car. All right. How about you, Tim? I'm the same. Same exact. Yeah. Sitting down. 

    Sitting down. And it's a quick one, right? It's like 20 minutes and you're through. 

    Yeah, 20 minutes. Right. Yeah. It's a tupper. 

    When they first released it, they called it an album. I'm pretty sure they said it was an album. And a lot of people bitched. A lot of people were like, this isn't an album, it's an EP. 

    It's six songs. Who called it that? I believe they did centrally, but even on the wiki page now, it's listed as an EP. 

    So I don't know if it's been officially changed or what, but I'm calling it an EP. 

    And it's a nice bookend. You get the EP at the beginning and you get the EP at the end, you know, in terms of bookends. Unless there's other music out there. 

    But this came out after Gord's passing. 

    This did. Yes. Yeah. 21. Yeah. 2021. People are bitching after the fact. Way to go hit fans. 

    What a show. How about you? How about you, JD? JD, where, what was your experience when this came out? Oh boy. 

    [8:25] Uh, did you grab it? Yeah. Um, I bought the 35th or the 30th it's yeah. 

    The 30th anniversary of road apples, a box set. And it came in that box set and it came with live camp. 

    It was a great box set because it came with a remastered road apples. 

    It came with Saskadelphia. 

    It came with Live at the Roxy and I want to say another record so it was chock full of cool cool shit for me it was just it was just a trip because it was like the last we heard of this band. 

    [9:03] Was Man-Machine-Poem and it's very different from Road Apples, very different from Road Apples. 

    And all of a sudden I was listening to brand new hip that was 35 years old, you know? 

    So it was like, it was really, it hurt my brain a little bit, my brain was doing spirals, you know? Like it was like, this doesn't make sense, this is new, but this is really old. 

    So I don't quite understand what this is all about, you know. 

    But very much enjoyed it. A little disappointed that the version of Montreal is a live version, but I like the live version. It's good, you know. 

    There's a reason. Yeah, there's a reason. And we'll get into that as we go. 

    Should we start with Ouch? 

    [9:54] Well, let's do a little more backstory. Yeah, go. Because in my experience of this EP, I went really quickly to YouTube and ended up watching some of the mini episodes that featureJohnny Faye in the Universal Warehouse finding the tapes. 

    That's crazy. And all that stuff. 

    And it was really interesting to go through those and hear him talk about Universal claiming the fire they had in the warehouse that was, I think he said they found out about it, the NewYork Times article. 

    Yeah. Yeah, that's all I remember. 

    And it listed all these bands whose tapes burned, and they were on the list. And so... 

    [10:42] Johnny, I think. I forget who else. Johnny and somebody else immediately, it sounds like, really quickly went down to hunt down the tapes and they didn't burn. 

    And he even had a comment, or most of them anyways, he even had a comment about how universal they thought. 

    Actually, this was Baker in a different interview, because I watched a bunch with him too. 

    Baker said that they thought that maybe the fire and the tapes were this multi-mega cash-in on getting assets destroyed that weren't really destroyed. 

    But ultimately, they've said that they found 45-ish of 60-ish tapes and there's still potentially more out there. 

    [11:29] So, there's some great interviews on this stuff. I probably watched, I don't know, six interviews. Oh, wow. Yeah. 

    Yeah, I was kind of laid up one day and just had some time to kill and watch them, watch them interview. So yeah, so it's, maybe there is more out there. 

    I mean, they pulled together, what is this, five songs? 

    Well, six with Montreal, but yeah. Six. Yeah, six. And, you know, if there's, if we get six more eventually, that would be awesome. 

    Yeah, because they are, I mean, there is talk of Phantom Power being reissued. 

    They announced that last year that Phantom Power would be reissued this year. 

    The 25th anniversary has passed, but I suspect it'll be a Christmas release, you know, but I don't know anything beyond that. 

    [12:16] No, the cover of Phantom Power was actually done by Rob Baker. 

    Really? That's a fact. Oh, wow. Rob Baker studied graphic design, I believe. Graphic design. Oh, yeah. 

    University of Queensland? Queens, Queens University, yeah. Queens. Yeah. near the Bronx. 

    Yeah, right now the Bronx just a hop, skipping the jump away. I'm skipping a jump. 

    I had not, I had not heard or watched and heard interviews with him really yet. 

    And man, I want to hang out with that guy. He is so. Baker? I don't know. 

    He had so many. He had, yeah, he had so many fun, not fun. It's somebody wise one-liners just in the course of conversation with interviewers. 

    Like he's just fucking Zen dude. 

    So chill. Sorry. Some of it was during COVID and he was talking about like during COVID, how his son moved back home and they were, they had set times during the week where theywere jamming together and ah, man, it just. 

    That's very cool. It's just a rad sounding dude. Yeah. Yeah. 

    Well, get in line, Tim, because. 

    [13:26] I'll be behind you. Yeah. Yeah. Rob Baker and I, we go back. 

    We're gonna, I'm in Kingston. We got a we got a couple of beer dates Talk gear. 

    I think it was I think it was ouch That Johnny Fay one of the YouTube video the one of these little mini episode things that Johnny Fay He's listening. 

    There's a video of him listening to ouch. 

    I believe it was out and And it gets to the end, and it stops. 

    And he's so elated and excited. And he said something like, it even has an end. 

    So stoked to find a complete song. 

    Before we jump into the record, did you guys see the, Tim, I didn't watch all the interviews, but what's his name? 

    Craig Rogers sent that email with the videos from the Cineplex event they did. 

    Right, yeah. They did an event at the bathhouse. I didn't see that. 

    Oh, dude, it's fucking cool. 

    I mean, the only videos that he could find were... 

    Or Bob Cajun, Escape is at Hand, Country Day and Coffee Girl, but they did this live event at the bathhouse. 

    [14:44] During Bob Cajun, Rob Baker's just playing guitar. I don't think anybody else is in the video if I remember correctly, and Gord Downie's just shooting pool and singing this songwhile he's shooting pool. It's the coolest fucking thing. 

    Oh my God, I got to see this. It's so cool, man. 

    It's one of the coolest fucking, he's just like, he's, and it's a weird, like, I mean, don't get me wrong. 

    I'm not, when, you know, when we go to the bath house and eventually record there one day, I'm not going to piss and moan to the guys about the pool table. 

    I hope it's a bar size table, but I noticed that the balls in Canada, they weren't like, you know, the color balls like we have in the U S or like red balls. 

    And then maybe a different color. Were they playing snooker maybe? 

    Maybe it was like a snooker table but yeah. 

    Yes they are. They are. They're playing snooker. I just pulled it up. 

    I did this. Sorry Craig. I didn't I didn't I didn't go through. 

    I saw it Craig. Thanks. I'm sorry I haven't had a chance to respond. 

    I've been busy working this week. Yeah I haven't. 

    [15:51] Sorry Craig. Very cool. Yeah. Got something new to check out. 

    That's great let's dive in ouch ouch ouch. 

    [19:12] Go ahead, Timmy. Take it. Well, this one kind of brought me back to Born in the Water. 

    And back then, when we were talking about Road Apples, if I recall correctly, I had some comments about it being bluesy, and George Thurgood, whatever. 

    I had some comments like, why are these guys? They're a rock and roll band, but they're in different buckets of genres within rock and roll. 

    And not many bands can do that and do it successfully. 

    A lot of them try, and I think don't do as good of a job. 

    And so listening to Ouch made me realize, it just brought me kind of full circle on The Hip's abilities and their skills and their talents and brought me to this kind of new level of fandomof thinking about that. 

    [20:18] And like I imagine I have some friends from back in the day who are big time music guys and I imagine that what they would would think about listening to different types of songsby The Hip and how some who are not Hip fans might think it's kooky or why they're doing this. 

    Or it's kind of out of a comfort zone. 

    But listening to Ouch and going back to Road Apples and Born in the Water and songs like that, like it just, it brought me kind of, It completed the circle of thinking. 

    [20:49] These guys are really talented they can do whatever they want to do they're they got the they got their driver's licenses they got the keys you know it's it's just like god what couldwhat can they not do at this point you know and the the song is we could talk about the song and all the aspects of it and gourd's growly singing and you know all the things but this onejust kind of it just kind of hit me full circle with the band and it made me think like at one point i was like thinking about you know in the u.s, raiders fans or fans of certain teams or youknow i bleed whatever i don't know it's all these stupid things of these allegiances to to cultural items and how, or genres or arts and how some people can be like, just so narrow within acategory of something that they really love and how, like, I don't know this. 

    If you opened up your mind a little bit and accept things a little more, why are you hiring now? 

    [22:04] Have more enjoyment. No, no, you can have more enjoyment. 

    No, seriously, I had a moment with this song. Wow. Really fucking solidified why I like The Hip and why I could argue to the end of all day is about how they're fucking better than youtwo. 

    How's that? Yeah. You know? Yeah. So there. 

    That's what happened to me with this song. 

    [22:29] That's far out. Probably led to so many video watchings because I was like, Like just give me more at a personal level of these guys. 

    It's 9.53 in the morning for fuck's sake. It's not even 10. Can I wait till 10 to get high? 20 somewhere, baby. That's right. 

    What about you, Pete? 

    [22:52] Um, I, I dug this song. The only thing I, you know, can kind of gather that, you know. 

    [23:00] I, I agree with Tim on, um, not that I disagree with him on what else he was saying. 

    But you know, just kind of one of the points that he made was that this kind of brought it full circle. Like, I think when we started out with road apples, Tim and I were both kind of like,where are we going with this? 

    And then even when we talked to Paul Ling Wah the other day, how he was, you know, we were talking about, you know, everybody has a different entry point to the hip, you know, westarted from the, from the very beginning. 

    You know so maybe that wasn't our destined entry point, but it was the entry point nonetheless. 

    And we kind of came back full circle because now we got this similar sound of what road apples was without and My only comments on the song itself, which I loved It just painted apicture And I'll read it to you It's 11 15 p.m, The bar is dirty and it's dingy the happy hour crowd has gone home drunk already The band's starting to get into its back catalog and angrytunes. 

    And the close the bar down crowd has just showed up, you know. 

    The guy with the pull cue in the fucking case, a couple of bar room hustlers, a couple of hot chicks that um... 

    [24:29] That frequent the bar. Everybody showed up. Barkeep's getting surly. 

    Barkeep is getting surly. 

    [24:39] Everything about this band, this song, gave me the vibe like they're just up on stage playing and they don't give a fuck. 

    They don't care. They've done it so many times, It's just, it's like muscle memory to them. And they're just, rock and roll is just fucking in their veins. 

    And it's on display for everybody who's probably taking it for granted at the bar. 

    It seems that way. Yeah. Yeah. Because Lord knows, I mean, I took Road Apples and that shit for granted. 

    Did you guys go back to it? Like, after listening to this record, did you go back to Road Apples? 

    To Road Apples, yeah. Yeah, yeah, yeah, like to try and see what like to me I did the same thing and it was like it was to try and see where these songs would have fit in because like asmuch as it's new material we all have to understand too it's material that they felt wasn't up to snuff to make the actual record, right? 

    Yeah, which is weird to me like but maybe it was just a time thing. Yeah, yeah. 

    Because I thought the majority of these songs on this record were great. 

    [25:51] Yeah. 

    Yeah, I tend to agree with you. I enjoy it. It's not long enough to be offensive. 

    Even if it was offensive, you know? You're in and you're out, and it's done. 

    Yeah. What it did for me, I mean, I went back to Road Apples, but I also, again, went. 

    [26:12] To video stuff like i hung out on youtube more with this one and pete it's funny you mentioned kind of a bar scene because the video for this song it's kind of all about a bar sceneit's it's a fun it's a really i didn't know there was the videos for a few yeah there's videos for a few of these yeah jay baruchel's in that video right ouch ouch is it yeah yeah ouch is a hootit's got like all these hidden nuggets through the video with references to other songs or albums. 

    Yeah I think there was like 20 of them. It's a really good video. 

    Yeah, yeah. It's a really, really good video. I watched it a couple times. 

    Super interesting. Yeah, a lot of fun. So check that out. 

    All right, let's move to Not Necessary. Not necessary. 

    [27:01] Um, again, this is just like, I thought this song would have fucking cooked live. 

    I mean, like, like most of the songs on this EP, just like pictured sweat just fucking pouring off of everybody's foreheads. 

    And just, yeah, it was just a good time record, man. A good time tune. 

    Chorus was super hooky, just like, had a great, like it did sound, the chorus sounded like it was, you know, crafted in that time. 

    Like if you saw a TNC Surf t-shirt, somebody was wearing it walking down the street, you'd know what like year that kind of came from. I don't know if anybody remembers TNC Surf.Do you remember that company? Well, yeah. Yeah. 

    Anyway, um, TNC Serpent Skate it was called. But yeah, it's just like, yeah, that would be, you'd know what era it was from. And definitely this song was a bit of just, they were justhaving such a fucking good time. 

    It was kind of a window into their youth. 

    Yeah, yeah, that's good call. Life on the road in the van, you can almost smell the inside of the van, stinky and, you know, sweaty and lived in. 

    Yeah. How about you, Tim? 

    [28:25] I agree with Pete on all that. I don't have much more on the song. 

    I dug the song. I really no qualms about it. 

    [28:37] This one I went faster to video. I hate to say that I just watched videos on all this shit, but I watched a lot of videos. 

    And this one's cool. It's like bank robbery gone wrong. It's got a total plot, to it that somehow ties into the song. I haven't seen the video for this one. It's a really... 

    Oh man, it's killer. Check that out. 

    It's got a cliffhanger at the end. It's a fun video and I just... 

    It really... I don't know, just after listening to so much music by these guys with cans and not having much visually other than some live stuff, like it was fun to find videos from this EP. 

    So, definitely watch Ouch and watch Not Necessary. 

    Great song. Right, we move next to the very solemn song about the École Polytechnique massacre that happened in the late 80s in Montreal, where a young man brutally murdered 14students and the Tragically Hip wrote a response to that it's very loosely based in that although it's bang on at the same time like there are lyrics in it that give you chills, you know? 

    [30:05] But what did you think of Montreal, Tim? 

    [30:11] It's a heavy one. I think I read that 27 people were shot, 14 died. 

    You know, it's one of these songs that you could throw in a bucket by the hip that aren't something I reach for just because of the subject material. 

    You know, it's like one of those heavy things that's Marked history and something uncomfortable and something that we we still deal with Every day, you know like the like a few othertheir songs in this this whole Tragedy, I don't know it's it's a It's you know our Mind may be privileged to listen to it and feel unsettled and move on and put it in a drawer You know,because it's fucking tough history and a tough topic and all the things. 

    And yeah, it's also like, I commend The Hip for and Gord for writing it and them playing it live. 

    Like it's this song is brave, it takes courage and I don't know, I just I don't have a lot of music, just actual tune. Sure. 

    Comments about it, just because it's like, you know? 

    [31:40] Because, I mean, just also being in the USA, I mean, we deal with this stuff all the time. So it's just like, you know, it's probably a song that everybody should hear and play. 

    [31:55] Let me just tell a quick little anecdote before we come to you Pete. 

    I remember my friend Jeff who was older than me and he drove to Toronto for a show, a hip show at the old Ontario Place Forum and I remember him coming back and saying there's thissong called Montreal I think it's going to be on the next record like it was so great like and I got to hear it again And this is back in the day when you just couldn't hear it again. 

    That was it. He heard it and that was his memory of it. And that's the end. 

    He didn't get to hear it again until years later. You hear traces of it on Live Between Us during Courage, I believe. 

    They start singing the tail end of Montreal. 

    Pete, what did you think of this live version? I really liked it. 

    I did. I thought it was very haunting. 

    Those little, you know, cool guitar licks. 

    Those little, you know, I think they're arpeggios or something. 

    And then when the chorus just switches over to a major, it's like a, you know, beautiful. 

    [33:12] What's the way it kind of puts into a happier space, but then it just gets dark again. 

    It was just a bit of a seesaw feeling, this song, but it's definitely something that I, again, I mean, I don't know if it was because of it was a live version, but, you know, I would probably, if Iheard the studio version of this tune, I would want to hear it live too, because it was really a really pretty song, but it was, Because of the six songs on this record. 

    [33:45] I would say it was, you know, I would say it was not my favorite, but I really liked it. 

    I think just because it starts off so heavy. Yeah. Record, you know? 

    Yeah. So. All right. No. JD, if you checked out JD, I guess there's a DVD of that show at the Metropolis. Oh really? 

    That's available, yeah, there's a DVD that's available for free, like via the Hip Fans webpage. 

    I haven't gone back to checking that. Yeah, you might. Check that out, because that sounds pretty awesome. There's some fan... 

    They don't tend to give things away very often. There's some fan footage that... Yeah, yeah, yeah. 

    Well, there's some fan footage that somebody produced a DVD. 

    Oh, wow. Okay. Well if you're interested in the 7-inch of Montreal, we have an autographed copy of the 7-inch of Montreal and it'll be at the silent auction of the event so that's kind offun. 

    That's a fun one. 

    Yeah, and I should note it's auctioned by the four living members of the band. 

    Like it's not a complete, you know, Gord is not on there. 

    But you get all the living members of the band and that's pretty fucking cool. 

    You get Pete, Tim and JD to sign it too. That's right. 

    That was a joke because it'll be devalued if that happens. 

    [35:14] So we flip the record over and we get the fucking electric, crack my spine like a whip. 

    [38:30] This song fucking melts, doesn't it? Yeah, yeah. 

    [38:35] You know, this is the one, this is the one that Johnny Faye was like, it has an ending too. 

    This was the one he was so psyched about. This is over here in my notes, I'm finally getting on that. 

    And this is the song that led me to ask Paul about he and Baker's guitar playing and he noted how they're who was it Dan Smith Don Smith who also makes this yeah how he channeledthem yeah how he channeled them and put one in the left and one of the right and the hard pan yeah so this song made me yeah the hard pan this song made me realize I don't know it wasit It was a complete picture in my brain of what these guys were doing on guitar. 

    And I even said to Paul, I tried to get into it a little bit, but I would love to talk to him in person about it. 

    But this song, Paul on guitar, he's just got the, just reminds me of 80s power guitar chords, just like Ramones and 80s bad religion. 

    And he's just going through it. 

    It's like he's the fucking locomotive of this song, which also ties in with Pete so many times, how you've said how Paul and Johnny are like a unit unlike any other, cause it's usually drumsand the bass player, you know? 

    [40:02] But these guys have such an interesting compositional makeup within each other, you know? 

    This song to me, like, it kind of personified their abilities And, you know, they're I don't know, just this this song is killer. 

    I just loved it. I listened to it so many times, so many times. It's just killer. 

    Good one. Good song. Yeah. Thanks. Thank you, Don Smith. I mean, you you nailed it with these guys not being rhythm and lead or lead and rhythm. 

    You nailed it with these guys being guitarists. So just let it ride. 

    [40:39] Well, I thought this song it fucking cooked. 

    I mean, I don't have much to say about it, other than the fact that, um, I, you know, to your point, Tim, to add on to it, I think it was more than just Paul and Johnny, I think, Paul, Johnny,Gord, and Rob Baker, are all like, on stage in a fucking musical orgy. 

    And strangely enough, I feel like Gord is in background of the song. 

    He's not a I mean he's there but I wouldn't call him the star of the show for this song. 

    That fucking band like just stepped in front. Gord's like you know in the back like, you know, Maybe changing Johnny's fucking crash cymbal because he broke it so many times duringthe song. 

    He's there and it's good and not trying to take away from Gord's vocals, but the band just fucking destroys this song. You could tell they were having a blast when they recorded it. 

    Hands down. They just take over, you know? Yeah. So yeah, good song. 

    [41:56] One of the YouTube videos on this, I just went back to it. They're called the Saskadelphia Minutes. 

    And there's like five or six episodes, but not all of them are posted. 

    But there is a one minute, they're all short, there is a one minute version of our video for this song just as well. 

    And it's got some fun live footage of the guys. is one thing I think Baker was talking about in a video is how a lot of these songs they did play live and he didn't really have many answersor questions about like why didn't they make it or where did they go or what happened you know he was just like we had a lot of songs and he one cool takeaway of these songs inparticular and just as well was that they didn't rehearse much He spoke at length about how they didn't rehearse much and they road-tested new songs. 

    He said often they'd come out and whatever new song they were working on, they'd play first. 

    Like that was their warm-up, was road-testing a song. 

    And like bands don't do that. Like nobody does that. You know what I mean? 

    It's like you play first base for whatever. 

    [43:16] And coach is like, hey, you're going out, move to left field. 

    And it's like, OK, I'll play left field. I think I can do this. 

    And it's just gnarly what these guys were capable of. It's pretty awesome. 

    And just to back up to our last pod, it's about the absolute opposite of what Mr. 

    Bob Rock these guys do one. 

    You know? It really is. It's like if they could go out and road test a song, first show, the first song of the night. Yeah. Phew. you, Yeah, rather than work on something for a couple ofmonths. It's I think road testing was the way to go. That's the unique gift there to us as listeners and fans. You got to just see your favorite band jam. 

    [44:09] And sometimes they'd come up with something, and you're just like, wow, what is that? I got to hear that. Like my friend with Montreal. Yeah. You know? 

    And then when. Yeah. Yeah, Baker said, you know, we played 200 plus shows a year. 

    We knew each other. We know each other. We're all best friends. 

    We could do it. We could just sit down and figure something out. 

    And if we liked it, we'd go do it. Goddamn. What a gift those guys had. 

    So you merged into Just As Well there, Tim. 

    We were talking about Crack My Spine Like a Whip, and you've brought it into Just as Well, so should we stick with Just as Well for Pete? 

    Or do you have more to say about Just as Well? 

    [44:55] I mean only about picking scabs. All right. Yeah. Because that's the line in Just as Well. For the love of Pete. 

    It's going to keep getting infected. It's going to keep getting infected if you keep picking at it. Oh, Pete, they knew. 

    Yeah, right, right. Sure they did. I love the ready Bruce right at the beginning. That was fun. 

    [45:23] Hmm. This was one I genuinely was like, what the fuck? Why is why was this not on the record? 

    Oh, wow. This was. Hmm. Hundred percent. Hundo. This was probably my favorite tune on the record. 

    Got a lot of Stones vibes. Yeah. I mean, super big. 

    Everything from the guitar tone to just the song itself, just rolling stones. 

    Yeah. And I don't know, man, the more it ebbs and flows because, excuse me, the longer I listen to this band, the more I just understand each and every member, because specifically thissong, Gord Sinclair's bass stands out so much because it follows, I think, Rob Baker's guitar licks. 

    And it just, yeah, what a talented fucking band, man. 

    At this stage in the game they were. 

    [46:31] You know, yeah, what do you, I mean, what a fucking jam. 

    What do you want me to say about the song just cooks dude you know the hook turn around it's just it's so good it's a pop tune, rock pop tune fucking formulaic yeah it is a good one it is agood formula right like it's like original coca-cola it's like it's a formula but it's it works it's it's yeah but there's a lot there's a lot of coke out there there's a lot of soda there's rc there's youknow there's shasta There's that store-bought shit, but this is original fucking recipe, man. 

    This is, maybe even a little savour original. 

    [47:13] Listen to that rolling R's. You like that? Yeah. So, the next one is... 

    [50:44] I just thought, let's go get in the car and go for a drive, you know. 

    It's just reminded me of like my teenage years as a Catholic youth and having a driver's license. 

    I literally had a time in my life and it was like with that summer where I was to go to church and I would just pick up my buddy Dave and we'd drive around for an hour and smokecigarettes and go back home. How was church? 

    It was great. That's what this reminded me of. 

    [51:13] But again, it made me think about the band and the various aspects of rock and roll they could go after, which, you know, we have in our time, you know, we had The Stones whocould do that. 

    We had Zeppelin who could do that. Maybe Queen. Definitely The Beatles. 

    You know, there aren't many bands who can go after kind of different aspects of rock and roll and do it really well and still remain respected and still keep, you know, selling out stadiumsacross Canada or whatever. 

    But this song, it's huge. It hits the two-minute mark and it felt like it could kind of be done or not, and it just keeps going and that's awesome, you know. 

    [51:53] Yeah, I just, it's got like a 15-second fade out. That works for you, doesn't it? 

    And it's cool. Oh my God. I mean, this is this is a killer song. 

    It's the live versions of this song are amazing. This song live is yeah, that's what I'm saying to you. It's alive. It's it's a cooker. 

    It's out there live. I don't know, man. I mean, yeah, I mean, I'm sure I have no doubt that the song cooks live, but you cannot debate that the song does not cook on the fucking studioversion. 

    Because Because it's, it's, I mean, dude, it, it's, this song, if it was like, it's a, it's another bar brawl. Yes. Yeah. Yeah. 

    I mean, everything is so filthy, dirty, the guitars, gourds, gourds, who's, you know, Cheers. 

    [52:46] There used to be this bar, nobody knows where this town is, it's in Cedar County, Missouri, near Stockton, it's about 70 miles from, Jesus, where would you fly, what's the gamblingtown where they got the riverboat? 

    It's a shithole town, apologies if you're from there. 

    Oh, God, Branson, it's about 75 miles from Branson, yeah. 

    [53:16] And Cedar County, a town called Jericho Springs, I can't remember the name of it, but everybody called it the Purple Unicorn, because there was a purple unicorn out front. 

    And this was a bar where like you would, 90% of the jukebox would be Merle Haggard and Waylon Jennings, and Willie Nelson, and that's it. 

    Nothing else. You wouldn't you would not find anything else on there. 

    And this band would like maybe, you know, be staying in town and play a show there. And it would just the place would erupt in a ballroom, ballroom brawl, cops, which cop cars blackand whites all over. 

    Fucking people getting fucking taken out of their Bottles getting broken over people's fucking heads. 

    Then them just fucking smoking a cigarette. The only way I would want to hear this song live would be with at least a fifth of Jim Beam in me or some shitty whiskey. 

    Not even Jack Daniels, just some shit whiskey. 

    I do like this song. 

    [54:27] It's a barroom brawler too. That's awesome. Yeah. And that's how the record ends. 

    That's, you know, as far as we know, that's all the hip we're gonna get. 

    And that puts us in a position to pick our last song for our playlists. 

    You guys each get to pick a song and it'll be the last song in your playlist and you'll debut your playlists at the last episode. 

    So in the proper order that they belong in and everybody will get to see your playlists. 

    What are you choosing? Well, I know I said before that Just As Well was probably my favorite tune, but then I'm taking that back because I just painted that picture in my head so well. 

    I would say Reformed Baptist Blues, man. Oh, wow. That's gonna be it. 

    Yeah, 100%, dude. That song is fuckin'. 

    [55:32] You know like where they get the guy and they throw the guy on the bar and they fucking they shovel him down the bar and he slides and he breaks a bunch of glasses and his headgoes into the jukebox like that's this song and the band's still playing they're still finishing the song because if they stop playing they don't get paid exactly exactly Cool cues gettingbroken over people's fucking heads. 

    What about you Tim? What's your track? 

    I love that song. Yeah, I love that song as well, but I'm going with Crack My Spine. I love the guitar. 

    Yeah, I love the guitars in that one. They're rhythmical like a whip. 

    That song did it for me. Well, your lists are now complete. 

    I will send them to you so you guys can sequence them and maybe you do that on the plane ride over. Who knows? You'll listen to it to see if it works. 

    [56:31] But that's what I've got for you. I want to thank you as always for doing all the heavy fucking lifting and listening to the music, having to describe it, answering my stupid assquestions, all that shit. 

    Guys are fucking gold to me and I can't wait to see you next week and uh, and share you with the world so there's that peace out guys peace out see you in canada pick up your thanks Itwas... It was... 

    You stepped on my fucking line. Fuuuck you Tim how could you? 

    Pick up your shit! 

    Support this podcast at — https://redcircle.com/fully-and-completely/donations

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    S3E16 - 58m - Aug 29, 2023
  • Getting Hip to the Hip - Sean Cullen announcement

    jD, Pete, and Tim are back and they want to you to come to the finale with special guest host, Sean Cullen.

    Support this podcast at — https://redcircle.com/fully-and-completely/donations

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    7m - Aug 23, 2023
  • You got a Bob Rock lock?

    In this episode, jD, Pete, and Tim embark on a deep journey into the musical saga of the Tragically Hip by shining the spotlight on their 13th full-length album, Man Machine Poem. We uncover how the band unknowingly crafted their last album and created a memorable and satisfying conclusion with this profound piece. 


    Man - Studio version

    In a World Possessed by the Human Mind - Toronto 2016

    Here in the Dark - Studio version

    Ocean Next - Edmonton 2016


    Track 1:

    [0:00] If you're a fan of the Tragically Hip, this is your hip fest. 

    Getting Hip to the Hip, September 1st at The Rec Room. 

    Celebrate the music of the hip with a live tribute act, the finale of a hip-based podcast, and a silent auction with amazing hip prizes, with all proceeds going to support the Gord Downie and Chaney Wenjack Fund. 

    If you're a fan of the hip, you need to be there. Tickets available now at GettingHipToTheHip.com. 

    Track 2:

    [0:28] What was I listening to? That's the first thing that went through my mind when I experienced Man Machine Poem's first track, Man, for the first time. 

    Although my love affair with the hip was back in full gear, I don't remember really digging into this record when it dropped. 

    I was in and out of the hospital dealing with my mental health when I underwent ECT, electroconvulsive therapy. 

    You know when you get a full list of the worst things that can happen during a procedure because the doctors have to tell you, even though the odds of landing are miniscule? 

    [1:09] Well, the worst possible thing happened with me and ECT. I had full-on amnesia. 

    There are whole swaths of my memory that are gone, and I also have trouble making new memories. 

    So I think my first run at this album was lost in the Barrens. 

    Fast forward to the Fully and Completely podcast though, and I fell in love. 

    I fell in love with this the hip's 13th full length. 

    And when I say loved, it's tough for me to quantify how much I do love this album. 

    From the complicated man, through the gorgeous Insarnia, and the mysterious Ocean's Next, This is a damn near masterpiece. 

    [1:57] Sadly, none of the tracks on this album would get to live a life outside the final 2016 Man Machine Pong Tour. 

    I loved the performance of In a World Possessed by the Human Mind, but I honestly think it would have become a tour staple if the band had been able to endure Gord's cancerous lifesentence. 

    Although, during the recording of the formerly titled Dougie Stardust, the band couldn't have known that this would be their final kick of the can, but I can't imagine a more fitting albumto do the perfunctory honors. 

    Essentially, to sum it all up in one word, sigh. 

    [2:41] I'm so curious what our friends Pete and Tim will feel about all of this. 

    I guess we should kick into it. 

    Getting hip to the hip. 

    Track 5:

    [3:19] Hey, it's JD here and welcome to getting hip to the hip. We are back as we are every week going through the catalog of Seminole Canadian rock band, the Tragically Hip. 

    I'm here as always with my friends, Pete and Tim, trying to ascertain exactly what they think of this band because they've never heard them before. 

    Please join me in welcoming my friends, Pete and Tim. Pete and Tim, welcome. 

    [3:48] Hi, JD. Hi, Tim. Hi, fellas. Thanks for the welcome. You're always so warm, JD. I want to make one quick correction in your intro there, JD, is that you said that we've never heardof them. 

    Now, we've been doing this podcast, what, 15, 14 weeks, something like that? 

    Fair enough. Fair enough. I've fucking heard of the charge of the hit. 

    So I just, I don't think it's fair. You know, we might want to prepare people for that, the finale, too. Hey, I know who they are. to charge it to him. 

    So I just, I don't think it's fair. 

    You know, we might want to prepare people for that, the finale too. 

    Hey, I know who they are. Okay, pre, you know, pre-pod recording for me, it was, it was like a bumper sticker. 

    So yeah, we've heard them now. Or that little stamp thing that you put on your suitcase. Not stamp, but stickers that you put on your suitcase. 

    Tags, yeah. It's the ones that say Fragile? 

    No, no. Fragile. Like you put, like every city you go to, You put it on your suitcase and then your suitcase has all these, uh, stickers. 

    All of that. Yeah. If you don't have, you don't, if you don't have the, uh, the Canada one on there, then your shit gets stolen. 

    Yeah. It's just fact definitely don't want an American flag on there. Right. No, that's true. 

    And, uh, you guys are, um, I mean, we're, we're what, uh, two weeks away. 

    You guys are ready to, have you started packing yet? 

    [5:08] I'm still doing laundry. Okay. I'm still doing laundry. Why did you pack the day before? 

    Yeah, I, oftentimes I pack the morning of, so. Yeah. I'm not that, yeah. 

    But we're looking forward to seeing you, of course. 

    Tickets are still available for the event, which is again, two weeks from now, September 1st, Friday night at the Rec Room in Toronto. 

    If you're a hip band, you gotta come to this thing. I mean, it's just that simple. 

    It's almost like hip-con, where we're all just gonna get together and enjoy our love for this band. 

    And if you're not there, then you're clearly not a hip band. 

    That's right. I mean, if you wanna be a hip completist and you've gotten this far with us, you gotta come to the fundraiser. 

    You gotta come to the show. Come on. It's like, if you don't, and you've gotten this far, and you can't make it, then, eh. 

    I don't know. Losing some cred. 

    [6:13] And we've got some more prizes are coming in, but we've got some awesome, awesome prizes for the silent auction. I don't know if they're, if they're called prizes or they'd be itemsfor auction. 

    We've got some pretty neat ones. We've got some ephemera from the Tragically Hip themselves autographed. 

    We've got some items from Dave Bustito. 

    We've got $200 in Air Canada gift cards. We've got a beautiful gift baskets. 

    We've got another gift card to Amazon. 

    We've got, um, Oh hell. I can't even, there's also a, uh, it's a, it's, it's in a frame. It's done really nicely, but there's a, there's a lock of Bob rocks hair. 

    [7:10] I Might I might try to win that and I'll weave it into my bang. 

    Oh god, wouldn't that be cool man? A lock of Bob rocks hair. 

    Oh Man, he's he's he's gonna send somebody out dude. 

    He's It's going to be a hit job, dude, no, he's going to send somebody out to fucking kill us. 

    Exactly. Yeah, it's cool. 

    Also it goes without saying, actually, no, it doesn't go without saying, it would be rude of me to mention the bonus feed at this point because the season's over. 

    You know, we're pretty much done. There's no more bonus episodes and this is not a seasonal podcast. We're not going to do these albums again. 

    But you can revisit it and go back and listen for years to come, right? That's true. 

    That's totally true. You can go back and listen to all those fun episodes that we did that were outside of the realm of the albums. 

    [8:03] So there's that. Is Bob Rock Canadian? Bob Rock is Canadian. 

    Yeah. And I mean, like, respectfully, like he is, like, like from like 87 to like 95, probably like the top producer on earth. 

    Dude, totally. He did the Black Album. He did the Black Album. 

    He did all the Sarah Smith work. He's not going to send out a hit team for us, Tim. 

    He's not going to send people to kill us, but he probably will send a strongly worded letter. 

    In Canadian, no. 

    A strongly worded letter. Anyway. Well, this record that we're talking about today, the 13th record, Man Machine Poem, was not produced by Bob Rock. 

    It was produced by, oh my gosh, my notes are not in front of me now. 

    It was produced by Kevin Drew, Jesus Christ, Jamie. You should have known that. 

    And Dave Hamlin, Dave Hamlin. Broken social scene and Dave Hamlin. 

    Yeah. Who also produced the first posthumous Gord record. So, clearly. 

    [9:05] Gord living in Toronto at this time was, you know, part of this sort of cabal of artists in, in the city. 

    And he had been working with them, you know, a lot. And we're seeing the fruits of that now. 

    I don't know if you guys have listened to the, the Bob rock Gord Downey convergence, but we haven't talked about that at all on the show. Okay. Well, maybe we'll make that homeworkfor next week's episode. 

    [9:35] Um, just give it a cursory listen. Yeah. There's some of the best gourd vocals I've ever heard on it, but it's not my favorite gourd record overall, I would say. 

    And it's also produced by our friend, Bob Rock, which is funny. 

    Yeah. When in doubt, right? 

    It's like a little glass case through the hammer. You know, I might, the dog might eat my homework on that one. 

    If my flight is delayed going into Toronto, you know who I'm blaming. 

    Oh, wow. Yeah. When you fly that old Norm Macdonald bit, you guessed it, Frank Stallone, you know? 

    Or instead of Frank Stallone, you guessed it, your flight's delayed? 

    Your house got struck by lightning? Whose fault is it? You guessed it. 

    Probably there isn't some Metallica fan in the control tower that Bob has access to. Yeah, that's true. 

    Well, that's a, I mean, that's a well-produced record, there's nothing wrong with it. 

    I think it, I think those songs still, you know, you can still listen to them and you know that it's from 1991, but it's, um, it still works. 

    Like it's not like, whoa, this is, this is way off, you know, where there's some stuff that you hear and you're like, like the EP, for example, you know, uh, the, the tragically hip EP. 

    [10:57] It, you know, it sounds like 1987, but now it sounds like, like 1987 plus 35 years, you know? Right. If that makes any sense. 

    I don't know. I'm rambling a bit here. But what do you say we get into your thoughts on the record and your first experiences with the record and how you listened to the record, as we doin each and every episode? 

    I mean, maybe we just talk about the album conceptually, because really, it first listened, And for me, it was feeling different. 

    It was feeling, I don't know. It was dreamy and fuzzy. And it feels like some memories. 

    I don't know. At one point, I was like, this would be good to listen to on a road trip at night. 

    Like, it just, this one had kind of this sad but futuristic, It was kind of all over the place, it wasn't exactly... 

    [12:09] A mood booster or like, yes, this is this is that next step album, you know, the phone was different. 

    And, you know, I understand that it was released before Gord's cancer announcement. 

    But it was also, you know, like it made me wonder about his wife's whole process with cancer and all of that, too. But it just it was kind of ominous in that whole regard of what was goingon and Gord's life, perhaps. 

    And I read some quote from him around this time era, maybe during the recording time era. 

    He said something about not wanting to sing any lyrics anymore that he doesn't write. 

    If the band was pitching in on lyrics, I feel like he was feeling the weight of the world coming down upon him, even perhaps without even knowing his diagnosis. 

    I guess he had a couple of strokes during that time, but anyways... Seizures. 

    Or seizures, yes. Yeah, seizures. Thank you. 

    [13:15] But anyways, it's a trippy album. It kind of hit me in different ways. And I listened to it. 

    I was traveling the past couple of weeks and kind of listened to it here and there. 

    At one point, we were packing up to head to the next town, and we were in Italy. 

    And I said to my wife, I said, you know, I'll play this recent hit album we're working on, because I think it suits the morning. It's kind of rainy. 

    We're packing up. We're getting ready, just kind of methodically going through the motions, and played it. And her vibe from it really wasn't so sure. 

    She just didn't really know how to pick up from this one. 

    She hasn't really listened to a whole album yet, but we played the whole album, and about halfway through it, I was like, huh, should I put something else on? 

    This is fitting the mood. What is the mood? 

    [14:15] Right. Yeah. Well, it was, it was a very strange mood here in Canada because I'm, I'm not sure how you worded it a moment ago, but we did know that he had cancer when therecord came out, so the record was supposed to come out and then they delayed it when he had his second seizure, they delayed it to June and it came out in June, but, but they announcedon the May long weekend, so just one month before, they had announced that he had inoperable, well, not inoperable, because he had already had half his brain removed. 

    He had many operations, but he had the type of cancer that he had and his sort of status, right? 

    [15:02] And it was like, holy, it was grim. It was fucking grim. 

    And then you get this record and you put it on and there's like, there's stuff on here that is like, when they wrote the record, he didn't have cancer, but man, some of the lyrics. 

    Seem foreboding well here's the thing with the big c is. 

    [15:27] A lot of people talk about cancer when they get diagnosed as that's when i found out i had cancer and i think just based on experiences i've had with people around me and familyetc. 

    That it grows in the body for as long as it grows until it's making its debut. 

    You know, like he had a very special brain and a very creative guy and just obviously all the things about Gord's writing abilities. 

    And you know, this might have been something that was growing in there for a long time. 

    I think it was probably there during the whole album producing and making and affecting likely how his brain worked. 

    A friend of ours mother had brain cancer and she was not normal for like three, four years and no one like, why is she, why is she, why is she slowly becoming so mean, you know? 

    And it turns out she had brain cancer and it was like the size of a grapefruit before they figured it out. So it was probably there. 

    And it was probably making it it's effect on his creative outlet, his creative abilities. What do you think Pete? 

    Wow, a lot to unpack there. Heavy stuff, yeah. Yeah, we jumped right into it. 

    [16:40] Well, I mean, yeah, all I will say in terms of the lyrics, yeah, it is a bit foreboding. 

    [16:49] I can't really, I think, I can't remember what song it was that made me think, did he know that he got, that he had cancer up until this point. 

    I think it was track four in Sarnia and yeah, made me definitely think what was going on during this, but yeah, it's a unique album. I mean, it's certainly. 

    [17:18] Different. I mean, I'll comment more on on the songs, you know, why I think that way it is, you know, but overall, I very much enjoyed it. 

    Listened to it in the car, wasn't doing it at the desk, listened to it on traveling on a plane, lots of different places, lots of different ways to experience this record. I feel like it's somethingthat I would put on in the winter. 

    That's kind of how it felt to me. There's a few songs maybe that were not so much in this kind of mode for me but you know all in all just kind of on the stats side on the stat side of thingsit's got a 3.5 which i wasn't surprised to see on all music um it's short it's again another 40-ish minute album right lots of songs around the four minute mark like it's i felt like uh i don'tknow It did win a Juno Award for Rock Album of the Year in 17, which is amazing. 

    That shows that a band can really evolve and change and have ups and downs. 

    And still grab one of those awards is fucking killer. Yeah. 

    [18:30] Most of this album didn't get much live play time. 

    No, they only did the one tour, which was like 14 gigs, right? 

    Yeah. We didn't get to see it and I mean, we're fucking incredibly lucky that we got that tour. 

    Like when, when I show you guys the document, when I show you guys the documentary, long time running, it's called bring some tissues. 

    Yeah. Yeah. Yeah. It's going to be, it's going to be, I'm sure. 

    Yeah. Yeah. Tariq Tariq. 

    And unfortunately for me, I missed most of this because I was very sick at the of time and I just have no memory. So, there's that. 

    What do you say we get into track by track? Let's do it. 

    Let's do it. Track number one. Man. Man. Man what, dude? What did I say? 

    [19:29] Man, what a track. But you said it like, man. I was like, man. 

    Second longest track on the album, you know? Yeah. 

    It's definitely got this, I mean, this is where I personally was like, okay, here's the somber Start it's got but it well. 

    No, I think backtrack that that digitized Chorus, whatever it is the very beginning You know of this is like an interrupter, you know, that's like whoa, where are we going with this album? 

    But yeah, it kind of felt like The song felt like a prayer or a mantra, you know, just kind of like It was heavy, kind of coming in and out. 

    The chorus was just the song, it felt like. 

    It felt like it could be an outro, and it was the first. 

    It was the first. So... That's a good point. Yeah. Yeah. 

    I feel like the way it starts off is, I think, really cool and unique and certainly different from the hip. 

    I love Gord's vocals on this. I think, and I'll say it a lot throughout the pod, but I think the percussion and the arrangements on this entire record is awesome. 

    The way everything's layered beautifully. 

    The piano hits when the song really opens up. It does have some hardcore Radiohead vibes. I think this first track. 

    Very much. Wow. Okay. I could see that. Yeah. I like that. 

    I like that. Yeah. Definitely like Kid A and Rainbows, I would say. 

    Radiohead. Not OK Computer Radiohead. 

    Right. Anyway, yeah, really cool opening track, that's for sure. 

    In a world possessed by the human mind. 

    [25:18] This was the first single from the record and a great single. 

    I mean, you know, it doesn't necessarily tell the tale of the record, of what you're going to get when you get this record. 

    [25:34] You know, the record is obviously much more low key, but I think it's a banger. 

    I love this song And I came to it late. 

    That's crazy. I mean, I like the song. It's funny that it's single and I think it's got the most listens on Spotify. 

    I mean, I like it. I think probably the most unique thing about it to me is like, I know we make a lot of Bob Rock jokes on this podcast, and I really do like Bob Rock. I joke a lot. 

    But I feel like Bob Rock isn't even in the rear view mirror anymore with this record. 

    It's something that I don't think many producers would have had worked on or signed off on or been a part of. 

    It's really different. It's really different. 

    But I like this track. I don't think it's the best track on the record. 

    And I wouldn't even call it a banger. I like this track, but I wouldn't have chosen it as a single. Wow. 

    Just give me the news, Tim. 

    Well, this was like one of three that they played live on that last tour, I believe. 

    [26:53] And the sound was a little more, I don't know, it was refined in some different way on this one. 

    It almost sounded like the drums, some of the drums or recorded in a hard-walled room or something. 

    This one had, again, this album has a different feel to it, and this one kind of was like, brought us out of the clouds of that first song. 

    It felt like maybe, I didn't, in general, on this album, I didn't conceptually get into lyrics whole lot but this one made me think like. 

    [27:31] This sounds like it's based on hospital experiences or maybe Gord's wife's cancer, or there's some kind of personal struggle in here with the lyrics in the, I felt like the ending waskind of a cliffhanger, like the verse just kind of drops and there's no, yeah. And then there's no stanza. 

    [27:56] Like there's, it just, it just stops right there. You know, like Like, what was the look on her face? 

    I want to know. Yeah. Yeah. Yeah. 

    And you know, it also conversely, like many of the hip songs and Gord's lyrics, it made me just, while I was driving, it made me think about social media and how everybody's on theirphones and staring at their phones and always looking down and, you know, I kind of, uh, I have this constant commentary on, in my mind about how, like people are going to slowly turnback into tumbleweeds because we're all looking down so often, we're just going to roll away. 

    And this, you know, this, this, this song kind of, I don't know, it was just, it has good pickup for song number two, but it also is kind of carrying the same ominous feel, you know? 

    Yeah. Yeah. Yeah. 

    I, I had a good thought for you and now it's gone and that's a shame. 

    That's a crying goddamn shame. 

    [29:07] Trying to see if I can will it back. Not coming back. I'm vamping. 

    Now I'm speaking out loud about vamping, which has given away the gig, which means I should probably just switch subjects and go to What Blue? What Blue. 

    [29:30] I dug this song a lot. I thought lyrically it was very cool. 

    There's some really unique background guitar licks in here. Again, this is another one that that the arrangements and the way everything's placed is just rad. 

    I love it. I got a really, especially with the spacey solo, I got a really pavementy vibe from it. 

    Wow. The lyric, I love you so much, it distorts my life. Like, oof. Yeah. Oof. Yeah. Yeah. I dug this track. 

    [30:15] It's sweet. It sounds like it's maybe, I don't know, part of it feels like it's a weird one. Like it felt, you know, some of the guitar sounds, Pete, that you mentioned, felt kind of cave-like. 

    Like there's some resonance or something going on in this album that's a little bit different that perhaps Kevin Drew or Dave Hamlin brought in. 

    You know, that's pretty cool. The song's under three minutes. 

    You know, it doesn't feel that way, though. 

    It's one of those songs that's quick and heavy and big. 

    But at the same time, even though we're having kind of like these, I was having kind of these dark ominous, like, whoa, what's going on? 

    Whatever. This song felt kind of lullaby. 

    And there's a few songs on here that feel kind of lullaby and sweet and loving. 

    And they might sound dark, but I don't think that was really, like the intentions or maybe which is it's classic hip, you know, with lyrics and meanings that the intentions or whatever kindof all over the place can be looked at different ways. 

    But yeah, this one, uh, it was a quick, sweet one. I agree. Any other thoughts on what blew? 

    [31:38] No, okay. So I, I remembered what I was going to say in a world possessed by the human mind, the line that he talks about, like looking down at your phones, every time I hear it, Ijust crumble because I would love, like, that's a reference To a time in 2016, that isn't ahead of its time by any stretch, but it's a timestamp on the song, you know what I mean? 

    There's there, it makes it in real time. It makes it in this universe to speak on the multiverse level. It makes it happening now. 

    And that's the end. That's the last one we get. 

    That's the last timestamp we get. We don't get to hear any more, um, you know, his views on like, what would he have thought of Donald Trump's reign? 

    You know, I would love to know he wouldn't be super political about it, but there would be flourishes in his art. I'm sure. 

    [32:47] You know, I don't know. I would hope he would have been super political about it, you know, because Because not in general I feel like there isn't enough and with the the stage thatthey held in the audience that they had Whether or not they were Mostly Canadian. 

    I mean he he he had a voice to be able to do whatever the fuck you want So oh absolutely, I think they would know you're on bananas if they were to kept playing I think they would havegone bananas politically. 

    I would have expected it from them Yeah, which is also fucking fucking tiresome. 

    You know, I can't tell you. I mean, it just was two weeks in Europe and I can't tell you how many conversations came up. 

    Yeah, no, well, no, yes and no. I mean, so many conversations about like, we heard about the shooting yesterday, the massacre yesterday, this yesterday, that yesterday. 

    It's like, fuck. Yeah. Yep. Yeah. Oh God. I don't know what he would about all this. Yeah, exactly. But I'd love to know because he had an interesting filter. 

    He had an interesting prism, right? Like he would take in the information and then it would come out in all all the colors of the rainbow on the other side, and it was beautiful. Speakingof, beautiful. 

    [34:08] Hi. Pete, I want to draw you like one of my French girls. Right? 

    Especially the way he's lounging right now. Yeah, I'm kind of lounging. 

    For all the listeners, he's in a room with, I don't know how many candles are lit. 

    There's a bunch of mirrors. He's got like satin pillows all over this crazy velvet. 

    I can smell it here, Pete. 

    I mean, I wish my screen was scratch and sniff. Yeah. Oh, God. 

    [34:41] You know, well, we can get into the next song, but I was going to say, in terms of Gord, just his take, I feel like he'd have a nuanced take. 

    And I think when it comes to politics and when it comes to the state of the world, whether Whether it's Donald Trump or a mass shooting or Trudeau or whatever, it's like, there's the goodvirtuous script to follow that, you know, if you don't, you're a total piece of shit. 

    And then there's the other side of the people who speak in a way that they don't have any remorse or don't have any care. 

    They're completely on the opposite. Those are kind of the two spectrums or as it's more commonly referred to the left and the right. Or actually racist. Yeah, yeah. 

    Racist or virtuous people. Yeah, yeah. But that's the thing is I think that somebody like Gord's perspective would have been a a lot more nuanced and my only question isn't how good itwould have been, it would have been. 

    [36:01] If he was around, like, how would it have been received? 

    Because I think there are a few people that speak very, very intelligently about the state of the world, about things like Trudeau, things about Biden, things about Donald Trump. 

    And those voices get drowned out because it's not, Fuck that, this is a racist motherfucker, blah, blah, blah, or whatever. 

    It's just like, yeah, that's the easy thing to say. It's the low-hanging fruit to be so virtuous and, you know, everything. 

    Like I said, it's a script. People follow it. It's kind of, it's to me. 

    [36:43] It's sickening because it's so easy. 

    Yeah. Yeah, of course. Yeah. Donald Trump was, is it, is it, is a shithead or, you know, like, yeah, duh. 

    But, you know, it doesn't seem, and I, yeah, yeah. 

    But but you know like that's what people say and that's all people really say nobody I feel like if Gord was around here. 

    I am putting words into his mouth, but um, you know Perhaps he would be a little more nuanced and talk about the reasons why things are the way they are I think instead of just like Youknow this this orange Hitler who just popped up out of nowhere and like like blindsided the entire world. 

    No, dude No, and I think when it comes to bad things in the world, be it school violence or shitty, horrible politicians or racist people, everybody plays a part. 

    [37:42] Everybody plays a part. You and I play a part. We all play a part. 

    And so to just sit and point the finger and be like, those people are awesome. 

    Those people are amazing. people are virtuous and accepting of everybody, and then those people over there are racist, deplorable pieces of shit that should go away or live on an island bythemselves. 

    It's just like, it's so stupid. 

    And there's not enough people in this world. And that's what I think the conversation that Gord would bring to the table would be a much more nuanced conversation. 

    Because nowadays it just doesn't exist. 

    People are just so quick to talk about shit from a place that they're either repeating a talking point they heard on CNN, MSNBC, or Fox News. 

    Yeah, strange, you've got whatever channel suits your flavor, so you're in that echo channel. Yeah, and all that shit's entertainment anyway, man. Yeah. It's all, you know. It's bonkers. 

    Well, speaking of nuanced lyrics and a song about a place, let's go to Insarnia. 

    [39:00] Tim, what do you got to say about Insarnia? Uh, you know, I more or less just vibed with the lyrics right off staring at your phone, like a poker hand. 

    You do, you don't know who you are. You know, that's the one that's my heart. Yeah. 

    My heart and pocket and I you're on my mind, you know, it's just, it's. 

    He's, I don't know that this one made me think about so many different things. 

    And again, it had kind of this lullaby, kind of folky acoustic guitar, maybe acoustic bass in here. 

    That's kind of what I was hearing at one point, which made me, you know, I hate to ask artists about their songwriting process, but, you know, knowing the fact that these guys sat aroundand sat in a circle or whatever and pumped out songs together, it just made me just kind of want to see that experience that. 

    It has kind of a bizarre ending, as many of these songs do. 

    [40:07] The only thing I read about it was, you know, Gord said at one point it was supposed to be called insomnia and it ended up in Sarnia and I don't really know why or what the story isthere. 

    And that's great. I didn't know that. That's kind of like, yeah, that's kind of like the, maybe the constant theme on this one is, is not really knowing, you know, and just feeling the head, justfeeling the heaviness of it. 

    Um, yeah. He was reading the Lion, the Witch and the Wardrobe. 

    Maybe. Yeah. It's Narnia. That was Narnia. Yeah. Yeah. Narnia, you've been on my mind. 

    No, I think this song is gorgeous. Like this song reminds me, it's cousins with flamenco, you know, like it's, it's, it's beautiful on a different sort of level or break, breaking out, throwingoff glass, you know, like one of those songs. 

    It's, it's just sort of a different caliber of song. 

    And, you know, to, to, to get here at point X, you know, from point A, which was werewolf baby, this is on crab, all crab, you know, this is 35 years later. 

    And what they've accomplished together as a band is amazing. 

    [41:36] There's not a lot of bands that the Stones have been around forever, but they didn't do it. 

    You know, they've released shit like from like 1983, like it's been junk, you know? 

    U2, another legacy band that we think of as like infallible, like they haven't done anything great since Zuropa. You know what I mean? That's a long time. 

    Joshua Tree. Yep. Joshua Tree, yeah. 

    I mean, Joshua Tree is a... Those early records, man. Amazing! 

    Amazing! Yeah, that was... Just saying. We'll save that for another pod. 

    Oh, well, I'll say real quick about Insarnia. 

    Is that this is... well, I'll save it. I'll save it for here in the dark. 

    [46:23] This record feels like, do you remember the Sports Illustrated cover of Dennis Rotman in drag, sitting on a motorcycle? 

    Sure. Really famous, where he's wearing lipstick and earrings. 

    They probably wouldn't have allowed that in my town. 

    Probably would've what? They probably wouldn't have allowed that magazine in my town. Really? No, I'm joking. 

    Oh, I was like, man, I thought Canada was pretty open about that stuff. 

    No, I remember vividly because it was like, I felt like, okay, Robman was crazy, amazingly talented basketball player, but he finally was able to, and if I remember correctly, reading someof that article and watching some of the interviews, he was finally able to be himself, whoever and however, whatever that looked like, you know, and that was a big, big deal. 

    That was a big deal to put a star basketball player on the cover of Sports Illustrated in drag on a motorcycle. 

    [47:31] This is 90s, you know, mid 90s, whenever it was. 

    Anyway, the reason why I thought of that was because I feel like this record is that. 

    I feel like this record is like, really they just are being who they want to be on this record. Like it or hate it. 

    Some people like other things better, but I feel like the records in the past were always for a reason. 

    Maybe that reason was trying to break through the American market. 

    Maybe that reason was trying to make this record sound more this or that. 

    Maybe that reason was whatever Bob Rock thought, you know. 

    But I feel like this reason is this record is just because they wanted to play. 

    This happens to be my favorite song on the record, hands down. 

    The way the bass starts off, everything about it, the chorus, guitar licks. 

    [48:25] My only, the only drag here is that the, I'm not a big fan of the, the, the ending. 

    So it kind of leaves you hanging. Yeah, it kind of left me hanging. in one regard, I was. 

    It just made me think about the prior songs and how the endings are not, I don't know. 

    Many times we've commented on their song endings not just wrapping up or whatever it is, but this one really left you hanging a little bit more than usual because this is song five and thewhole song picks up energetically, right? 

    [49:09] And it kind of feels like we're going someplace now, a little bit different. 

    Like you mentioned, Pete, the bass is really good. It's like, oh, yeah. 

    It's just chugging along like this locomotive. 

    And there's a little bit of effects to it. But it also kind of, the song to me, even though it was picking up in pace and everything, energy, it also kind of felt like we were slogging throughthe mud still. 

    Like there was just still momentum, but a struggle here. And then this leave you hanging ending, it just, yeah, it was a, yeah. 

    [49:51] I'll just add to this one, kind of on this album in general, we touched on it at the beginning, but it really left me wondering, Not necessarily why, but here we are in this new feel of achapter in The Hip and their discography, and how amazing to be in a band, to be able to go through this process for so many years, and recording on average probably every year and ahalf, and be able to knock out an album that's, you know, I just look down at my notes and the first thing I read track wise is tired as fuck. 

    I mean, maybe that was like part of the sentiment here, you know, that some of the music on this album feels just as far as the actual guitar, bass, or drums go. Some of it feels like. 

    [50:58] Here we are, we're back recording, this is good, you know, this is, we're making art, and some of it feels like, whew, I've ran, you know, 15, 16 marathons, and this one's feelingespecially hard this time, you know, like, kind of like, what's going on? 

    Well, it kind of doesn't matter, this is life, let's just keep chugging through it. And that's, that's kind of how this album was when I, when I was talking about playing it for my wife whenwe were packing up. 

    You know, it was really interesting to pause and consider, maybe I should put something else on right now, because that's like an album making you think, and it's art making you stop inyour tracks, and that's like the purpose of it. 

    You know, it's called The Artist's Goal. I honestly think if we didn't get screwed, and he never had cancer, this record wouldn't have been toured in arenas. 

    It would have been toured in small clubs purposefully, not because it wasn't drawing, but purposefully it would have been in small clubs because it's suited for a more intimate cabaretenvironment. 

    If they're touring heavily on this record, that's what I would think. 

    [52:14] But we did get screwed, and we only got to hear three or four of the songs live, and were in a stadium setting and going back briefly on, in a world possessed by the human mind, Ithink that's also why I really like it because I saw it live. 

    Uh, cause I love the breakdown in that song, like leading up to the bridge. 

    Um, the breakdown, I love the tone of the bass. Like it's very reminiscent of like eighties, um, like new, new wave indie sort of, you know, vibe. And it's just so fresh. 

    It's just so fresh sounding for this band, you know, that was playing Cordelia, which is a fantastic fucking banger of a song, but it seems like a thousand years before. 

    Yeah. Yeah. 

    You know, they're like our little tree. Yeah. And we've got to see them grow. 

    Taken off, you know this this may have been like precursor to I don't know to. 

    [53:22] Like MTV MTV unplugged situation kind of riffing off where you just were, you know, it could have been like it could have been like I Don't know Pinch hit kind of move for hissolo career, you know could have of, you know, it would have could have sold many things. 

    [53:46] I mean, there's, there's part of me at this point, this juncture in their discography, of me is just really wondered or made me think. 

    [53:58] Like, what the fuck, you know, it's yeah, it's really hard sometimes to process someone who's pivotal in your life. 

    And it's just like, you know, I can steak and eggs or your morning coffee or whatever it is, and then having that kind of go away and come come back just in a different version. 

    And it's not the same, you know, it's just that I feel like that premonition or whatever the word is for this album is is layered in for sure. 

    Yeah. It's eerie. That's a trip. It's a trip. Yeah. Totally. 

    Yeah. All right. So let's flip the record over and head into Great Soul. 

    [54:49] I really dig the melody, catchy, cool guitar opening, but I mean, I like a lot of things about this song. 

    I think the ultimate takeaway I had with it is it just never gets there. It's like tantric sex. 

    It's like you're waiting for the big boom and it just doesn't. 

    By the end, you're just like, fuck, really? 

    You're just waiting for a heavy guitar to just come in and just destroy it, and it just doesn't. Like, okay. 

    So my main note on this one is, this one I looked up. 

    I was like, all right, nothing works. I'm out of ideas. Like, what is going on with this one? And apparently, the guys were Simpsons fans. 

    And there's a scene from The Simpsons. I have it queued up here. 

    And I'm going to try to play it to see if you guys can hear it. 

    And it's taken from Ned Flanders' Parents, this nothing works and I'm out of ideas. They changed it up a little bit, but this is a reference. 

    We'll try to play it right here. 

    Yeah, you've gotta help us, Doc. We've tried nothing and we're all out of ideas. 

    [56:09] That's the scene. I mean, paint the picture, it's Ned's parents with a doctor and Ned's in the background bouncing off the walls, you know, like no attention to anything. 

    That's the line. So apparently that's where that came from, which I just love, that made me feel like, okay, there's still some playfulness going on here. Oh yeah. 

    Take a fucking Simpsons quote, give me some really foreboding, foretelling, I don't know, pessimistic something. See, isn't that fucked? 

    Because this is why poetry is great, you know? 

    Yeah, yeah. In the context of a song is that one nugget of an idea, to me, that was very deep. 

    To me, it was very deep. To me, it defined my life. It was a mantra. 

    It was like, that's who I am. I've tried nothing and I'm out of ideas. 

    Like, I'm fucking useless, you know? 

    [57:04] And then you tell me it's a Simpsons quote and it's like my world has just come falling down. Way to go, Tim. 

    All right. I love that about it. It made me like it even more, you know? Yes, me too. Hell yeah. Hell yeah. Let's take something that makes us giggle and turn it into something else, youknow? All right, let's hit it. Tired as fuck. 

    Yeah, my initial search on this one led me to t-shirts that have big, bold font, tired as fuck on the front. 

    And I thought, oh, I need to have one of those shirts. And I was like, maybe, where would I wear this shirt? This was a single. 

    Yeah, yeah, yeah. 3 million plays on Spotify. It's big. 

    I love the lines, you know, Get so high, you can let go. Lake of gin up to my chin. 

    It's so easy when you don't know how. 

    You know, this song, it's like, when we were traveling recently, from Rome to Dallas to Portland, man, that Dallas to Portland leg was tired as fuck. 

    You know, it's just, this is, this just, it became an expression song. 

    You know, that's kind of what I, It's kind of what I got out of it, yeah. Nice. 

    [58:23] Yeah, I dug it. I mean, it was, it was, I definitely was, I mean, I could see it being a single for sure. 

    [58:29] The melody, I like the, it's got kind of a, I feel like, like, I don't know if it's, it's, it's Paul Langlois or Rob Baker doing the, the guitar on this, but very, it's a little Spanish vibe to it. 

    I get some undertoes there. 

    Again, the percussion and arrangements for this whole record is really stands out and this song is... 

    In my head, it's like if we had these two producers for We Are The Same, I think, like, because the bones are there. Like, there's some great songs on it. 

    It's not a piece of shit, you know, but it's like, it's just not up to snuff, I don't think. 

    And I know a lot of people, it's their favorite, but hey, whatever. 

    I just think these guys on that record, whoo! 

    I agree with you 100% 100% All right, hot mic. 

    This is another one that made me think Gord would have a heyday with where we are now that everything is a hot mic, you know I Don't know. 

    Well, it's a big bold Tom's at the beginning Love yeah, I love the way this begins This was one of my least favorite songs when I started listening to this record and it's bubbled up, it'sprobably a top four for me now on the record. 

    Where do you stand there, Mr. Tim? 

    [59:56] Um, you know the song I... 

    [1:00:00] I found I was I was kind of more lost on this one and honestly at this point in the whole my whole listen of the album with this song I was like fuck it I don't really care what thesesongs have been about I don't really care you know to look into this one I just was it kind of, and not in a negative way, it kind of just like I'm just succumbing to the hip at this point. It'slike, give me another shot. 

    We need to keep going. I'd love to riff on what you just said, Judy, like the drums and bass again. 

    Just kind of this thunder rolling through. I love it when they do that. 

    I love when those guys just create this, you know, storm. 

    [1:00:54] And I love that thought about the hip in this song. The ending of this one has this like pew pew kind of weird sound. 

    It was interesting. But I kind of went from this one right to the next one. 

    So this one didn't hang with me. Yeah, nothing negative. 

    But I was just like, OK, what's going on next? 

    Because I knew in my listen methodology, I'm like, OK, We're heading towards the finish line. 

    Tim was very passive about this song. Yeah, in not a negative way. 

    It's just how it was. No, that's what I'm saying, passive. Yeah, yeah, yeah. You can't be negative. It's funny, because I mean, I echo a lot of what Tim says. 

    And to be honest with you, JD, hopefully I get to where you are today, that the song bubbles up a little bit. Because I thought it was cool. 

    I thought it was interesting. But it was definitely not a standout track for me. 

    Hey, I want you to keep working at it. And one day you will be like me. 

    Yeah, yeah, yeah, I will. Man, you've got some guns there, man. 

    I thought guns were illegal in Canada. 

    [1:02:02] Ha ha ha ha ha. Probably. Potion next! 

    [1:04:38] Ocean X I thought was great and it grew on me and the more I heard it the more I don't know it It's oh, it's a it's a weird one. 

    It it appeared in my head many mornings in a row I don't know what it is about it because it feels like a song that there's often songs i'll hear this is my my Catholic upbringing right here,but there's often songs that I'll hear where I think, man, this would be so cool played inside a massive church, you know, some cathedral or, you know, and really, and I thought you weregoing to say, like to listen to with God. 

    Of course, of course. No, but there's, there's a venue here in Portland. 

    That's an old church. It's called the old church. And it's amazing to hear bands play there. It's just different. 

    And this was one of those for me. 

    I don't know why. It just stuck in my head. It's dark. 

    It kind of became one of my favorite ones on this album. And I can't really explain it. 

    Pete, what did you think of Ocean Next? I loved it, man. And to piggyback off what Tim said, as far as his Catholic upbringing and being in a church, you definitely want to listen to thissong a healthy dose of guilt also. 

    [1:06:05] Always. Sorry, had to. Lil Hanging Fruit. No, I mean, it's one of the coolest tracks on this record, and I echo everything that you said, JD. 

    It would be, it's weird that it became the stadium record that it did, but I would love to see this band just at like, God, not even like a theater, just something super small, you know? 

    [1:06:32] Like, if it was like 50 people, like that would be awesome. Oh, man. I mean, yeah, you're never going to see the Tragically Hip with 50 people. 

    No. But this just record had that vibe. I would love to listen to everything. 

    You know, and that happened. I mean, I was reading a review of them playing live and somebody, the writer commented on them playing stadiums and then them showing up in a city inthe U.S. 

    And playing to like 80 people at a venue that maybe holds a couple hundred people. 

    And not many folks showed up and, you know, this one show, I wish I could remember what it was, but the show, they were basically saying that the band seemed to have, like. 

    [1:07:18] Said, fuck it, and got ripped, and played an amazing show. And it played an amazing show, but they were like, fuck it. 

    Who cares that nobody's here? Let's just do whatever the hell we want, and we're going to play how we want to play. 

    And if somebody gets sloppy drunk and stumbles through their bass lines, who cares? And I mean, I love to witness shit like that as a fan. So it's, yeah. 

    Oh, I think that's part of their ethos. Like, they were always going to put, we've talked about it a lot through the show, but they're always going to put their art ahead of you know, anyother pursuits. 

    And in fact, Gord calls it out on his posthumous record to the song, basically his posthumous record that came out about a month after he died. 

    He had it set up almost like a, you know, like it was set up to come out. 

    If I'm, if I recall correctly. 

    It was set up to come out after he died. 

    [1:08:16] And it came out and it consists of however many songs, but each song is about one person or one group of people in his life. 

    [1:08:28] And it's just led to many people trying to decipher who is who and what is what, which one's about the kids and which one's about this. 

    But there's a very clear one about the band And if you get a chance give it a listen. It's pretty cool. 

    Has everybody spoken about ocean next? 

    [1:08:44] Yeah Yeah, right. So then we get the right parenthetical this record machine or enroll Tim so Yeah, so this one's you know past the five-minute mark. 

    We got we got a longer one here They played this one a little bit live on their last tour. 

    I found they they played it 15 times so this is yeah, I know this is kind of maybe more of a I Don't know. 

    It's it feels like about three minutes in I Was expecting it to maybe wrap up and start ending but it kept going and it was a good thing like it It felt good for a closer Yeah, it has this strangekind of shut it down, electronic ending Yeah, even even though it had like this pick-me-up feel for an ender it which is again kind of classic hip like leaves you Excited for the next albumand wanting more this had still had some of that there. 

    So it's It's a little bit of an oddball in that regard with the rest of the album and now I felt going through it but you know, it's It, uh... 

    [1:10:02] Yeah, it just felt like a good end of an album. 

    If this last song was deeper and darker, if this album had an ending of this song, if it was just more deep and more dark and more foreboding and more like, what the fuck, then I think thewhole album would have felt a little bit different, but this song doesn't feel that way. 

    It still makes fans, I believe, probably want more hip and it's just got that. 

    I love the lyrics of, you know, I'm a machine, I'm a real machine, you're a real machine. 

    It's kind of like we're all in this together feeling. 

    I also love the line, I can try not to try and remember a lot. 

    I mean, that's just like, that's just like, get through the day, you know. 

    So this was a good ending of an album for me. 

    [1:11:04] Man, when I got really high and listened to this record one day, I was convinced that man and machine, you can loop them somehow. 

    Hmm. They seemingly, like they fit together somehow, but I couldn't figure out how to put them together. 

    So I could never replicate what I heard in my head, but to me, they're so linked. 

    So linked. If anyone out there has done that before, please, please send us, please, please send us some. Yeah, totally. 

    Yeah, that'd be cool. Yeah. Some mashup. Yeah. What did you think, Pete? I mean, this is the title for this record is as a reference to the song on the on the previous record. 

    Which I think was probably one of my favorite, if not my favorite song on that record. 

    [1:11:58] I thought this was a really cool ender. It did wrap up the record nicely in terms of where it started. 

    So I feel you JD. I don't know exactly what it sounded like in your head, but I definitely feel you on the first song and this last song being something you could like somehow loop or mix. 

    I got some Beatles vibes from this song. Definitely got some Beatles vibes, But probably the coolest thing was the guitar following I'm a Real Machine. 

    Like, that melody is being played on the guitar as Gord sings it. 

    And I just think that's so cool when bands do that. 

    Oh, I didn't hear it. Yeah, it's cool. Yeah, I heard that. It's simple, but it's like they're playing the vocal melody on the guitar. And I just love it. 

    Because you can fuck it up pretty easy. It sounds cheesy, but it sounds awesome. 

    Yeah, good wrap-up on this record song. 

    [1:13:05] I think it's a good way to wrap it up. And ultimately, a wrap-up on the career of the Tragically Hip. 

    Tragically, you know, ending way too soon. It's been a number of years now, but it still feels like yesterday that I listened to them for the first time. 

    Well, I don't want to get too finale on me here, on you guys here, so I'll save that for a wrap up. 

    But suffice it to say, I, you know, this record is a record that like rocketed up my power rankings earlier this summer. It's a top seven record for me. 

    So I like this one a lot. Any final thoughts from you, gentlemen? 

    I just can't wait to see everybody in Toronto. Yeah, man. Just can't wait. Yeah. Stoked. 

    It's going to be great. And Bob, if you're listening, you should come. 

    You know, we want to drink some champagne with you. 

    Pete wants to hear your PSS and your, what does he drive? 

    Jaguar? He wouldn't want to listen to this trash that I mix. 

    I'm sorry. Bob's a Jaguar guy. MVP tracks, for the record. Pete, we'll go with you first because you already gave yours away, you ding-dong. 

    Yeah, sorry, Here in the Dark, best song on the record. 

    [1:14:34] Hands down. Yeah, OK. I'm going Ocean next. It's just I don't really know why. It's a close second. 

    Some of the songs I've picked from this process, I'm not really sure why. 

    But this one, it's a little bit of an oddball. And this is the song that I woke up hearing in my head several times in the past couple of weeks. Very cool. 

    [1:15:03] Well, thank you very much as always, gentlemen. We'll be back next week for one more spin around the old turntable before we head to Toronto for the finale on the 1st ofSeptember. 

    Hope to see you there. Hope to. Well, I know I'll see you guys there, but I hope to see everybody who's listening there. 

    And that's all we got for you. Thanks. Thanks, fellas. Good to see ya. Pack up your shit! 

    Support this podcast at — https://redcircle.com/fully-and-completely/donations

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    S3E15 - 1h 16m - Aug 22, 2023
  • Forged from something not of this earth

    In this episode, join hosts Pete and Tim along with special guest Dan as they dissect and analyze the Tragically Hip's 2012 record, "Now For Plan A". They dive into the musical journey, reliving their first experiences and evolving impressions over multiple listens. From highlighting the unique elements of each song to the lyrics and influences behind them, no detail is too small. They examine the guest vocals of Sarah Harmer in 'Look Ahead' and the Rolling Stones-esque 'Modern Spirit', exploring the musical and lyrical details. Listen in as they debate the meaning of the lyrics in 'Take Forever' and uncover the mysterious 'About this Map'. A treat for any Tragically Hip fan, this episode is a deep dive into the iconic band's musical journey.


    About this Map - Studio Version

    Man Machine Poem - Toronto 2012

    Streets Ahead - Ottawa 2011

    Take Forever - Toronto 2012


    Track 3:

    [2:51] Hey, it's JD here, and welcome to Getting Hip to the Hip. 

    [2:54] A weekly podcast where I take my friends on a whirlwind tour of the Tragically Hips discography, one record at a time, week over week. 

    And that is the case with this week, as we're discussing 2012's Now for Plan A, the 12th studio record from the Tragically Hip. 

    I'm joined as always by Pete and Tim, and we've also got Dan from London here. 

    How the hell are you guys doing? Oh good, oh good. 

    Excellent. Well, after that, hold on, let me look at my segment guide here. 

    Uh, introduction, rousing response from the gentlemen. Yep. Check. 

    [3:53] Now we'll move on to the next segment, which is, uh, experience with this record. 

    This is a coming off of, we are the same, a record, which was, uh, roundly dismissed by these two gentlemen, uh, a week ago, Dan, um, it was one that It was one that was not well liked. 

    So we're hoping we've got a comeback on our, in the mids tier. It happens. Bye bye. 

    Pete and Tim Burse, talk to me about where you listened to the record the first time, how you experienced it on multiple listens, and overall vibeage off the top. 

    And then we'll fire it over to you, Dan, to get a similar reaction. 

    Well, I listened to it in multiple places. Listened to it first, I think, I think, working, sitting at the computer, listening to it in the home stereo system, listening to it in the car. 

    [5:02] I love the record. I don't want to say too much because I think we're going to get into a lot of it. 

    But only thing I will say, and in all due respect, I don't want to come off harsh here, but fuck you, Dan, right off the bat, Because you've had this record for some time, and we got a weekto soak it in. 

    week. Let me tell you, a week wasn't even enough. 

    I mean, I could soak this record in for a year. 

    That's all I'm going to say. I'll agree with that. With all due respect, but I can't fuck you down. Like, with all due respect. Thank you. We had a week with it. 

    We had a week with it. I feel like we had a lifetime with We Are The Same. 

    But we only had a week with Now for Plan A. 

    And I felt a little rushed to let it resonate, but every time I turned it on. 

    [6:00] I don't know. I don't want to say it felt like the first time, but it just clicked with me. There are some good tunes on here that we'll get it. We'll get it. We'll get into it. 

    But I listen to it my usual places. 

    Usual places. I listen to it more, I guess, excitedly with my better headphones on around the house, which always makes for, where's dad? Oh, he's right there. but he's not here. 

    So I, you know, because I wanted to hear it in its entirety. 

    And I can only really do that in the car or with the cans on. 

    So yeah, that was kind of my experience. It was quick for a quick album, right? 

    Yeah, the fastest record in their oeuvre at like 39 minutes or so. 

    And only two singles as well. That was shocking to me as well. 

    Which were those? I didn't think they were at transformation was the first single. Of course. 

    And hold on. I've got it right here. 

    [7:09] Streets ahead. Cool. Cool. Any feedback from Spotify? 

    Did any of you guys look at Spotify? Like where the play counts were? 

    Yeah. I mean, I think that's definitely up there. there. So is, so is that transformation and, and I think the title track. 

    Okay, gee, I just want to get transformation. Judy, do you use the term oeuvre a lot? 

    And I pause it to think that you use that term a lot because it rhymes with your last name and the production company that this that is gifting us with this here podcast oeuvre. 

    Yeah, yeah, that's what it Is that why? It's my last name. 

    [8:00] And Ouvra combined without the D. Yeah, and it's because it's all my work, right? 

    It's my collection of work Right is do. 

    Yeah, so so you don't like the D is what you're saying Hey now Pete told me he thought it might be a extra terrestrial Anatomy that he's not aware of Dan, Dan, he actually said this is thisis this somebody part that I didn't learn Dan's regretting joining this podcast. 

    Dan, what are you, like, well I want to hear from Dan, I want to know what, he's had a wild time. 

    Yeah, yeah, yeah, well listen with this whole thing I'm just along for the ride, you know. 

    I'll let you guys play out in front of me. Um, no, um, yeah, as you say I was really lucky because it was after the last one I was on that I learned that this was the next one I was going to beon. 

    So I had some considerable amount of time and also time to purchase Jan's album and get it imported from Germany I think. 

    [9:09] So I had a real binge at first because I think it's a pretty easy album to get into. 

    There's a, there's a couple of tracks that sort of, you kind of misplace, you know, in the order along the way for various reasons, but, um, I've, I was just listening to on my way to work. 

    So that was always, you know, whilst traveling on the train, um, and, uh, and I had, I had good times of it and I had it all prepared what I was going to say. 

    Um, because it was many months ago, I then moved on and got busy and did different things, forgot it all. 

    And then spent today binge listening and making notes again. 

    So I'm actually catching up with you guys now, which is typical. What can I say? 

    I mean, that represents our week with this album. 

    [9:57] Oh, that's great. Dan's last visit was Trouble at the Hidden House, right? So he's had a couple of good ones. Which we also have in the collection now. Nice. Awesome. Look at that.All right. Look at that guy. 

    Well, what do you say we start this, Son of a Gun, then? 

    We get in, turn the keys, and see where we end up. All right. 

    Analysis of the first song, "At Transformation"

    [10:16] The first song, we start in with this cancer metaphor right off the bat with At Transformation. 

    Can I go? Sure. This one, I was so happy hearing the first seconds of this song coming off of our last album's experience. 

    [10:39] This one was so fun for me. I was relieved to hear this song. 

    I played it three times before I went on with the album. 

    Literally, just like, OK, let's do that one again. OK, let's do that one again. 

    It's just so I mean you can feel I don't know the, the bass is on fire in this song. You can feel Gord when he does the you know after that transformation towards the kind of the end. I feltthat coming. 

    You knew the woo was coming, right? 

    I don't know, it just... 

    Context aside, it's a killer song and even the The outro loops back everything about the intro. 

    It just was this circle of a song I felt like just could have been a single, been done. OK. Yeah. Great starter. 

    There's some weird, on this album, there's definitely some playfulness with song endings, with distortion and feedback and keys and synthesizers or something, which this one kind ofgives us that first taste of. 

    So I was happy to hear it. Played 128 times live. 128 times live. 

    So they played this one a bit. How about you, Dan? 

    [12:04] I mean, my second favorite track on the album. Yeah. I mean, as soon as that sort of distorted bass kicks in, you know you're in for a bit of a ride. 

    And again, similar to other tracks that we were looking at when I was last in on the Hen House, this does similar things where you've got that not quite, you've got a really good bridge andthen a not quite a chorus, but then it comes in the second time with the, you know, that transformation bit. 

    Well, the I can see it all at once and that transformation bit, and then that bass takes off and does its thing and it just, man, it just takes off. 

    And as we say, it just dissipates into this weird sort of sonic, mad sort of ending. 

    And similar to the start, it's like after that bass is there, the guitars kind of come in in some kind of informal manner, and then it just, bang, picks up when he starts singing the verse. 

    So it's a banger. Yeah, absolutely. Listen to it again and again and again and again and again. 

    [13:04] Contextually, it's weird. I second-guess myself a lot, not just to this song, Especially with the song though, but with the whole record I say because Tim alluded to it a little bit. 

    Dan doesn't have the context of last week's record So I'm like is this fucking record is amazing as I think it is? Or is it, it's like, hey, I've been living in a, you know. 

    In a faraway prison eating rice and stale bread for three years and now I'm sitting down at fucking Ruth Chris, Steakhouse and you know eating a. 

    [13:59] Filet mignon medium rare with a bottle of uh It just comes in like a beat and a half before. It's fucking cool. 

    I'm just looking at the notes. So long, Bob Rock. 

    A Welcome Back to Tragically Hip

    [14:21] There's a lot of that in these notes, the bass, guitars, chords, voice throughout this entire record. 

    This is just a welcome back, Tragically Hip. 

    [14:37] One thing that I thought of when I was listening to it was I pictured in my mind the whole band on stage playing this song after maybe being through some shit for a while and likeyou know 45 seconds into this tune everybody just looks over at each other and like they don't say shit they don't have to say shit they just say everything with their eyes and they look ateach other and just smile and are just like yep welcome back Welcome fucking back. 

    I mean, what a return. 

    I mean, yeah, I just feel like we drifted so much from last week, again, that listening to this first song was awesome. Loved it. 

    At the same time, you know, in my research and reading about Gord's wife and her breast cancer and him dealing with that and that kind of being a thread through this album, I believe.It's... BOOM! 

    [15:45] You know, it was exciting, listened for me and I love this first song, but at the same time, it's like, oh, fuck. 

    We all in our own ways, our own stories, our own experiences can relate to cancer and probably even breast cancer. 

    And we have a good friend who just went through it all the way and just a couple of days ago found out she was cancer free. 

    So. Oh, wow. You know, this is Gord's. 

    Yeah. Gord's wife, you know, came out. Yeah. 

    In the end and it didn't take her, which is fucking cool, but you know, to read, I don't know, there's one quote, just to get into it real quick. 

    There's one quote from him, um, from Gordon. He says, many of these songs are me trying to help, you know, through the process, mutely the way a man does around breast cancer. 

    So it's, it's some, some heavy conceptual. 

    Oh my God. Themes here going on. But even straight, even straightforward though, I was unaware that a transformation is the term, the medical term for a cell going from malignant tocancerous. 

    That's called a transformation. So that's what, you know, the title of the song is, right? Yeah. Heavy, heavy stuff. 

    And then we move into man-machine. 

    [17:07] Poem. 

    A Bold Statement: My Favorite Hip Song

    [20:44] I'll tell you. Yeah, I'm going to say right off the bat, I'm going to make a bold statement. 

    This may be my favorite hip song. Oh, wow. I mean, I didn't I. 

    Tim, I'm telling you the whole thing. 

    I was like mourning sort of Tiger the Lion for a minute in a weird way because I was just. 

    I mean, I don't know what to say about this song. Yeah, Yeah, it's cinematic, JD, but it's just so different. 

    And it's funny, because your whole thing that you just said was it's such a return to form. 

    And while it is, it's still melodically nothing like I've heard from the hit before. 

    That when it gets that minor four, that man, it trickles down. 

    Howard's Strained Voice and Unique Guitar Tone

    [21:37] It's amazing. Howard's voice is like, I feel like he's straining it on purpose. 

    It just sounds like he's screaming, singing with every fiber of his body. 

    And when he gets to the end of a phrase or a word or a breath, it's like, you know, it's out of gas and he's got to take a breath to recharge and say the next line. 

    One thing I thought of when I heard this, the guitar tone on this song is forged from something not of this earth. 

    I don't know what, and there's a lot of really cool effects on this record, but I just don't know what that is. 

    And I don't know if they remember, if they know how they got it, but it just... 

    The keyboards hit in this song too. Like there were so many keyboards in the last record that I think Tim and I and JD as well felt were squandered, overused. 

    [22:45] Like this was just. Did you gotta, you gotta write, you gotta write to Gavin Brown, the producer. I bet he'll know you should. 

    Oh, I mean, you're, you're talking about effects, settings, everything, all the mix to make that sound the way it did just Jesus dude it was wow what a song what a song. 

    [23:11] So this was played at their last show, right? 

    At Air Canada Center, August 14, 2016. Wasn't that it? 

    K-Rock Center is their last show, which was the 16th, I think. 

    Ah. Or the 18th. Either way, towards the end, this was played, and I can't imagine. I mean, did people know Gord had cancer? 

    They did, right? Sure did. Before the end. Yeah. So I just can't imagine hearing this one live, because it's, you know, originally about his wife. 

    And yes him talking about her having cancer and it turns out, you know I just when I heard this and put it all together I just thought this probably just made people cry towards the endwhen he was singing this song when you sorry That's exactly what I is one other thing I put my if I would have seen this song live it would have crushed me it would have physicallyFucking crushed me Yeah, I Mean the the metaphor of the Abbas it and the Peregrine Falcon. 

    [24:13] I mean you're talking a ballerina of a gentle long skinny legged bird versus a fucking Falcon which will swoop down and you know steal a Chipmunk or a squirrel or chicken oranything? 

    You know, there's just the the position in this song is just just so big and heavy. 

    And the first time I listened to it was in the car, and it was just like, you want to scream along with him, the chorus, but I just couldn't do it. 

    And then at the end, it's like this bomb going off. The end is just as explosive as the middle of the song. 

    So. Yeah. I mean, the song, at the end of that transformation, after you've gone through that weird little sporadic, you know, sonic soundscape thing, you get that little percussive knocking,you know, and it's, it's like a little sort of artificial heartbeat. 

    And then, you know, you track that in and it starts the song and then it's there at the end as well. 

    After the everything, you know, that big chord goes away. 

    It's it comes back into that as well. Um, but also within that as well. 

    Um, I mean, Pete was talking about guitars, but there's, there's, there's so much like weird tambourine stuff going on in it amongst all things as well. 

    So that was good. But I mean, man, yeah, what a huge song. And then. 

    [25:40] Yeah. I mean, I say that the, the, the, the chorus is huge, even though it's just three words, absolutely massive. 

    And, um, you know, God singing, as we were saying, it's just the, the first verse just starts off with this kind of declaration, doesn't it? 

    And it's a kind of desperate declaration and it just sort of, yes, this attacking desperation in his voice sort of carries on from there. 

    It's yeah. It was the same. It's just not like anything I've heard before. 

    That was amazing delivery. Yeah. And those lyrics, crazy. 

    Now, Pete, I want to go back to something that you said about, you know, this being something we've never heard before. 

    I feel like this is a band that even on the records that we didn't necessarily like, they do that every record. 

    They, you feel like they're touching the edge of their capabilities and you know, they're sort of, they're sort of, you know, whoa, they're sort of out there, this record, but you can do, youcan go all the way back to Road Apples and say that about Last of the Unplugged Gems, you know, well, this is sort of, uh, out of, out of left field, it doesn't necessarily fit on this record. 

    And then, you know, uh, we are the same. You could say that about the Depression Suite, right? 

    Like holy shit, who knew they had this opus in them? 

    [27:07] So I'm just curious, you know, if you vibe what I'm saying. 

    Yeah, no, it's a good point, JD. 

    And I think the component here that I feel is different, because I agree with you, especially you on the last record, we are the same. 

    And you could you could tick along to every record since. And there's an element of that on there. 

    But Tim said something in the beginning of the pod. I can't remember exactly how you said it, but what I had the feeling that I got was like this record being about his wife and all thatstuff. 

    It's one thing to be elaborate. 

    [27:55] It's one thing to show up to a party or whatever wearing the coolest outfit or dress or suit or whatever. 

    [28:09] But it's another thing if you wear it well. And what I mean by that in terms of this song is that you can feel that there's a feeling behind It's not just, hey, we're going to go fuckingbig and elaborate because, I, don't know, name a hundred reasons why the hip would go big and elaborate. 

    Probably the most used excuse would be that they want to break through the American market. Whatever. That's not what's going on here. 

    This is like organic as hell. 

    Everything about this song. 

    They're going big and elaborate on this tune because they don't have any other choice. They're like, this is the fucking song that's coming out of all of us right now. 

    [28:54] Yeah, it's elaborate. I'm just, this is the song. Fucking take it or leave it. 

    If that makes sense, JD. It's that difference, I feel. 

    OK, gotcha. Well, in the car with this one cranked, I just thought, imagine being in the recording studio with these guys and everybody's kind of listening to Gord belt this one out. Or Idon't know. 

    This song is just a gigantic one. So for song number two, following that transformation to get into this, if we want to jump ahead to the look ahead. 

    I mean, this gave us just a, we shifted gears a little bit and got a little more lighthearted with the look ahead. 

    [29:41] I thought the song packed a punch under three minutes. It's quick. 

    So the bass and the guitars seem a little more in tandem on this one. 

    If I remember right, there's like left riffs throughout. 

    But for me, the lyrics of you weigh a snowflake, the glamour of the sky descending past perfect eyes and hearts leaped. 

    That's just... Poof. 

    I am the look ahead. I first searched it as the look ahead three words and you know couldn't find shit until I realized look ahead was one word and then learned that that means awesomeyou know like I'll say Dan and JD have fucking look ahead shirts on today we Pete and I didn't get the memo where to wear pavement shirts but that that's that's the phrase The text wasnot sent. 

    The Look Ahead: A Beautiful and Uplifting Tragically Hip Song

    [30:47] Yeah. I don't know. What about you, Dan? What do you think? 

    I think the Look Ahead is my favorite Tragically Hip song by a long shot. 

    And as we were saying, it's just because of those choruses, those words that just hang over between the lines. 

    It's just beautiful. It's just absolutely beautiful. It just does something so amazing to make you feel fantastic. 

    [31:17] That's it, man. If I'm having a bad day, I could stick that on and that's me. 

    Yeah, because I just quickly mentioned that it felt more light-hearted, but I also thought this one is still fucking full of of juice, you know, it's still, I don't know, this is kind of felt like thisgreat tragically hip rock song, but it's it's loaded. And it's under three minutes. 

    So yeah, it's, yeah, I say it just it comes and goes. But as it comes along, it's just magnificent. 

    You know, you can't say more than that. It's just it's fully formed. 

    And this was one of the ones that I just started listening to it. 

    You know, you'd start at the start and the start is just so different to what it evolves into. 

    And you keep thinking you've got the wrong song, but that start section only lasts about 20 odd seconds before it just everything kicks in. 

    And it just, you know, it's one of those songs that you just can't say that much about. It just is what it is. It does what it does to you. 

    And you just recognize that and it's unstoppable. Yeah, it's cool. 

    Yeah, I would, I tend to agree with you. 

    [32:26] It's a banger for sure. Wouldn't be my favorite Tragically Hip song, but it would make my top 20 list, probably. 

    But boy, oh boy, we haven't really commented on the backing vocals of Sarah Harmer in this one. Pete, what did you think about Ms. 

    Harmer's addition to this song? 

    Well, question, is she on the other tunes on this record as well? 

    Or is it somebody different? Yes. Okay. Well, I want to get up. 

    I'm going to kind of save that if that's okay for some other songs. 

    All I'll say about this is that it's crazy. I love that Dan feels it's his favorite tune, because I feel like this song is like, it is formulaic, tragically hip. 

    Yeah, I agree. It's not just like, there's some songs that you feel like it's, yeah, exactly, exactly. There's some songs you feel like, oh yeah, this is a hip tune. 

    But it's not just that, it's fucking great. 

    [33:35] And you know, generally with their records, they come out with two or three bangers to start and they kind of like, or ones that just jaw drop you. 

    And then song three or song four, they just pull it back a little bit. 

    And I feel like in terms of the, they take off the throttle. It's not as crazy. 

    But melodically, this song is just, I mean, you can't not put this song on and enjoy the shit out of it. 

    Like it's a surefire. You know? Yeah, Dan hit the nail on the head. 

    Nail on the head. He's like, if I'm having a bad day, I put this song on and it, you know, helps turn it around for me. I completely agree. 

    [34:24] I read a critique of this song about it being too simple or less prolific or, you know, there are even some other critiques of the album citing the lyrics to be not as complex or, youknow, less poetic. 

    All these kind of harsh critiques. Yeah, fucked. 

    For real, they're out there. I can't even believe that. Yeah, exactly, exactly. 

    And it just made me like this album more, you know, this. 

    This song in particular, it's like, I couldn't agree with you more, Pete. Under three minutes, it just totally packs a punch. 

    It's sure a hip song, but fuck, it's killing it. 

    This is a top five record for me. I figured. Hands down. 

    [35:13] Yeah, yeah. Hence our special guest. 

    Anybody else, anything else to say about The Lookahead featuring Sarah Harmer. 

    Okay, then we go right into the really heavy We Wanna Be In. 

    I don't have a lot on this one, just because it's fucking huge, you know? Like, the drip, drip, drip stayed in my head for days. 

    [35:38] It's so impactful. This is just a fucking loaded song. 

    It was played towards the end of their career live as well, and it was just another one of of those where it was like, what was this like? 

    I think this one was the same show I mentioned, Air Canada Center. 

    So what was it like to hear this in that state of the career of this band and Gord's life? 

    [36:05] Yeah, and I was there for one of the shows at the Air Canada Center. 

    The first one, I can look up what the set list is, what the setlist was, but so can anybody who's listening to this right now. 

    Yeah. A bunch of these, I think half of these songs on this album were played at those last shows of this album. I think it's like four or five songs off of those last shows. Four songs peralbum. 

    And then I selected, you know, six albums a night to play. 

    So, you know, that's, So even if you went to all three nights at the Arcanda Center, you probably didn't get repeats. 

    Um, cool. Yeah. So, I mean, and this is guys just wait, just wait, just wait for the documentaries. Oh my gosh. 

    Oh my gosh. It's crazy town. 

    Crazy town USA. Yeah. So... 

    [37:09] We Want To Be It, Giant Song, You're Right, The Drip Drip Drip. 

    Did you get it right away? For me, it took a bunch of listens before I was like, oh, that's fucking, that's fucking chemo. 

    Yeah, I got it. My mind went to morphine first, but I got it. Oh, morphine. 

    Oh, okay. Maybe that's what it is. Something. I was thinking it was probably chemotherapy. 

    [37:36] I mean, for me, I didn't know anything about the context of this album until just before we started recording, which obviously puts a completely different slant on it for me. So I'minterpreting this as we go along as well. 

    I mean, yeah, an amazing song, absolutely huge. But at the bottom of the page, at the bottom of the lyrics in the album, it says for Alan Arkin and Madeline Khan. 

    And, um, they were in a film together, 1980 called Simon. 

    Anybody seen that where, um, yeah, this is, this is what I came across. 

    So, uh, in this film, Alan Arkin plays a guy who, um, the psychology professor, he gets brainwashed and, um, basically by this company and they, uh, they persuade him that he's from adifferent planet and he escapes from them and attempts to reform American culture by overriding TV signals with a high-powered TV transmitter, becoming a national celebrity in theprocess. 

    But also in that film, he's trying to break this record as well for being a sensory deprivation tank for 80 hours. 

    So I don't know how it relates, but that's something that I found out in relation to this. 

    The Mystery in the Song

    [38:57] Yeah That is totally crazy because again that means Maybe there was one line in that song that is about that or maybe there's a whole theme. 

    It's you know I don't see it or hear it, but Doesn't mean it's not there. 

    There's there's some I don't I don't know what the relationship is there, but that's that's on the page. Yeah, very strange. So we all need to watch that film anyway, yeah. Yeah. That's crazy. 

    Yeah, when you said that they convince him that he's from another planet, it reminded me of the movie Joe versus the Volcano. I don't know if you ever saw that movie with Tom Hanksand Meg Ryan. 

    It was a bomb at the theaters, but they convinced him that he has something called a brain cloud, like a cancer, but he's going to die. 

    So they get him to jump into this volcano. 

    It's the craziest fucking movie. 

    [39:56] But it reminded me of that. No, I, yeah, this song is, it's huge. 

    There's a bridge part in this song and. 

    You know, my feelings with bridge, it's either good or it's not. 

    Or actually, no, it's either standard, and you're like, OK, that's the bridge. 

    OK. Or it's total shit. And you're just like, man, that just threw the whole fucking tune off. 

    This is a good bridge. I like it. I love it. 

    There's a third layer, you're saying. Yeah, and very few bands are able to pull it off. 

    [40:36] I feel like when you're writing the standard pop song, it's just like there's a formula of verse, chorus, verse, chorus, bridge, chorus, you know, whatever, and bands fall right into it. 

    It's just like this thing that happens and it didn't happen here. 

    And I love it, man. mean, I, I would say this is maybe my third, I don't know, third or fourth best song on this record, because there's just so many good ones. 

    Don't give away the final segment. 

    [41:16] Well, I kind of already gave my whole segment, but but oops, No, if we're going to move ahead to the next street, we'll see what I did. 

    I'm Ted. Yeah, thank you. Ted's just like, you're a fucking idiot, dude. 

    It's just like, you're a fucking idiot, dude. I know. 

    Introduction to the thread of fuzz in the record

    [44:41] His head is definitely... So this is the first song where I noticed the thread of fuzz in this record. 

    Because then after this, it's wildly apparent on every song. 

    This fuzz and this distortion, it's like a static that's there on every track after this. 

    Incredible Musicianship: Bass and Drums Shining

    [45:06] The bass, Gordon Sinclair's bass for this one. 

    I know we talked about it taking off in the look ahead, but I really just, it just off the charts, the licks he's throwing. 

    The drums too, the drums are fucking killing it right there. 

    Absolutely. The drum fills. Thank you, Tim. Yeah, I, this must have been, I actually wrote down, holy macaroni, because it just, it just feels like this song, They're hitting on all cylinders. 

    At this point, it's like the car is going. 

    You've gotten to fifth gear and the car is just brrrrrr. 

    [45:50] It's humming along. You can go faster, you can slow it down a little bit. 

    Still in fifth gear, engine is just humming perfect. The car has just been serviced. Oil's changed. 

    Everything's great. 160 or anything going like 150 and it just feels good Yeah, and it feels the same 100% Thank You Tim That's what I got to say about I'll retrieve my Statement a minuteago about the look-ahead meaning. 

    I totally blew it. It's the streets ahead which means cool or awesome So my bad there. Yeah, Streets Ahead, if you wanna say, you know. 

    Oh, okay. Pete's new do is Streets Ahead, he's there. 

    I did get a haircut, thank you for noticing. Oh, Streets Ahead, okay, okay. 

    Well, Look Ahead then, Look Ahead has significance. 

    Look Ahead is something that was said between Gord's wife and him. 

    And it was like sort of what they would say to each other. 

    [46:57] Yeah, I did as well. God, I'm just hacking this up like a big, it's a perfect piece of meat. I've just hacked it into tartare. 

    You cooked it well done. Which is, you know, tartare's delicious, but not, you know, the way I did it. 

    Yeah, it was like all good kind of thing. It was her look, you know, to him as if everything's going to be okay. Yeah. So streets ahead, different. 

    Means awesome. It means really cool. This one I thought it kind of kicked off. 

    It reminded me of Elvis Costello or the Kinks. 

    Kind of had this loud, like, late, I don't know, mid-70s rock kind of love-slash-anthem sound to it. 

    It felt like it could end around two minutes, but there's a bridge and then it takes another lap, which is great because it's still a short song. 

    But it really felt like it just brought me back to, I don't know, middle school and hearing the kinks and those times. 

    It has this crazy, ominous 20-second ending, over 20 seconds, Like, this one's the best. 

    Yeah. I got to give kudos to Gavin Brown, because he really let the band explore intros, outros. 

    Live Experience: Fans' Regret for Missing Their Live Shows

    [48:23] They got more creative on this album in general. Yeah, I think it makes it harken back to that live sound that we all crave so much with this band, sorry to say, what you guys havebeen saying the last few weeks about like, oh man, I wish I could have seen them live. 

    That's what a lot of people are saying right now. There are a lot of people in that camp. 

    They were renowned for their live show, absolutely. 

    I wonder how many people listening to right now are late to the fucking, got came to the party really late. It's like, Hey, punch bowls empty. 

    There's fucking no K left. 

    And they're just talking to people. Yeah. You know, I never got to see the fucking family. 

    Please send Pete a mail at Pete at getting hip to the hip.com. Yeah. 

    There, there was a blurb from Gord giving some journalists a quick, ah, it's about, dog sledding. 

    [49:35] And that was that's all I gave so who the fuck knows with that guy? 

    I mean, I would love to have been in Gord shoes during interviews because he was all over the place from things I've read. 

    He was all over the place. He would he would give like heartfelt, you know, meanings to stuff and then he'd be like, ah, That's that's that's what somebody said to me on the train one timeand I misheard them. 

    One of my favorites is somebody asked him about Cordelia. What is Cordelia all about? And he's like, well, it's like a metaphor. 

    Just go read King Lear. 

    [50:18] Well, it's like, I feel like that's like as much as we're joking about it, it's got to be, there's got to be an element to that that's true. 

    It's like, you know, at one point a song means something to you. 

    [50:31] And then as time goes on, you're like, yeah, it's just about some shit I heard on a fucking train one day or whatever it is, you know? That's right. 

    I don't think he's poo poo in the bed. Like he's not pulling a Donald Fagan, as I've said before, from Sealy Den or just like, yeah, they're just words written down on a page. They don'tmean anything. 

    You know, he's not pulling that, but he's, you know, was it. 

    Did you ever hear that interview that or that clip? 

    It's a great clip of Jack White from the White Stripes where he says, and whatever you think about the White Stripes is irrelevant, where he said that when he hears Seven Nation Army,which is arguably one of the most overplayed rock songs in the history of rock and roll, that he doesn't even feel like it's his song. 

    He's like, I just wrote it. We recorded it. It was a cool tune. 

    And now it's out there. And it's like, it's like, that's another band. 

    It's not my bad playing that shit It's really cool. 

    It's really cool the way he comes across Hey, he basically said his I've heard some read some of it from him, too And he basically says once once a song is out Yeah, yeah, and, he openshis wallet and cool and looks at that Yeah, oh my god the songs or his Ford Broncos. 

    Jack White's Perspective on Songs and Fame

    [51:56] Oh my God. That guy is funny. He's he's got some on him. Sure, man. 

    I just recently learned that my wife has a thing for him, which I had no idea about. And I'm like, I'm like, oh, fuck. 

    [52:14] Definitely, definitely not measuring up to that guy. Oh, you just need to write a couple of hit songs that are like global phenomenons. Yeah. Paint my house red. 

    Anything else on the streets ahead? So this next part of the album is where we take a dip in amount of time songs were played. 

    And I'm not really sure why, but now for plan A was only played 10 times live. 

    [52:45] There's no explanation for me, but that's just a data point. 

    But this one I thought was kind of this level of super heaviness, no turning back. This is like you're facing this song, you know? 

    There's nothing short of everything's enough. 

    You know, there's acoustic guitar in here that feels at one point in the song it... 

    I don't want to say it feels forced but it feels like it could be played softer and nicer but it's not, And which is very distinct with acoustic. 

    And I thought I at this point wasn't sure who was on backups, who was singing backups. You know, I didn't know if it was Kate Fenner who we had before. Oh, right. Right. 

    JD, you mentioned it. Who is this gal? This is Sarah Harmer. 

    So she's a... What's her story? Anybody got any data? She's got a pretty good solo career. Gosh, I'm trying to think of what her big song was. 

    That would have been in around 2002, 2003. 

    I'll take some links for those of you out there. TimbyGettingHitToTheHit.com. 

    Please register him as a Republican. Send me some email. 

    I have notifications turned on. And it's... 

    [54:06] Email Pete at GettingHitToTheHit.com if you want the address and phone number. 

    No, she's gorgeous. She has an amazing matchup with Gort. Her voice is, I thought, incredible. 

    Basement of Parliament was a big song in 2000. Okay. 

    [54:28] For the cadence of the album, for this being Song 6, these are my chapters of the book. The chapters of the book. 

    It's a good Song 6. 

    No issues. It's there's also with one point, this lastly, um, when Gord sings, nothing's short of nothing short of everything's enough at one point when he's seeing that in the song that Iheard Johnny Cash, like there was some kind of Johnny Cash coming through. 

    Definitely more growly and Gord ask, but it's, it's a cool song. 

    Only played 10 times life. 

    Thoughts on the length and build-up of the song

    [55:07] So special. Yeah. I say, this is the, is this the longest song on the album as well? 

    And it's only like five minutes and four, but, um, the, the buildup is such that it's, uh, one minute 16 when the lyrics actually start. 

    So it's just swirly, swirly buildups. And then, uh, yeah. And then you, you get it. 

    I don't, I don't know what to say about this. I say it's, it's one of those tracks that I. 

    [55:40] I just get through. It's one of these things that's just not really on my attention span. I don't know why, because of the, I don't know. I don't know, it's weird. 

    Because of the aesthetics of the song, I don't know. 

    But listening to it again today, I have grown to like it more. 

    It's a dynamite song on great headphones after a joint. 

    The way it settles in the album, It's almost like you've been through a few things and then you get a snowstorm and everything just really sort of settles down and you're sitting sort ofwatching the snow. 

    But for me, I don't know, it doesn't feel like I want to sit down and be there watching the snow. 

    I want to kind of hop on a bit. So I don't know why, it just feels a little bit misplaced for me. 

    But that's how I am with albums. I always want something more. 

    I always want them to sort of build up. I'm not so good when they change down slightly. For me, I don't know, maybe if it was later on in the album. 

    No, we talk about sequencing all the time here, so this is great to think about that. 

    [56:54] That film I was talking about, the Simon film, when I saw trying to delve into what that was about, there was a few little trailer-y bits and a few little segments of it, And there's onewith Alan Arkin doing one of his psychology lectures, you know, and he's with these kids and he's just saying, yeah, one of the greatest Wittgenstein quotes you'll hear is the, I don't knowwhat I don't know, which is fantastic. 

    Oh, yeah. Yeah, there you go. That's the ultimate wisdom. 

    That is the ultimate wisdom. When you can truly think that out your fingertips, fingertips, you know? 

    [57:38] You've got it. You've got it. Made in the shade. I've tried many times to get there, but just can't get that. Oh, wait a minute. That's another podcast. 

    Dan, what you said about it taking a while to come in. 

    I feel that. And I think JD's right. You need a joint and some good cans for it. but I would say this is probably my second favorite song on this record. 

    Inquiry about the woman singing

    [58:11] JD, you asked me about the woman singing before. 

    Bands featuring female guest vocalists on certain songs

    [58:19] I feel like nowadays that's a cool thing to do. 

    I think it started in like 2017, 2018 a lot of bands. 

    I know the National's been doing it a lot with their new records, having like female guest vocalists join in on certain songs. 

    Oh, wow. It's cool. I like it. 

    But I feel like when they did this record in 2012, nobody was doing it. Nobody was doing that. 

    You got a band of five guys. That's the fucking band. 

    I know, you know, it's not like a song featuring so-and-so, like bands very rarely do that. 

    That's totally true. Yeah, absolutely. And this this woman's on at least what, three songs? 

    Two for sure. I've only got two, two, maybe, maybe two, sorry. 

    Yeah, I mean, I, I, I. 

    The song is just amazing the way it starts. I got some, production-wise, I got some Beach Boys vibes from this because there's so much production. 

    [59:39] Like, Abbey Road stock level, like we're in the studio sitting around the board like, what do you think if we do this and we throw this in and everybody's talking like that's the levelof this song because the musicianship is just it's gone when you look at the the EP compared to where we're at now everybody is just you know it's not they're not even on the same planetanymore this band um, i would say that just just if you look at this song from production wise whatever you think about it, you know, the song, you like it, you don't like it. 

    I happen to like it, but it's got to be some of their best, most accomplished work because of how well everything is done in it. 

    Whether or not you like the melody, whether or not you like the minute and 17 or 16 seconds without anything, I get that. 

    I get how sequencing wise I could put you in a weird spot, but like, You can't deny that this song is extremely well done, well recorded, produced, written, everything. 

    Yeah, I completely agree with you and you know, again, there would be a lot of people who would argue that the last two records were really well produced as well. 

    [1:01:07] And maybe they're right, I don't know. But to me, it's just more heavy handed. 

    It's, you know, it's much more heavy handed. This record is much more subtle. 

    Yeah, there are still brushstrokes, but it doesn't feel as like they are put on by like a makeup specialist Right, you know difference between a produced record and a well-produced record. 

    Yeah Yeah, or overproduced maybe overproduced So let's get into the modern spirit and we can think about the modern spirit in a couple of different ways We were talking aboutsequencing earlier, and I'm wondering wondering, would Dan, would this have satisfied your palate if the modern spirit had come after Streets Ahead, or was it something more specificyou were looking for, something more to drive it even higher? 

    No, no, I mean, you can link those two together. You can imagine it coming straight in after Streets Ahead. 

    It would have been a good transition. Yeah. But I say, in terms of this track, I mean all of their Rolling Stones cover versions paid off, didn't they? 

    This is Modern Spirit's pure Rolling Stones. It's just, in every aspect, it's just fantastic. 

    Modern Spirit's Rolling Stones influence

    [1:02:31] Do you get that vibe? Yeah, I can hear that. Even the drum shuffles are just stones. 

    [1:02:42] Yeah, yeah, yeah, there's some wattage in there for sure, 100% and well said. 

    Yeah, it's it's it's it's very sort of modern, late sort of stones, but it's it's it's spot on, even though it's not supposed to be stones. 

    But yeah, you know, versatility and how to do it so well. And his voice is fantastic on this as well. Banga. Yeah. Yeah, hard agree. 

    The way this song starts, I mean, I mean, I listened to this song in a number of different venues. 

    [1:03:26] I'm 100% the way this song starts and it hits. It's a fucking driving song. 

    I mean, And it's just driving down the fucking highway, windows down. 

    You know, I know last time Tim was with us, what record was it? Or Tim? 

    Last time Dan was with us, what record was it? I'm trolling right now. 

    So I don't know if Tim or I don't know if Dan remembers, but Dan, my car, so my car has what you would call, what the layman would call a premium audio sound system. 

    So the listening experience is not what you'd normally get from, you know, even a decent sound system in a car. 

    It's quite advanced and this. 

    The transcendent vocals of Gord and his evolution as a vocalist

    [1:04:26] I don't know if Dan remembers that from the last listening, but I think I remember you mentioning it. Yeah. Yeah, it's it's it's it's definitely a cut above. 

    I think the backup vocals on this song to the way they come in. 

    Everything about this song is fucking cooks. 

    If you don't have a smile on your face, jamming along to this song, driving, whatever you're doing, then you need a fucking lobotomy or you need something, I don't know. 

    I don't know how you could not absolutely love this song. 

    [1:05:11] The one note I want to bring up here, I feel like Gord's, when it comes to his vocals and everything. 

    This song, I think that it's thematic throughout the record, but this song really makes me realize he's not he's, he's transcended humanity as a vocalist. 

    And I know this is bold words I'm saying here. But I feel like where he was at from the EP and where we've seen it go. 

    It's like he's an evolved, you know, humans evolved from apes. 

    Like Gord has evolved from humans. So they say. Right, so they say, my apologies for all you creationists out there. 

    No, but I feel like Gord is, he's moved past it vocally, he's just, and as a songwriter and as a front man, he's just like, I don't think I've ever seen, you know, no disrespect to the Stones,because we were talking about the Stones, Dan brought up the Stones. 

    You know, mix mic man, you know what you're getting every time. 

    [1:06:15] He's great, and he's consistent, and he's always great. 

    But I wouldn't say the guy's vocals and style and everything has evolved much since Get Off My Cloud to where it's at today. 

    It's the same dude. Gord, I feel like, is just... 

    He's evolved past the normal human Gord. 

    You know, like Megagord or... Okay, you know. Megagord. Mechagord, you know, like... Yeah. He was five lions, and then he converged into one. 

    [1:06:57] I don't know. I'm gonna use Voltron as a verb. He Voltron'd into one giant robot of a lead singer. 

    Tim, what do you think of this one? 

    I thought the same about the open road with this one. The white and open throat. 

    Night slips back with no noise. 

    I mean, that's... Yeah. It's a great song. All right, next. 

    So this next one about this map was last played in Spokane, Washington, 2012. It was only played twice. 

    Oh, Tim, how about Modern Spirit? Was it played more? Feels like a live song. 

    Ah, sorry. Modern Spirit, only 12. 

    Only 12. So as this album goes by, these songs are played less live, which, yeah, it just made me wonder about the band and what, what, what, or why, or, you know, it, was it, was it thetheme of the album and the life and the times that was kind of too heavy to play live or I'm not sure. 

    Well, they only had one sure after this as well. And that was the last tour. 

    How many stops do you think? And we'll, and we'll get into that. 

    Like, I think it was like, it was strictly Canada. 

    Yeah, it was a pretty big deal. 

    [1:08:22] So about this map. 

    The mysterious and unique start of the song "About This Map"

    [1:08:26] Pete, talk to me about this map. It's a really weird start. 

    And not in a bad way, just in a... About this map. It's kind of a mysterious song. 

    Yeah, very mysterious. But I love the... 

    [1:08:46] This was the song that made me think on the whole record, because again, like Dan said, I didn't know the history of what was going on in Gord's life during this record. But thisis the song where I kind of was like, okay, what the fuck is going on? 

    This is just, everything's just too different, especially when you look at what the previous record was. But I dug it. 

    The chorus and the pre-chorus is so good in this song. 

    I don't have a ton to say, but the melody and the guitar licks are just top notch. 

    I mean, I feel like it would take me a year to come up with that. 

    Being so cool, making guitars sound that cool, and then afterward, I would just like pat myself on the back for the rest of my life because it's just that fucking cool. 

    And fucking Rob Baker probably just did it in like two takes and then just forgot about it and went home and had, I don't know, fucking rotisserie chicken or whatever you guys eat overthere in Canada. 

    We do eat a lot of rotisserie chicken. 

    [1:10:00] What about blue? What about blue? Oh no, I'm really hungry and thirsty. 

    Fuck. Well, what did you think about this map, Dan? 

    Yeah, it's a good track, but as we were saying, yeah, it's a bit of a weird one. 

    The lyrics, the sort of, the sentiment in the lyrics doesn't sort of, like, build, you know? 

    Of stays on this sort of level. 

    Was the sort of guitars and everything kind of rise around it, which I found was pretty fascinating. 

    And again, it's like, yeah, in terms of sort of lyrics, about this map is said 15 times. 

    So there's a there's a lot of that in there, which I think sort of flattens the lyrics out a bit. 

    But a lot of textures in there that I haven't heard in other stuff as well. 

    [1:11:04] It's a grower. It's an absolute grower. It was for me. 

    Again, it was one of those tracks I'd always get to this stage in the album and then think like, oh God, hang on, is that? And then, uh, yeah, it, it, it had come back to me and, um, I dig. It'sgood. 

    Are any other two fuckers going to recognize the irony of the fact that Dan's discussing the song about this map and directly behind him is a gigantic map? 

    Oh yeah. Am I the only one like seeing the irony here? Sorry. 

    Yeah. For those of you listening... We got a theme. Yeah. Tim's got a map up here. 

    Yeah, got a couple. He's got a couple there too. You got Spain and Italy behind you, right Tim? Staring at it every day. 

    [1:11:56] Good ol' EU over there. Sorry. We'll save the tour for another day. 

    Did anybody get the edge vibes? Like from the guitar? Like, from the guitar? 100%! 

    This song and one coming up, 100% got the edge. 

    Well said, JD. Yeah, we've talked about how the latter part of U2's career has sprinkled some seasoning on this band. I've heard that too. 

    Dave's Weed Shop: The Edge's Redemption?

    [1:12:36] I think the edge is a bit of a cheat though. So I have a hard time talking about him. I forget his real name. 

    It's probably let's let's let's name him. What was his name? 

    It's probably like, I think it's Dave. 

    It's got to have three syllables. I think he's going to open a weed shop. 

    It's going to be called Dave's not here, man. Now if the edge opened a weed shop, I'd probably, I'd probably like him again. 

    Yeah. David Howell Evans. How? 

    See I call him Dave. We're tight. What's the middle name? Let's move on. 

    Dan? Did you have anything to say about this map, Tim? 

    I didn't realize that about this map was said 15 times. 

    That's a lot. I don't have a lot on this one. I thought that it was a bit of a filler, like we've rounded the bend, and we're getting towards the end of the album. You know, the bass, there's areally nice bass guitar through this. 

    It's a little bit more meandering and I don't know. 

    I didn't have a lot on this one. 

    Yeah, it just kind of kept me going. Again, this part, this chunk of the album just felt just stronger than the past couple albums. Okay, let's move on to... 

    Take Forever? Goddamn son, where we going? Take forever. Forever. 

    Song about astronauts and Calgary

    [1:17:03] Yeah, this one's eight times live. Last played in 13. I, you know, maybe it was a song about astronauts. 

    I'm not sure. It seems like also some statement about Calgary. 

    Is Calgary the, where the wealth is of the roof? 

    He seems to think everyone should have heart attacks there, According to the songs is what I read Yeah You know, I listened to another podcast and they were from Calgary and they tookgreat offense I don't recall as to why right now, but to me I think about it like, you know that beginning part like When I broke down, I always thought I'd go to Calgary. 

    I think that's a nice sentiment But what do I know? 

    But the yeah, there is a lot about Calgary, right? What about you Dan, how does that? 

    [1:17:58] Totally stumped by this track. For some reason it reminds me of a late Blondie track as well, it's got some kind of vibe like that about it. 

    But yeah, the lyrics and the Calgary thing man, yeah, it's crazy. 

    I mean this is what I'm getting from some of these, I like the tracks, but the lyrics when I'm looking at the lyrics, it's just like, whoa, where are you going with that, Gord? 

    Any insight, JD? 

    [1:18:31] I wish. It's like a time bomb, you know? 

    There's so many wires and things in there that you might pull one wire and it might make some progress, but then there's a whole other pack of wires underneath, you know? Yeah. 

    I mean, again, when you do look at the lyrics for this album, there are a few themes that go through I mean this again this has got the whole kind of man machine reference and it's got thiswhole sort of um you know destroying space thing that we've we've heard um quite a few times as well yeah yeah um I I think this song is textbook hip I mean just the sound that it is I Ihear you on the lyrics, I guess they didn't make enough of an impact on me as the instruments of the song, you know, the instrumentation. 

    Love the fucking thumping bass, just Sinclair's all over this record, you know. 

    It's classic hip. 

    [1:19:46] This is a song, especially in terms of chords, vocals, again, not speaking about the lyrics per se, just his singing. 

    I think this is one of the songs where I'm like, God, why does nobody get this band? 

    Just the song that made me think of it. So yeah, not a ton to say about it, but I dug it. 

    I'm not, um, I feel like compared to last week, you could, you could, you know, serve me a shit sandwich and I'll just be like, you know, Can we, can we get into just a little bit about whydidn't this band, blah, blah, blah, make it in the U S or whatever it is. 

    I had a lot of thoughts about this during this listen, which you just reminded me of. 

    And I was kind of neither here nor there. nor there. But this album, I too, Pete, had thought a bit about. 

    The popularity of this band in Canada versus the U.S. and all those things. 

    And it was concurrently during, while listening to this past week, it was concurrently during Coachella that's going on right now. 

    And I have a buddy who works on the marketing side of everything Coachella. 

    [1:21:09] You know, if I ever went, it would be to hang out with him because he gets a golf cart. 

    But anyways, I thought this band, really, he has a golf cart every year, his own one, his personal golf cart there. 

    But this band, you know, I just had to wonder about how much attention they were getting on that marketing front, you know, and we can, again, save some of this for our final episode. 

    [1:21:38] But this has been the evolution of my thinking of them as like they weren't who cares if they're too Canadian it's just such a stupid statement with the concepts yeah you know whocares it's like what do you say about you could say something negative about every band and the concepts of their lyrics whether they have them or not and if they don't have one thenthat's their concept who fucking cares I just thought maybe they weren't like Globally marketed Enough, you know like fucking who cares about radio and radio play you can do that inacross Canada And you can do it on stations in Detroit and upstate New York. 

    Yeah, but it's like they somebody There's a factor of the span if there's like five Polls of what makes a band globally successful like there was one that was just kind of missing for themThat's was the that made the chair not stable, you know, I made your party I'm going to push back a little bit, Tim, because if that was true, then Franz Ferdinand would not fuckingheadline festivals. 

    [1:22:46] In my humble opinion, not to say they're a bad band, but, you know, they were one of the bands, the biggest band that was implicated in the payola scandal in the United States. 

    And one thing I wrote down also that I forgot to mention is that the fact that this band was not more popular, it makes me think that popular music isn't about what's good. 

    It's just about what gets played the most. 

    [1:23:15] Because it's like, and I've said this before on a previous podcast, I think we got really dark and we mentioned we got into like things that. 

    The... what AZI's did, you know, it's programming with like music and torture, so to speak. 

    But when you, when you, when you, when somebody hears something over and over and over and over, eventually they're going to hear that during a time when they're enjoyingthemselves. 

    And so, if they don't hear it for quite some time afterward, they're going to, And then they hear it again, maybe let's say 10 years later, 15 years later, they're going to automatically thinkback to the good time that they were having when they heard that song, which is going to be good for them. 

    So I think really with this band is like they just, I know it seems you can dissect it 20 different ways and skin this cat, but at the end of the day, they didn't get shit for radio play in the US.They just didn't. 

    And if they were all over the airwaves, they would have been popular as shit. 

    Because it's the same thing as hockey, man. How many people do you know who are fucking American football fans? How many of you are fucking hockey fans in the US? 

    [1:24:33] My quick push, push, push, pushback is, during this time, people were fucking streaming music. Stealing music. You know? 

    Like that digital was happening with music. So I think, in part, this latter part of their career chunk, which is so significant. 

    Fuck radio. I mean, I just. I get it. Yeah. I'm pretty sure they put this record on SoundCloud and that was like a big deal. 

    [1:25:06] Let me quickly look here. That would have been a big deal at the time. 

    I mean, they were doing some cool digital stuff. I'm not really talking about that as marketing speak. 

    I don't know what I'm... just something to the effect of that gets them like invited to festivals or, you know, their own festival they threw turning into a fucking great little festival. 

    On September 25th of 2012, the band made the album available to stream online in its entirety via SoundCloud. 

    So that, yeah, that would have been quite a Quite a big deal, I would think. 

    Probably got a chunk of change for that, because SoundCloud was just coming up. 2012, 2013, it was really unpopular. A lot of investors. 

    Yeah. Again, maybe not enough on the Canadian side to pay up. 

    The Fuzz: A Cool, Raw Opening

    [1:26:00] Done and done. Here comes the fuzz again. 

    A really cool opening. Yeah, it's got that cool, kind of rough, fuzzy start, right? 

    The back, yeah, 100%. This is just yet another one with the fuzz, the backup vocals. 

    And through and through is repeated, and you always get your way. 

    After that, it goes to a minor chord, and it just fucking hits. 

    It hits really fucking good. 

    This is one of the few songs on this record with an acoustic guitar in it. I love it. 

    Normally on a rock record, I just kind of look at the acoustic guitar is something that's not important. 

    It's just in the back to add some volume to the song or it's an acoustic song, but it's, this song really adds a lot of depth. 

    Definitely get some edge vibes again on this song. 

    And then the keyboards coming in are fucking rad, you know, I like it. 

    Cool tune. How about you Dan? Well, you probably know what I'm going to say. 

    It, you know, again, it feels misplaced. I think this should have been the last track. This should have been the final track, you know. 

    [1:27:28] And I just wish it had more lyrical content, I'm not good with the same stuff that's repeated, it just doesn't build on the sentiment for me. 

    But the backing does, the music does, and that makes it so much stronger. So for me, it's not... 

    It's not a favorite, it's not up there. But I do like listening to it. 

    It's got a sort of chilled vibe at the same time. Makes you wonder the poetic choice to second verse, same as the first, you know? 

    [1:28:12] Because that's obviously a choice, and it's not, oh I have lyrics, you know, because Because, you know, clearly he's demonstrated he had an abundance of lyrics. 

    Yeah, see those kind of choices sort of, I don't get my head around them, you know. That's the dichotomy right there, you know. Yeah. Capable of sticking things in. But the choice wasmade not to. 

    And let's say for me, it sort of holds it at a particular level, which Pete digs, but my brain needs something else. 

    Yeah, it needs it to go somewhere else. Yeah. What about you, Tim? 

    I kind of felt like with Dan that this could have been the last song. 

    It has that feeling like we're towards the end. 

    [1:29:03] It made me think of someone who's living their last days or falling in love or falling out of love. 

    But that's kind of what the vibe I got from the, he says they're through, but through and through, you know, it's an emotional, kind of packs a punch under three minutes. 

    And yeah, it was, to me again, like these past three or four songs, or they just like have a stride and keep moving us through. 

    So lots of layers, especially on this one with, throughout it and with the intros and the outro, It's the intro and the outro, it's a... 

    [1:29:46] There's a lot of, I feel like the production of this album versus the last album, this one, I don't know, got more creatively in the weeds, but not in a complicated way. And this songstill carries that through it. 

    The fuzz, as Pete has called it. Yeah. And then I'm with you two as well, that I think it should have been the last song on the record. 

    I think you can go with a 10-track record and make Good Night at Wapiskat a bonus track, because it doesn't sound like it's from the same session, necessarily. 

    It's slicker. It's got a more fully, completely kind of vibe to it and polish to it. 

    But I will accept it as my 11th track on Now for Plan A, because I think it's a. 

    [1:30:44] You know, again, we're getting these thoughts and feelings from Gord about the indigenous plight in our country and, um, trying to not normalize it, but, you know, make it right. 

    If there's any, if there's any way that that could ever happen. 

    So I will accept it. And that's good night out of Wapiskat. 

    Uh, Tim, well, even, even Gord asked Trudeau to, you know, help out. 

    What did he say? It's bad up there. Yeah. At that last show. 

    He's like, come on, Trudeau. 

    We we've really fucked up here with everything having to do with, um. 

    [1:31:34] I don't know what you, how do you want to label it, but the resident schools and everything, and it, um, Oh, what did I have on this one? 

    Let me just back up a little bit aside from all the First Nations and it's yeah, this one was played 36 times live. 

    So this one they fucking, you know, we're hitting a message hard with this song. 

    And where do you place it in an album? Where do you place a song like this on an album? 

    You know, it's if done and done, which was played once live only 2012 in Rochester, November six. 

    Were you there? I bet that was a killer show. No. But this, but this one, good night, Otto Wapiskat, right? Yeah. Do you say it right? 

    You know, it's it's kind of just the song that you have to put out there. 

    So put it at the end. Sure. It's not really the end of the album, but it's its own Island. It's a total statement song and yeah. 

    Tim Lydon's Album Experience

    [1:32:43] I'll say it, you've been searching for an album, and I'm gonna say it, Tim Lydon, this is your album. 

    I think so. Track 1 to 10. Yeah, it's been pretty good. That's a ride you go on, you know? 

    And Good Night Out of Wapiskat is just this fine little biscuit at the end, you know? 

    How about you, fellas? I love the alien like opening. I dug it. 

    Silver Poets, Thousand Mile Suits. 

    Really lyrics that jumped out at me. 

    But yeah, I mean, I feel kind of the same way. Tim feels, JD feels in terms of this song being on play, you know. 

    Bonus track it, maybe. okay, make it a single on its own. I don't know. 

    But yeah, it's definitely just there. 

    But the thing I thought was cool was that I thought about, you know, And I know, what you said, they only played it once, live? 

    [1:33:58] Yeah, I... Oh, Dun & Dun was once. Either way, I don't imagine. 

    Rob Baker probably fucking destroyed this on the guitar, you know? 

    So yeah. Okay, so yeah, one, I think it was from, it was either from the Hit Museum or Song Meetings. I don't know. I read too much, but no, I haven't read enough, actually. 

    So, I read sophisticated societies have existed around James Bay, which I understand is in Attawapiskat. 

    [1:34:36] Sophisticated societies have been around James Bay for at least 3500 years. 

    We know that before there were pyramids in Egypt, there were people living around this part of the country that we now call Canada. 

    So, you know, think about these First Nations and the issues that the Native people had with the invasion, and it's like, fuck, I'm so grateful that the Tragically Hip has sang about thisissue. 

    To have this succinct, fact-driven fucking historical story, you know, it's a shame other bands don't sing enough about it. Dan, how did you feel about this song? 

    Well, I'll say, another one that kept taking me by surprise, because when I thought Dun & Dun had finished, it was at the end of the album, and then obviously this kept coming in. 

    I mean, I listened to this on loop, and I still was just so convinced that it was the end of the album after Dun & Dun. 

    But I always did listen to it. 

    [1:35:47] And yeah, it's a good track, but I had no idea what the hell it was about until today. 

    So again, I had a bit of a look at there as well. 

    Also didn't they say that the hit played at the Great Moon Gathering, was it 2010 or 11 or something like that? 

    Was after that, that they, um, they, they kind of recorded this. 

    Oh, I didn't know that. That's great. Yeah. So that's what I sort of, um, got out of it, but, um, the, it's the end of the track, isn't it? 

    It goes again, it goes into the one, they sort of Sonic-y, landscape-y type things, and, uh, almost the stuff in that almost sounds like a plane sort of taking off as well. 

    So yeah, it's, it's cool. I mean, it's very atmospheric, but I don't know, I just got this thing about, I just got this thing about done and done. 

    It just sounds so final, you know? Yeah. 

    Missed Opportunity for a Standalone Single

    [1:36:49] Yeah, I can't disagree with you. I think a live version of Goodnight Attawapiskat on a 7-inch with the studio version, they could have sold it and made even more people aware. 

    Do it as a standalone single. Because it wasn't even a single. 

    It's strange, there were only two singles. I don't know, don't get it. 

    Well fellas, this has been a slice, and it will be a lot of slicing and dicing when we cut this episode. 

    At the end of every episode I ask you guys to select an MVP track, a song that you can add to a playlist that you are going to sequence. 

    This is going to be be something that you will provide the link for on Reddit so that people can get access to your playlist. 

    So, Pete, do you wanna just put a little snap on it? Hands down, Man-Machine Palm. Track two. 

    [1:37:59] Cher's in common, Tiger the Lion, at the track listing of two. 

    You're going to have a hell of a time putting those two songs on the same set list. Boy, oh boy. That's going to be big. 

    All right. So Tim, now we go to you. What be's your song? 

    Well, the album really, out of the gates, sold me with that transformation. 

    I just dug that song and was so pleased. 

    But I got to say, Streets Ahead, it's three and a half minutes of fun. 

    It's got a great pace to it. It's just a fucking cool song. 

    And I keep coming back to that one. So I'm going with Streets Ahead. That's it. Nice. 

    And Dan, we're not going to let you off the hook. You do have to pick a song, god damn it. 

    Well, you know what I'm going to pick then, don't you? It's going to be The Lookahead. 

    [1:38:56] There you go, you know, 20% all right, give me the look ahead. All right, beautiful. 

    Yeah, that's two minutes and 30 seconds that packs a punch and it's like our podcast, you know, it packs a punch in minimal amount of time. 

    And I really want to thank you for doing the heavy lifting as you do each every week, Pete and Tim. 

    We are so thrilled to have you back, Dan, from London. Yeah, good to see you, Dan. 

    Thank you. All right, fellas. 

    [1:39:40] Well, thanks for today. All right, pick up your shit. 

    Support this podcast at — https://redcircle.com/fully-and-completely/donations

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    S3E14 - 1h 40m - Aug 15, 2023
  • Talking with Trevor "Stickman" Stickel

    jD, Pete, and Tim welcome Trevor Sticket to the pod to dicusss the artwork that he donated to the Finale, his start in art, his Hip influences, and much much more.

    Tour Dates:

    Toronto September 23rd Liss Gallery

    Tampa November 17th Michael Murphy Galleries

    Edmonton November 25th Sterling Gallery

    LA, Denver, Austin, NYC to come...

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    S3 - 1h 1m - Aug 11, 2023
  • I didn't know that the crows in Portland spoke english!

    Prepare to journey into the heart of the Hip's 2009 album, "We Are the Same." This week, we're pulling back the curtain on an album that made fans wait an extra year for its release. We're not just talking about the music; we're delving into the nostalgia, the reception, and the adventure of listening to this collection of songs. 


    Morning Moon - Studio version

    The Last Recluse - Montreal 2009

    The Depression Suite - San Fransciso 2009

    Frozen in my Tracks - Syracuse 2009


    Track 1:

    [0:01] For the first time in over 20 years, hip fans had to wait longer than two years for new material. 

    It was three years after we got World Container that Bob Rock came down from the mountain with the Stone Tablet Masters of what appeared to be a campfire album called We Are TheSame. 

    Although it launched with a cool promo, the hip, performing live at the bathhouse, beamed to cineplex theaters across Canada, and it debuted at number one, I have absolutely no memoryof this album entering the zeitgeist. 

    In fact, I could tell you that only Love Is a First made it to my ears before the Fully and Completely podcast. 

    My first full listen of this album was followed by a visit to the grocery store where I bumped into my co-host Greg, and I remember us casually throwing around terms like milk toast andbeige when describing what we were getting into with this springtime release. 

    What followed though is something amazing and it's something only music can truly do. 

    [1:05] You see, I gave this album its due and by that I mean a good solid listening session. 

    On walks, at my desk, on my patio, the beige started to turn into a kaleidoscope of colors and shapes. 

    The album was making me feel nostalgic for my 1977 El Camino. 

    I could envision loading up the back of this hog with camping gear and taking this record to the cottage for the May long and listening to nothing but. 

    Yes, I had become a fan of We Are The Same. 

    Today it's an album I reach for when I feel wistful and I want to reminisce with my past. 

    I adore Morning Moon and the Depression Suite, but the deeper cuts do it for me too. 

    Will the love that Pete and Tim felt on the Bob Rock produced World Container spill over onto this record, or will their first experience be like mine? 

    We're here now, so we may as well be getting hip to the hip. 

    Track 4:

    [2:31] Hey it's JD here and welcome back to Getting Hip to the Hip. 

    I'm here every week with my friends Pete and Tim and what we do is we talk about the Tragically Hip one album at a time week over week trying to understand what it's like to hear thisband for the first time again. 

    Pete, Tim, How the fuck are you guys doing? 

    Ola, como estas? Buenas tardes. Bueno, bueno, bueno. Los fanes de Tragically Hip. 

    That's how they would say it here. I'm not culturally appropriating. 

    That's how people talk here in Spain. In Spanish, you mean? Yeah, yeah. 

    And they wouldn't change the name of Tragically Hip. hip, they would just say tragically hip, just like they say. 

    See, see, see. Cloud, cloud, or cloud, or cloud. I don't know where he's went to, but there was a guy on Facebook. 

    He's in the Facebook group. And his name is Luca Tadia, I believe. 

    And he's Italian. And he discovered the hip out of, he's an Italian, he's in a band. He's a singer-songwriter. 

    [3:47] And he was at a really low point. And he discovered the hip. 

    And he, he really feels so strongly about them that he's rewritten, rewritten. 

    [3:59] The lyrics like transcribe, like not transcribe them. What word am I looking for? 

    Translated them, but in many cases he's had to write his own because there's so many turns of phrase he's, he's having to write like his own sort of stuff, but, but to fit in the melodicstructure and then, you know, he, he alters the melodic structure a little bit, but he's released a whole whack and he's coming out with a record and everything, but I haven't seen, I haven'tseen anything about him in a while. 

    So what a fucking surface, Luca, come back to it. 

    I'll point out, I'll send some stuff to the thread later this week, but, um, I'm getting way, uh, way caught up in the weeds here because we're here to talk about a record we're here to talkabout, we are the same, uh, released in 2009, which interesting tidbit. 

    This is the first time that a hip band had had to wait more than two years for a record since the band emerged in 1987. 

    They had to wait three years. So it was 2006, then 2009. Was that the longest three years of hip's lives? 

    Or what was going on during that time? I'm guessing the diehards were losing their minds. Yeah. Are they breaking up? What's going on? 

    Like, Gord was doing solo stuff. Rob Baker was doing Stripper's Union in 2005. 

    So he might have toured Stripper's Union in 2006. 

    [5:22] I don't know, they did their usual stuff, but they, like, to my... 

    [5:28] To my knowledge, they, I mean, the record still opened at number one, um, for the week that it was released, which was consistent with what the hip had been doing. 

    I think they had eight in a row or something like that, but they just weren't part of the zeitgeist, you know, they weren't part of, or maybe it's just, they weren't part of my zeitgeist. 

    That, that might be it. Uh, they, they might've been, but, but I feel like if they were as big as they were in 96 in 2009, then they would have never fell off my radar, sort of. 

    And it wasn't that they fell off my radar. They, I just started listening to other music. 

    I just, you know, I- Were you aware of their whole, their whole bathhouse performance at the end or before the release? Like they played at the bathhouse to, they played a show? 

    I would have lost my, like, I would have lost my mind. So I, yeah, I don't, I don't know. 

    [6:24] It was just out of my reference point. Yeah, so I read that they played at the Bathhouse and it was screened, I guess, at Cineplex Theatres across Canada. 

    It's like, these guys were, you know, celebrating for sure. Do you know what Cineplex Theatres owns? 

    One of the things they own is a branch of places called the Rec Room. 

    And one of the Rec Rooms is in Toronto, where we're going to be hosting our event. And we hope you all make it. Get out of fucking town. 

    Wait, what's this event? What are we doing? 

    [6:59] Come on be on board I hate the pull it out game That's gonna be a fun night. 

    I just can't wait. That's gonna be a real fun. Oh, don't lie Jay Jay D Your pull-out game is great. 

    [7:15] Oh my gosh He's got like 12 pockets on his outfit right now he's pulling shit out of her. Oh man. Yeah, I know, the event's going to be great, tickets are selling through, so get themwhile you can. Hit them quick. 

    Get more information on our Twitter feed or send any of us an email, JD, Pete, Tim at gettinghiptothehip.com you can do all of that and more. 

    So let's get into this Bob Rock produced record. 

    This one's recorded entirely at The Bath House, which is a stark contrast from World Container, which was recorded at a big studio in Vancouver and a relatively large studio in Toronto. 

    This was now The Hip on their own ground. I feel like as a result of that we get a very different sounding record. 

    It's got like the nuances the nooks and crannies that the bathhouse records are sort of becoming famous for but it's still like holy shit is this record produced. 

    Like it is depending on what side of the fence you're on it's either intricate or too busy you know like in terms of some of the arrangements. 

    [8:34] The general, I don't know, gist of it that I was kind of reading about is a little bit of a love-hate. I don't know. I also read that that extra year they're waiting for Bob Rock to returnfrom a carnival cruise. 

    Like a really extended long carnival cruise. 

    Oh, wow. That's boggers. That's my joke right there. Oh, okay. 

    Oh, yeah, I got that, it took me a second. 

    Yeah, me too. Sorry. We'll dial it in, we'll dial it in in post. 

    I'll test my new editing tools on that one. 

    Punch up the laughter. Okay. No, I really, I read a bit about this album. 

    It is very much highly produced. I feel like it's, the all music reviews, three stars. Yeah. Which is lower, you know, by at least half a point than usual. 

    And one term they used about it was a creative bankruptcy. 

    Like, they pulled out all the stops. All of the stops for this album and tapped the tank. 

    So I thought that was a pretty fucking harsh review. That's very harsh. 

    Considering three years, man. 

    Yeah, no, no, don't be sorry. I just, I don't see that it's, it's, yeah. 

    [9:59] I like this. I like this record. I'll tell you guys. I didn't. 

    The first time I heard it, did not. 

    So I was the same. Yeah, yeah. Let's hear about your experience listening to the record. I was kind of the same. I listened to it. Well, I listened to parts of it. I couldn't sit through it all thefirst try. 

    It was like, I don't know, it was like reading a series of books and getting to the next book and it's like, oh my gosh, this book's going to take me forever. 

    That's what it just felt like to me and finally got through it. I'll say finally. 

    [10:32] And wasn't so sure, but you know there were songs, I'll just say that there were songs that grew on me after repeat listens and I and I got to a point where I thought I could see howhip fans either embraced the whole trajectory of the hip and continued to absolutely love this band and I could see how some hip fans were like Like, what the fuck? 

    When are we going to get this Bob Brock guy out of here? Yeah. 

    Because, I mean, I feel like that's still, I don't know, still a thread going through it. So yeah, that was my take. Listened to it kind of everywhere. 

    [11:11] I just, I gave this album some real attempts. 

    But I listened to it also, I think, less than other albums in general. 

    Okay. Pete? 

    You know, I say we get into it cause I got a lot to say about the, you know, the record as we go. 

    And I'll leave my comments to the record as we move on. Okay, well then kick us off here. Let's start right out with Morning Moon. 

    I mean, I thought it was, I thought it was, let's see. 

    It definitely a different tone to begin the record on with the acoustic vibe, the melody was really cool. 

    I was surprised by the strings, but as we'll talk about as we go on here, the strings become a thing. Hey, that's a good way of putting it, Tim. 

    [12:12] There's a really cool country lick with the electric guitar, I like it. 

    Chorus is catchy, heavy harmonies, twangy guitar. I got some, I got some like a little bit of Eagles vibes on this too. Sure. Clearly hear it. 

    My note that I, my note I wrote down was, it's got an AM radio chorus. 

    Yeah. Yeah, totally, totally. But, but. 

    In a good way. Yeah, in a good way. But I wasn't like, I wasn't like, ah, ah, fuck. This is, yeah. I mean, this is not... 

    [12:49] This is not music at work. This does not grab you by the balls and punch you in the face and then throw you down the fucking hill. It doesn't do that. 

    [13:02] Not to say that I want that, but yeah, interesting start. That's all I'll say. Track one. 

    We'll go there. We'll talk about Bob Rock as we keep going. Oh, Bobby, I thought, you know, this is an interesting start as well. 

    It's got this country rock ballad, you know, it's like, are we jumping into a good condition 90s Chevy Suburban driving through Nashville in this one, like heading to the barbecue place? 

    I don't know. But it also felt like, you know, I was listening through and I also thought this is so singable and it's kind of lovely and it's balladish and And it feels a little country. 

    There's slide guitar. There's some, I don't know, cello or something that comes in. 

    There's strings happening. And then I thought, I could rewrite the lyrics of this song and play it for anybody, and they would like it. 

    I could actually turn this into a country music song. Or you could turn it into, dare I say, a Christian rock song. 

    It just felt really mainstream, stream kickoff song to this album. 

    It was like beautiful. Yeah, it's beautiful. And I like dug it, but it felt like programmed, I felt kind of programmed. 

    [14:26] I would never suggest rewriting Gord Downie lyrics. 

    I agree. But the music merited a feeling of, this could be a song played on different types of radio stations. It just, yeah. 

    I wanted, you know, the kickoff on an album for me, it's got to be gripping. 

    And it puts you in the seat. And you put on your seat belt. And you go. 

    And this one was like, OK, what's number two? 

    [14:56] Which, before we get into number two, honey, please, which, from each of you, song would you have used to kick off the record if you were sequencing the record? 

    Is there a song on there that does that, that throws you down the hill, or grabs you by the throat? 

    I know which one I would not, out of all of them, but I'll take it. 

    It's a good question, but to be honest with you, I feel like this record, there are songs on. 

    There's even notes that I'll say when we get into other songs. 

    I feel like there's songs that don't belong in this record. 

    Gotcha. Yeah, it's hard to say. I mean, they kicked it off the way they kicked it off. And I think it's, you know, you can't argue with what's been done. 

    And I can't make their fucking decisions. 

    But yeah. Yeah, I don't know. That's a tough question. It's a good question, but I can't answer it, JD. 

    All right, honey, please. Oof. Here's another one I thought that kind of had this R.E.M. feel. 

    I have East Street Band written down. OK. 

    I also had. The beginning just reminds me of that piano lick at the beginning. 

    Just reminds me of Springsteen. 

    [16:08] It just feels like it's going into a Springsteen song. 

    OK. This one, it somehow made me think of the band Big Country. 

    I think they were, where were they from? Were they Scottish? 

    I don't know. It just, Gord comes in softly, you know, I kind of felt like, oh, I wonder if they do this one live and he's angrier. 

    Like it just, it just, I felt like there was a shift that wasn't in this song. 

    Like it just felt like a great radio song, but at the same time. 

    It was also playing in the ceiling speaker system when I was in Vancouver, BC getting my teeth cleaned. 

    You know, like it just, it was really, it like, it was like I couldn't figure out what it was. 

    It was that, or it was almost a wedding song. Like I couldn't figure out what this song was supposed to be. I just, it just kind of stumped me. 

    It was good and sing along and everything, but it was also like, where are we going? 

    I know, it's hard. This is that song, this might be the album that got kicked in the balls at the show on September 1st. 

    Somebody might just walk up and kick me in the balls. Oh, there are big fans of this record. This might be that album. I'm wearing a cup, dude. 

    [17:33] On Amazon, like, no fucking way. I'm wearing a mouth guard. I'm wearing a wig and I'm going to have like a voice modifier on my throat. 

    I can just set you guys up behind the screen like so nobody can see you. 

    You know, one of those things like silhouette. 

    The old cage. You remember like watching fucking Roadhouse where the band played behind like a fucking like a chain link fence. 

    And that band was? Jeff Healy and the... 

    Fuck, Jeff Healy and the... I can't remember the band. I would have just said Jeff Healy band. 

    Fucking shadow puppets. Here's my shadow puppets, Pete and Tim. 

    Jesus Christ, man. Great fucking man, though. You know, we've been drinking the Kool-Aid and sometimes you get a little gherpie from, you know, too much Kool-Aid. 

    I think that's just kind of... It's funny you say that, Tim, because I'm reading my notes for this song and it's... And honey, please... You've got gherpie written down. No, no, it didn't matter. 

    This is my complete notes on this song. Heavy production. Producer is really mixing the Kool-Aid here. 

    [18:44] Even how the drums are mixed, I mean, I just, I could not, I could not listen to this fucking song enough to even see, like, I just was like, yeah, dentist's office. 

    I'm at, I'm at a fucking Sears or, or I'm at a Hallmark store and I'm just like, what the fuck, man? 

    I just want to get out of here so I can put on fucking Black Sabbath or the, or fucking, or fully and completely in my fucking car. Like I just, Christ, excuse my language, but yeah, it justwas not taken, not taken. 

    The, the, I'll just, there's more, but the, the, you're right about the drum mixing because there were a couple times where I was like, there's nothing wrong with this drummer. 

    Why are we doing what we're doing here? Oh, it was like fucking the right tom went from the right ear to the left ear and then the kicks going back. 

    I'm like, what the fuck are we doing? Why? Like, just give me the fucking drums. 

    I don't need a ping pong set in my ears. 

    It was just too much. I hear you on the E Street Band JD, but yeah, other than that, could not, oh, yeah, that's all I got. That's all I got. you. 

    [20:05] J.D. we need to rerecord the start and you're going to be like, this is where I lost my friendship with Pete Dibb. 

    And they were banned from the roof of the United States. No entry. No entry. 

    [20:22] The first time I sat down and listened to the record was for Fully and Completely, the podcast. By the way, Pete, it's Fully Completely. Fully and Completely was our podcast. 

    Whoa, easy, JD. Okay, now you're cut. Okay, all right. 

    Mr. Details. This is episode... He's gotten our back. 

    This is like, I mean, we got one record after two records. I should know this, you're right. 

    I should know this at this point. I don't know if I can say this. 

    So I listened to it then and I like absolutely, it did nothing for me. 

    It did nothing. Like, I was just like, I don't even, I didn't pick up anything. 

    I can't even say, oh, well, the Parchment Suite I really liked, you know, like, no, it just washed over me. 

    And that really disappointed me and so I gave it like a session listen. 

    Probably two or three weeks later, where I sat down and listened to it two or three times in a row. 

    And that's when I latched onto a few songs. 

    I won't say what they were, but I latched onto a few songs. And then picking it up again for this podcast and listening to it, it's like I'm finding some of these songs feel weirdly nostalgicnow, you know? 

    And Honey Please, I like the tone of of his voice, like, I like what he's doing with his vocals on this song. Yeah. Uh, like he's, he's really playful. 

    Like Jimmy's like, no, not like that. 

    [21:51] Well, I was just in shock because I thought for a second, Gordani was sitting across from me. 

    Oh, I thought you meant Tim was having a fucking seizure. No, it's, it's what I've been doing around the house when I need a refill. 

    It's like, No, this, you know what, I'll tell, I'll tell you something, this, this is a really weird analogy, but like, I'm not a, I'm not one of those guys who's, I mean, I think the last time beforethis time I had been to a strip club when I was like 18 years old, you know, when you're 18, this is the first thing you can do. 

    You go to a strip club. Yeah. Uh, and I had gone to one, one time after I was in a very committed and loving relationship And it was like, I got there and I was like, there's this beautifulwoman and she's talking to me and she smells nice and everything. 

    And she's like, it's not doing, it's not, it's not taking. 

    [22:44] And then like, you know, the night goes on, I have a couple of beers and I'm like, still not working. I don't understand what it is. 

    And, you know, turns out, at least in terms of the strip club, it was because I love the person I was with and I didn't want to be there. 

    I was not happy about where I was at. But that's how I felt listening to this song, is that no matter how much I tried, it did nothing for me whatsoever. 

    Wow. It wasn't because it was your aunt, Shirley? 

    I mean, for art, for art, that is the most harsh criticism you can give, right? I hate to say that. 

    I hate to say that. This song is- No, no, I'm fine. 

    This is what this is, right? This is great. Yeah, yeah, yeah. 

    I like that you're being honest rather than pandering, you know, I'm not going to pander and I'm going to be honest about this. 

    It means the stuff that you have loved is that much more real to me. 

    You know, thank you. Yeah. I mean, when you go back to, I mean, talk to me about fucking trouble with the hen house and I'm Christ. 

    [23:52] Well, and just wait for next, next week. Ooh. Okay. I'm, I'm, you know, I don't want to get to the last recluse. 

    [27:09] Oh, so, you know, fun chorus, lots of oohs, aahs. 

    You know, I like a good ooh-aah section in a song when it works. I don't mind it. 

    It can make it fun. But this song is so loaded. It's like tons of instruments. 

    I don't know if there's an accordion in this song. I don't know. 

    There's keys. There's tons of layers. It's got this ominous start. 

    Um, it's a really bridge. Yeah. Bridge is so ominous. 

    This chanting. Yeah. Yeah. I, which I thought was kind of cool, but, uh, you know, the keys fade out at the end and, and Gord's just, who are you? 

    Who are you? Who are you? And it's, uh, I don't know what the song is, is about or who, or I don't know. It just, it just was like, whew, this, this song's loaded. 

    Did you watch those videos I sent you guys? 

    There's a trilogy from this record and Gord produced the videos and I sent them as a link. I don't think I think I said I was going to watch it because I wasn't in a place with Wi-Fi and thenI never watched it. 

    I think that's my excuse also. 

    [28:23] I don't remember getting it from you. You have to resend it. 

    I'll resend it. I would watch it. 

    Yeah, I want to read my notes verbatim here. Okay, um because yeah, I I really cool opening. 

    I got YouTube vibes, a little Alice in Chains with the acoustic. 

    [28:46] Guitar. The melody is good but it's very Coldplay. 

    I got a lot of Coldplay vibes from this song. Not that I'm a Coldplay fan but unless you've been living under a fucking rock, you know what Coldplay sounds like. 

    [29:00] And not to say that Coldplay's bad. There's a market for them. 

    I like the keyboards but again with like the chanting and everything like I wrote down I do not recognize this band and it's no it's no surprise to me that Bob Rock did not produce the nextrecord because I feel like the whole time this guy Bob Rock whoever he is I don't know how he sounds I don't know where he's from but he's like listen guys nah this is the way it's gottabe I've been in the business for years I did this Metallica group you hear of them you heard of them they're from they're from California I know how to do it. 

    It's just what you got to do to make this record sound good. 

    Okay, I'm a big time record producer here. 

    Like, I mean, the whole band is just like, Gord, what do you think? 

    Do you know how much this haircut costs? 

    Yeah, I put my my my pants on the same way as everybody else. 

    The only difference is I make gold records. 

    Like, I'm like, just like, fuck, dude, I'm the band must have just been sitting sitting there like, okay, all right, we'll do this. 

    [30:08] Hey Gord, we're taking a coffee break right now. Hey Gord, I just ran into fucking Bob Rock coming out of the bathroom and he says we should put some Gregorian chants on thenext song. 

    And he's like, you said, you said what? 

    Okay, I guess we'll try it. Like it just, I don't know. Yeah. 

    I, let's, can we go to Coffee Girl? 

    Because it's not just. Sure. 

    Can we? Can we? I promise, I promise this is gonna get better, but not with this song. Yeah, it is, it is. Not with this song. 

    [30:43] It's a rollercoaster ride. This song. 

    I'm reading I'm reading verbatim here feels like a song used for a scene transition in a romantic comedy when the guy and the girl break up before the final act where they get backtogether. Coffee girl. 

    It's like I'm just picturing like, ah, fuck, he broke up. 

    It's a montage of like her at work alone, pissed off because the guy fucking broke her heart, whatever the And, and, and like the trumpet, it's like, it was cool, but it was just like, what thefucking trumpet? 

    Like, what is, what is going on right now? 

    [31:24] And, and I mean, maybe it's supposed to make you feel like you're in a, like, give you that, that so I made her an expert or so I married an expert vibes. 

    You remember that? Yes. Yeah. Like with a trumpet, like a lowly coffee shop in San Francisco, like, I don't know what the fuck's going on, but I'm just like, okay, this band is takingdirection. 

    This is not, not to say it's not the same guys, but they're just like, they're led astray on some songs with this record, I feel. 

    That's all I'm saying. Interesting thing. Yeah. I'd want this, this song, I got this, like, I agree with you pretty much, but I got creepy vibes from it. 

    Get to the back door, look around, then turn the key, turn on all the lights, take down the chairs and make things neat. 

    One night he'll make you choose. I mean, what? This is... Well, the beginning part is her opening the coffee shop. 

    This song's creepy though. It's, I don't know. There's, there's... 

    So I had that little sentiment about it. And then I was like, I remember when you could walk in Starbucks and you'd hear like like a catchy song. 

    And then they had CDs for sale next to the cash register. 

    I remember those days. And you can like take from, you know, the holiday Starbucks playlist, but it was on CD for sale right there. 

    Right. I wondered, like, yeah. 

    [32:51] You used to have a song you could download too. Yeah, yeah, yeah. 

    I was like, was this a Starbucks song? I don't think it was a single. 

    Tim's all creeped out and JD's like, no. 

    JD's like, no, I've worked at a coffee shop. I've worked at a Starbucks before. 

    You turn the lights, you turn the fucking key, you put the chairs out. 

    Tim, what the fuck is the problem? 

    Yeah, the problem is one night he'll make you choose. What is that? Like there's... 

    You gotta watch the videos. Watch the videos, all right? I don't... 

    Fucking... Okay. All right. Homework. Homework. Now, I agree with you. 

    This song is very milquetoast. 

    Milquetoast. Good work. You know? Yeah. It's fine. 

    But it's enhanced significantly by this video. 

    You enjoy it a little bit more. But... Well, in that essence, do you feel the song was kind of made for video, hand in hand, kind of? 

    Well, I don't know why it wouldn't have been a single then, you know? Yeah, yeah. Okay. 

    Like, back in the day, they were releasing six, seven singles a record to give those record legs. 

    [34:06] Well, it's got, I think, second biggest plays, or third biggest plays for this entire record on Spotify. 

    Definitely a single category as far as listening is concerned. 

    And I said it at the top of the fucking conversation about this tune is that it feels like it's made for a movie, you know? Yeah, yeah. 

    So yeah, I thought of the same. Only played 77 times live. 

    So it's not really a big live song. No, it'd be super rare. Yeah. 

    You guys are such data whores. 

    Such data whores. You started it with your Spotify. I really wasn't with this album until yesterday. 

    I usually do some research along the way in this album. I really just tried to listen to it, and I tried to listen to it. You weren't inspired. 

    And then yesterday, got into some of the data stuff. All right. 

    Let's go to track number five. Let's go. 

    So, the acoustic guitar feels kind of played hard. Like, I don't know if you caught this, Pete, but it felt like. 

    I don't know. I don't think it feels forced, but the strumming of the acoustic guitar in the beginning feels a little bit annoyed or something. 

    I don't know. There's some sentiment in there. 

    [35:33] Drums felt kind of simple, and then everything kind of thickens up, and there's big solos in here. 

    It's over a six-minute song, So it's building us up in song length. 

    I mean, this is a long song for the hip. 

    [35:52] What else did I have in my notes here? Oh, there is, you know... 

    Sorry, I have to read this real quick. You know, the importance of this one is just how it is all about the reference of the residential school system. 

    We actually watched a kind of docudrama film about the residential school system up there and all the government's policies towards First Nations people. 

    And that's some heavy, heavy stuff. Yeah, yeah, yeah. Yeah. 

    It's just the song, let's see, I read the song is a response to this basically a cool you've apologized. 

    Oh no, no, this was a Gord quote, I believe. Cool you've apologized, but nothing has really changed. 

    The damage has been done. People are still suffering as a direct result of the government's policies. You know, that's, it's, it's not an apology song, but it's sort of. 

    This one's just big. It's just a big song. Another one. 

    [37:06] Yeah, before I speak about the song, I'm going to go back to one thing I said in the previous pod. 

    I really wish to God Gorda was alive today, because I feel like the governments of the world, specifically the United States government and the Canadian government are just fucking itspeople in so many ways. 

    Not making this a political thing, but like, Absolutely, I just I feel like that guy is a guy who would speak out and and you know, it's funny because I remember watching like video ofTrudeau when he died and Saying what a great guy he was and him actually tearing up but thinking like god, man I wonder if Gord hadn't died and what he'd be saying about some of theshit going. 

    Yeah, no doubt the war or, you know, anything that happened during COVID, all that shit. I just really, you know, that guy is an important voice for the people in Canada. 

    And I think, I don't know, I say North America, although there's not a lot of Americans that know the hip, but I sure shit do now. 

    So, but getting back to the song, I liked this one. I, Tim, I certainly felt the same vibe. acoustic guitar in the beginning sounds extremely dated so that's where I think you got the vibe. 

    [38:28] There's a lot of chorus and a lot of reverb it's just like way too like is this is this 1991? 

    92? It sounded like the same guitar tone on the song More Than Words by Xtreme. 

    It just but strumming instead of that Like it just was too much. 

    That being said, again, the strings come in, but there's a lot more of that on this fucking record. 

    Rob Baker kind of saves the day. 

    Solo starts coming in. The hit is great. The chorus is awesome. 

    I love it there's some really cool arpeggios that are done in the second verse that just mix up the the sound of the song and then Rob Baker's solo it I Mean, I don't know dude. 

    I'm willing to think he's probably the biggest fucking Pink Floyd fan in all I thought the same thing! 

    That motherfucker, it's just fucking David Gilmour. 

    I mean, I'm like, is Gilmour playing on this fucking record or is it Rob Baker? 

    I mean, it's not even like, if you heard it, you'd be like, oh yeah, it's David Gilmour playing guitar. Like, no, it's actually Rob Baker, which is cool. I like it. 

    And then Paul Amois doing like a Beatles thing, like with the guitar, like bouncing back and forth. 

    [39:57] But in the end, I felt like this song had literally, I don't wanna miss a thing, Aerosmith, Armageddon vibes. 

    Like it was produced to that level. Like it was good. Cinematic. 

    But it was just, yeah, like, whoa, like, did I see this on the IMAX? 

    I've got to listen to this song in IMAX. Yeah, to really appreciate it. Oh my gosh. 

    I had the Pink Floyd reference, not so much of the guitar playing, but more as the all-encompassing feel of this album and the journeys throughout it, because it felt like it was trying to belike this massive Floyd production. 

    That's one thought I had relating to the Floyd. 

    [40:44] But the song, it made me wonder. This is where I dove into the story a little bit more. 

    I wanted to know who Honey Watson was. Did you find out who Honey Watson is? 

    Anybody? The reference here. 

    So Gord apparently was watching a CBAE, CBC news story about the residential schools and started to write this song about it. 

    And then the news story shifted to some story in Haiti and the news correspondent's name was Connie Watson. 

    And he heard it as Honey Watson. 

    And he thought that was funny, so he incorporated her name, Connie Watson, as Honey Watson into the song. 

    Just thought it was cool and wrote it down. So he's like going through this really heavy topic, like one of. 

    [41:36] Canada's maybe, you know, top three heaviest topics, residential school system. 

    And he's throwing in these funny little, I thought they said, honey, Watson, her name's Connie Watson. 

    I'm going to put this in this fucked up story, you know, it's like, God damn what this guy can do. And Pete, I completely agree with you. 

    We, we, if I could choose, of course, any of us to have Gord still around. Yes. 

    But we also need the band. Like, this is something I kind of want to save to the end, but of the whole, all of our experience, but like, we don't have art in the form of music that isscreaming about issues going on right now and making people angry. 

    We don't have like, I can't name a band right now that has death threats against it from groups of idiots. 

    [42:31] You know, I just don't know, like, there's a lot of- Hang tight, Tim. 

    Our record comes out in December. Yeah, there we go. 

    I was just going to say, there's a lot of, there's a lot, there are many lesser known, but on the rise, you know, kind of post-punk stuff coming out or going on, you know, like there's a lot. 

    I agree with you though, man. There's just like, there's no- There's no mainstream people out there who are really screaming about issues going on around the world and ruffling feathers. 

    [43:07] Like so much. Where's the song War Pigs, dude? Fuck, I've second time I've mentioned Sabbath during this fucking podcast. 

    But like, where's the song War Pigs? Right now. 

    Right now. It's on my hard drive. Back off. 

    Hey, no, but like, I mean, I mean, here we are. 

    [43:27] You know sending Billions of dollars to fund war all around the world and where the fucking dude, you know what? 

    Um, there's a great fucking tiktok or whatever the fuck it is And it's some guy like i've seen it. Don't pretend like you don't tiktok all the time. 

    No, I don't I don't have it But I wish I did um for that purpose, but there's a guy's Sitting in his car. 

    He actually has his own account. Yeah. Look it up at pete. 

    Um, it's all about his hair No, dude, there's a fucking guy sitting in his car and he's just like, you know, you guys in your punk bands and you were young, you were fighting against thesystem. 

    [44:06] But somewhere you got old and you got fucking soft and you joined a party and it dude, he just fucking nails it. 

    This guy fucking nails it. Wow. He fucking nails it. 

    And it's like when I see shit like people like Henry fucking Rollins, like supporting the Democratic Party, which is like, fuck the Republicans, fuck the Democrats, fuck them all. 

    Your job is to be against the system. You fuck. 

    Excuse my language, but it's just like that's yeah, that's how I feel like, like a guy like Gord had. 

    I don't know. The interviews I've seen with him and so much integrity, he wouldn't waffle. He'd tell he'd call a fucking spade a spade when he saw it. 

    And if he smelled bullshit, he'd call it out no matter who it was. I don't know. 

    That's how I feel, man. And yeah, you're right, Tim. We need the band. 

    We need the band. We do. We need the band. Because the music's... 

    Because not everybody watches the news and not everybody watches interviews. 

    You hear music, though, man. You hear fucking War Pigs and you listen to those lyrics and you think, yeah, Smedley Butler was right. 

    If you don't know who Smedley Butler is, listeners, Google him. He's not either. 

    No, he's dead, but he wrote a good book. 

    War is a wreck. Anyhow, too soon yet. He's been dead a while. It's a depression suit. 

    [54:35] I had no idea what I was getting in store for when the song started, right? I mean, I was in the car and the display in my mediocre sound system, M-S-S. 

    Clearly not my sound system. 

    Fucking premium audio shit. My stock sound system. Anyways, on my screen it doesn't show the amount of time the song is. It just shows the amount of time it's been playing. 

    And I just kept looking over. Like, I'm driving across town and I keep looking over. 

    Like, god damn, how long is this song gonna go? The last song was like six minutes plus, right? Is this one a rock opera? Like, what is going on? 

    It has this lovely start, but you really don't know where it's going. 

    [55:26] The lyrics, I just, I was a little bit confused. 

    The first listen, I thought we were really going to end around three and a half minutes, because that's when I was looking over. But we just kept evolving. 

    It shifts gears, it speeds up, it gets more intense. 

    Gord gets more loud. The strings get more loud. It just like, it's really climbing up this mountain. 

    [55:50] And you know, part of the lyrics is, is what if the song does nothing? 

    What is it doing? You know, what if the song does nothing? 

    In one of the reviews of the song, which I later read, some of the hip fans who aren't as much into this album, they, you know, their, their response of what if the song does nothing waslike, yeah, what if it's not doing anything, you know, it's just confusion maybe? I don't know. 

    Some fans were were like, no, I don't want to see how it ends because Gord's lyrics kind of ask for that. There's this, um... 

    Kind of painful guitar solo at like eight minute mark. 

    I mean the strings that loop and have this abrupt stop it's just this song is... 

    It just goes. I've only listened to it three times I will listen to it again but the song to me was just... 

    I just wonder what everybody was trying to do because it just was magnanimous. 

    [56:59] It's giant. All right. 

    Well, I will say I fucking love this. I thought I thought it was fucking magnificent. 

    I think, you know, I finally with all the strings that are on this record was like, OK, I can dig them on this song. 

    You know, I mean, it's a very, this is a very emotional record. 

    It sounds like just lyrically, I don't feel like any of the first five songs really moved me that way. But there's a lot of musical references that he makes in here to like things like perfectfifths. 

    The chorus is fucking amazing. 

    When he starts warming up his voice, when he really starts digging his fucking heels in and he starts repeating, if this song does nothing, with the strings backing him up, I think are superpowerful. 

    [58:03] They move me in this song, especially I listen to this song a lot in the car. 

    I've talked about it once or twice, but, you know, it's a different experience when you listen to a song, when you listen to hip in my car or any music but you know I have a, The soundsystems, you know, it came with premium, but it's it's you know, it's it's a good It's a good audio system in my car. Frothy and quiet. 

    Pete's premium sound system There's When the strings there's a cool syncopated rhythm that happens in the song and then when it when it breaks There's a part, because this is twodifferent songs, it's like 9 minutes and 27 seconds long and when this song breaks and it changes course, there's a part in it that is Alice Cooper's Only Women Bleed. 

    Has anybody heard that song before? 

    Yeah, sure have. It's that, it's fucking that, fucking it's the hook in that song they fucking use. 

    And Gord's vocals are exactly that. 

    [59:16] He smokes and drinks and don't come home at all. That's the lyric in the Alice Cooper tune. 

    But it's fucking, I dig it. And then, you know, I liked Rob Baker's solo. 

    It was very emotional. This is a really emotional tune. 

    And I don't feel like I'm like, ah, this is fucking amazing. 

    I just think it's, it clearly took a ton of work and a ton of work. 

    Yeah. But I do feel like the band starts to come together on this track. 

    You start hearing, okay, this seems more tragically hip than before. 

    [59:58] So anyway, that's what I got for this tune. They played this, they played the song live 86 times. Like I wanted to look that up to see, like did they play it 10 times, six times? Theyplayed it 86 times. 

    That's like not a ton compared to all the shows they played in their entirety, but that's a handful of times at this. 

    Well, considering it's a later album, I mean, obviously they played the earlier ones more. Yeah. 

    So to experience it and to know it and experience it live was probably fucking epic. 

    Yeah, but who knows if it was with the strings too. 

    [1:00:35] Yeah, I don't think they toured with strings for sure. Okay, okay. If you're playing like Royal Albert Hall or something, yeah, you're gonna have fucking strings, but like, youknow, otherwise... That didn't happen for sure, JD. 

    [1:00:48] I don't remember. I don't remember that being... Like, this would have been around the time in their career that that would have been something that you might expect them to do. 

    You know, like, we're going to do a tour with a full orchestra to get different venues on board and, you know, things like that. Bands do that kind of shit. 

    The Cineplex Theater video. Would have been perfect for this record. 

    Yeah, that Sinplex Theater air didn't include all the Strings people or whomever, do you know? Was that just the band? I can't imagine it would have. I'll try to find that. 

    Yeah, if you know, send me an email, jd.gettinghiptothehip.com. 

    That would be really cool. But let's go to the exact feeling. 

    I didn't have a whole lot on this one. 

    I felt like it had the DNA more, a little more so, of a hip song. 

    Like a standout was the wah pedal going on and kind of this faint background guitar playing fade out at the end like I Honestly didn't have a whole lot not many exact feelings of this oneNot that I didn't like it. 

    It just felt like a filler spot to me. I just kept rolling. Okay. 

    I Yeah, okay. There. This song is the one that starts with the Castagnets, so very Spanish. Yeah. They wrote it for me. 

    [1:02:15] I like the rolling melody, like the chord progression, the way they do it is really cool. It just it drops and then it comes back, it drops and it's very circular. 

    The chorus is fucking amazing on this song. And the way it builds to the chorus is like, it definitely has more of a hip vibe. Like I said last time, I feel like they really start to like becomethe hip again. 

    It's like, whoa, who's that other fucking band the first four songs or whatever, you know? 

    And now there's like, okay, we're warmed up now, fellas, sit back and relax and enjoy. 

    So I dug it. But then, you know, it just kind of doesn't know where to go, fades out. 

    Tim doesn't like fade outs. the time I don't. Yeah, sometimes they're okay. 

    Yeah, in this case, I just feel like the song was really cool. 

    They had some cool ideas, and then there was nowhere to really go. 

    They painted themselves into a corner and we're just like, okay, we're just going to stop painting the room. 

    [1:03:18] You know, but yeah, but I got I got stuff to say about the next song. Yeah, go. Let's go. 

    Queen of the Furrows. I love the beginning. I thought it was fucking awesome. 

    This song is fucking Led Zeppelin three. 

    It is Led Zeppelin three. I think Rob Baker's playing the mandolin. 

    I don't know if Gord is. I don't know who's playing the mandolin. 

    Would love to get some get a line on that. If you know anything, Pete at getting it at the hip.com. 

    You like what you see what I did there? That was that was very professional. 

    Did it sound natural? My boys all growed up. 

    [1:03:57] I dug this song. The way the fucking chorus, the way the chorus comes in is like, it's just so different from the song, which is not very Led Zeppelin 3 because it's so heavy. 

    It's fucking rad. And then the solo by Rob Baker, I'm going to read notes for Vadim here, Rob Baker melts dicks off people. 

    He doesn't even melt your face, he melts your dick. I mean, this solo is fucking screams. 

    It's so good. You can just tell he's in the zone and he could hear that he wanted to play that solo and he just wanted to fucking destroy it. 

    And he just did. He delivered, I don't know if he did that in one take or if they mixed different solos together to make that, but it just sounds so good, dude. 

    Goddamn, it's so good. 

    I love it. Good song, good tune. Good tune. I'll pretty much agree with that. 

    You know, it's one, I'm not going to add much to what Pete just put in, but what I did want to know what, you know, what this queen of the furrows is. 

    And, um, it's actually a crown awarded annually to quote an agriculturally-minded young woman of Ontario. 

    [1:05:23] And I'll just show you guys real quick. This is Kieran County Queen of the Furrow 2020 as part of Ontario's Plowman's Association. 

    Can you see? Oh, yeah. What do you think? 

    She's nice, you know, it's so to give everybody You know some insight into that photo. I would say she's dressed like a like you would think she'd be wearing overalls or something likethat, but she's dressed like a beauty queen. 

    She's got a lovely dress on. She's got a sash and a tiara that looks, you know, like, that looks all beautiful and like prom queenie. 

    Not at all what I would have expected the Queen of the Furrows to look like. 

    Which for real... Not at all what I expected the Plowman's Association to be doing. 

    Easy, Tim! Easy! But I didn't know, furrows is the word for the lines, you know. 

    That's right. In the farm from the machines planting seeds or doing whatever you do. 

    I mean, now I know when I'm sitting in the window seat on Alaska Airlines, covering the West Coast as I do. 

    [1:06:37] I thought the guitar solo, it hearkened me back to some GNR. 

    That's all I'll say about that. Certainly. this I guess just lastly the ending had this noisy but kind of quiet background guitar feedback something like there was something something playfulhappening with some guitar noise and the congos like this was one of those interesting enders but but kind of a cool song. Speed River. 

    So, Speed River, I was like, ah, okay, I'm kind of digging this one. 

    This felt a little more like what I was hearkening back to, Liking of the Hip. 

    This was a single. Yep, yep. This has, again, a big guitar solo, which quiets down into keys and some rim shots from drumsticks happening. 

    [1:07:34] This house sounds like a bomb hit it is a fucking cool lyric. 

    I didn't know if that was referencing the feeling of recording and just being in the zone. This is what I was imagining, just being in the zone of the music just feeling so good with yourbandmates. 

    You know, this house feels like a fucking bomb hit it because we are destroying with this music. But this song is kind of cool. a little more, I don't know, a little more fun in an easilysingable way. 

    You know, it has a somewhat fitting, abrupt ender to it. 

    It might have been... At first glance, it was like, this might be my song on the album. I'm not sure. Don't give it away, buddy. 

    I didn't. I left it hanging a little. 

    All right. He said it might. Yeah. Okay. Okay. I stand corrected. Speed River. 

    I'd love to agree with Tim, because I love agreeing with him, but the tonal licks were cool. 

    [1:08:45] Overall, though, not impressed. I feel like this song was written to play live. 

    I mean, literally, they wrote it and were like, yeah, we don't care how this fucking sounds on the record. It's just gonna be a fucking banger to play live. 

    Yeah, I'm sure it was great live. 

    How many times did they play it there, Tim? Let's look. 

    It was probably like a- Oh, I thought you had it pulled up hard. 

    I do. It's just on, I got it right here. 

    It probably was awesome, you know, to play like the fifth song of a <