• 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.

    Transcript:

    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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    S2E1 - 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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    S2 - 1m - Apr 18, 2024
  • Call for Submissions - Gord Downie Podcast Playlist

    jD makes a call for your Gord Downie cover song 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 some holiday greetings!



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    S1 - 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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    S1 - 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!


    Transcript:

    [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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    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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    S1E18 - 58m - Nov 20, 2023
  • EXCLUSIVEPhantom 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!


    Transcript:

    [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.


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    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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    S1E18 - 58m - Nov 19, 2023
  • EXCLUSIVEThe "Lost Pilots" Episode 3 - Something I want my Dad to hear in the car

    Enjoy these "lost pilots!"



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    1h 23m - Nov 6, 2023
  • EXCLUSIVEThe "Lost Pilots" Episode 2 - That's Grammy shit!

    Enjoy this "lost pilot"



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    1h 22m - Oct 30, 2023
  • EXCLUSIVEThe "Lost Pilots" Episode 1 - Straight Outta Kingston

    Enjoy this "lost pilot episode"



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    51m - Oct 23, 2023
  • For Gord...

    Gordon Edgar Downie - 1964 - 2017



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    3m - Oct 17, 2023
  • Pop Culture Five Trailer

    There is a new podcast is debuting on Dewvre podcasts and such next week. Check it out and subscribe where ever you get your podcasts!



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    1m - Oct 12, 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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    S1 - 1h 47m - Sep 11, 2023
  • EXCLUSIVEGHTTH - Complete Show

    jD, Pete, and Tim welcome Sean Cullen and 50 Mission to their finale all in support of Downie Wenjack.



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    S1 - 1h 47m - Sep 7, 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.

    Transcript:

    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! 



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    S1E17 - 33m - Sep 4, 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

    Transcript

    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/gettinghiptothehip/exclusive-content

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    S1 - 48m - Aug 29, 2023
  • My brain was doing spirals!

    jD, Pete, and Tim are back and this week they're discussing the EP Saskadelphia.

    Tracks

    Montreal - Studio outtake

    Ouch - Studio version

    Crack my Spine (Like a Whip) - Live from Halifax 1991

    Reformed Baptist Blues - Studio version

    Transcript

    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! 



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    S1E16 - 58m - Aug 28, 2023
  • EXCLUSIVEMy brain was doing spirals!

    jD, Pete, and Tim are back and this week they're discussing the EP Saskadelphia.

    Tracks

    Montreal - Studio outtake

    Ouch - Studio version

    Crack my Spine (Like a Whip) - Live from Halifax 1991

    Reformed Baptist Blues - Studio version

    Transcript

    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! 



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    S1E16 - 58m - Aug 27, 2023
  • EXCLUSIVEBonus Episode #6

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    S1 - 39m - Aug 25, 2023
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