Podcast appearances and mentions of David Berman

The Berman Project is a deep, soul-searching exploration of the life and art of David Berman — frontman of Silver Jews and Purple Mountains, and one of indie rock's most profound voices.Hosted by jD, each episode journeys chronologically through Berman's music and poetry, blending song analysis, personal reflection, and raw introspection.With honesty and vulnerability, jD bares his own struggles with grief, depression, and the pursuit of mental wellness, using Berman's work as a companion and guide.Alongside weekly dissections of a featured track, episodes also spotlight a poem from Berman's celebrated collection, Actual Air, weaving together themes of sorrow, resilience, and the beauty of connection.Part tribute, part therapy, The Berman Project nourishes the soul while honoring the enduring legacy of one of music's most quietly influential artists.Support this podcast at — https://redcircle.com/meeting-malkmus-a-pavement-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Berman Project is a deep, soul-searching exploration of the life and art of David Berman — frontman of Silver Jews and Purple Mountains, and one of indie rock's most profound voices.Hosted by jD, each episode journeys chronologically through Berman's music and poetry, blending song analysis, personal reflection, and raw introspection.With honesty and vulnerability, jD bares his own struggles with grief, depression, and the pursuit of mental wellness, using Berman's work as a companion and guide.Alongside weekly dissections of a featured track, episodes also spotlight a poem from Berman's celebrated collection, Actual Air, weaving together themes of sorrow, resilience, and the beauty of connection.Part tribute, part therapy, The Berman Project nourishes the soul while honoring the enduring legacy of one of music's most quietly influential artists.Support this podcast at — https://redcircle.com/meeting-malkmus-a-pavement-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Rick is joined this week by the CEO of an exciting new sports talk platform, David Berman of SportsTalk247.com. Sportstalk 24/7 provides conversation solutions to the entertainment and sports industries. We enable high-profile brands to engage with customers, fans and more! Chat Features Massive scale with unlimited number of participants Real time fan interaction Sponsorship … Continue reading David Berman, CEO of SportsTalk247 →

The Berman Project is a deep, soul-searching exploration of the life and art of David Berman — frontman of Silver Jews and Purple Mountains, and one of indie rock's most profound voices.Hosted by jD, each episode journeys chronologically through Berman's music and poetry, blending song analysis, personal reflection, and raw introspection.With honesty and vulnerability, jD bares his own struggles with grief, depression, and the pursuit of mental wellness, using Berman's work as a companion and guide.Alongside weekly dissections of a featured track, episodes also spotlight a poem from Berman's celebrated collection, Actual Air, weaving together themes of sorrow, resilience, and the beauty of connection.Part tribute, part therapy, The Berman Project nourishes the soul while honoring the enduring legacy of one of music's most quietly influential artists.Support this podcast at — https://redcircle.com/meeting-malkmus-a-pavement-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Berman Project is a deep, soul-searching exploration of the life and art of David Berman — frontman of Silver Jews and Purple Mountains, and one of indie rock's most profound voices.Hosted by jD, each episode journeys chronologically through Berman's music and poetry, blending song analysis, personal reflection, and raw introspection.With honesty and vulnerability, jD bares his own struggles with grief, depression, and the pursuit of mental wellness, using Berman's work as a companion and guide.Alongside weekly dissections of a featured track, episodes also spotlight a poem from Berman's celebrated collection, Actual Air, weaving together themes of sorrow, resilience, and the beauty of connection.Part tribute, part therapy, The Berman Project nourishes the soul while honoring the enduring legacy of one of music's most quietly influential artists.Support this podcast at — https://redcircle.com/meeting-malkmus-a-pavement-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Berman Project is a deep, soul-searching exploration of the life and art of David Berman — frontman of Silver Jews and Purple Mountains, and one of indie rock's most profound voices.Hosted by jD, each episode journeys chronologically through Berman's music and poetry, blending song analysis, personal reflection, and raw introspection.With honesty and vulnerability, jD bares his own struggles with grief, depression, and the pursuit of mental wellness, using Berman's work as a companion and guide.Alongside weekly dissections of a featured track, episodes also spotlight a poem from Berman's celebrated collection, Actual Air, weaving together themes of sorrow, resilience, and the beauty of connection.Part tribute, part therapy, The Berman Project nourishes the soul while honoring the enduring legacy of one of music's most quietly influential artists.Support this podcast at — https://redcircle.com/meeting-malkmus-a-pavement-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of The Self Portrait Gospel Podcast, we wrap up the 7th season of the show with the wonderful oppurtunity to finally sit down with one of our harmonic heroes, the great Will Oldham of Bonnie "Prince" Billy. Someone who needs no introduction, Oldham has been on our hearts, and minds for many years as we spin a youthful yarn of memories and reflection on some of the world's greatest artists who are no longer with us, such as David Berman and Michael Hurley. Oldham breaks down his latest masterpiece "The Purple Bird," which was released earlier this year on No Quarter, as well as the back-to-back "High and High and Mighty," and the brilliant "Hear The Children Sing The Evidence" with fellow friends and musicians Nathan Salsburg and Tyler Trotter. We prasie our mutual friend, and incredible inspiration Ryan Davis, Bill Callahan, and cover Willie Nelson's abstract approach to guitar playing at this stage in his career. Oldham remains one of the most intense and softly sophisticated songwriters of his generation, with a career that has challenged the mind, body, and soul in ways that still stir the evidence of something extraterrestrial. We couldn't be more honored to occupy the same frame in history as him, and so many others out there doing brilliant work. 

Ian raps with friend of the pod Lance Bangs about his new music video for MJ Lenderman, his time on the road with Michael Shannon and Jason Narducy on their recent tour playing the music of REM, the recent (and accidental) REM reunion, the upcoming "Pavements" motion picture, capturing footage of David Berman in the 90s, and much more. WATCH LANCE'S NEW VIDEO FOR "WRISTWATCH"

In my most recent Kreative Kontrol newsletter, I mentioned that I'd done a long-form interview with Will Oldham about his 2019 album, I Made a Place, but it was only used for a print piece, not for this podcast because, at the time, he was feeling ambivalent about being on pods. Sometime in the last couple of years, I asked Will if I could share this phoner, and he said yes, so here it is finally, virtually unedited. The conversation lasted about an hour and took place on Monday, September 29, 2019 at 11:00 AM ET, and you'll hear us discussing topics like, me attempting to call him using the telephone app on my MacBook, as I often did at the time, but for some reason my computer perplexingly launched a program I'd never used before called Zoom, the return of Bonnie “Prince” Billy music after a long absence, the albums of songs he made written by the likes of the Everly Brothers, Merle Haggard, Susanna, and Mekons, wariness about oversaturated streaming culture, recording a Ramones song with David Berman (who'd died on August 7, just weeks before this conversation) and thoughts on DCB, Will's love of Jake Xerxes Fussell, the Oldham family's lengthy history with and a then-recent pilgrimage to Hawaii, and much more.The wonderful new Bonnie “Prince” Billy album, The Purple Bird, is out now!To hear this entire conversation, subscribe to Kreative Kontrol on Patreon at the $6 tier or higher (a reminder that an annual subscription includes a discount compared to a monthly one).Support this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

EVERY OTHER KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO MONTHLY $6 USD PATREON SUPPORTERS. Enjoy this excerpt and please subscribe now via this link to hear this full episode. Thanks!Filmmaker Lance Bangs and Pavement's Bob Nastanovich discuss the new film Pavements, why Lance began filming early shows by the likes of Pavement, the Replacements, and Nirvana, his mentor Jem Cohen, the story behind Lance's 2002 Pavement DVD/documentary Slow Century, what Kurt Cobain said to Bob at the Reading Festival that Nirvana invited Pavement to play, what David Berman yelled at the Lollapalooza audience that infamously flung mud and rocks at Pavement, why Bob thinks adding Rebecca Clay Cole as a member is the most interesting thing about recent Pavement tours, unusual depictions of Pavement and their crew and why releasing Alex Ross Perry's Range Life biopic was reconsidered by all involved, how the Pavements film came to be edited and re-fashioned by Lance at the band's request, how Pavement's members really feel about it, what's next for Pavement, Bob, and Lance, other future plans, and much more. Support vish on Patreon!Support Y.E.S.S., Pride Centre of Edmonton, and Letters to Santa. Follow vish online.Related episodes/links:Ep. #910: The Hard QuartetEp. #900: Fugazi and Jem CohenEp. #678: Mark IboldEp. #677: PavementEp. #481: David BermanEp. #392: Stephen MalkmusEp. #373: Pavement's Bob Nastanovich and Steve WestEp. #165: Bob Nastanovich of Silver JewsEp. #74: Stephen MalkmusSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

In the final hour of VSiN PrimeTime, Tim Murray and Matt Youmans look ahead to the start of the World Series between the New York Yankees and Los Angeles Dodgers, game one is on Friday. Later, Ian Cameron joins the show to preview week 9 across college football. Plus, David Berman from Pro Football Network joins the show to preview week 8 in the NFL.See omnystudio.com/listener for privacy information.

from 2019 - @wariotifo's 2nd and 3rd episodes as co-host, on the neoconservative blog Harry's Place. part 2 previously only available @ patreon.com/reelpolitik. SUBSCRIBE AT PATREON.COM/REELPOLITIK TO HEAR A BRAND NEW EPISODE FT. ORIGINAL CO-HOST TOM FOSTER: https://www.patreon.com/posts/episode-309-mega-114637979 Original episode descriptions: PART ONE: BRING IT ON DOWN TO HARRY'S PLACE Jack is joined by the Reel Politik Podcast's new Director of Strategy & Communications (Mr Seumas Miwne), Geraint (@wariotifo on Twitter), to go back to the mid-00s heyday of the Sensible/Decent Left, the pro-war ideologues who gave us the Euston Manifesto, the website Harry's Place, and various LM Network-style front organisations. We look at how this tendency of the Crank Centre laid the groundwork for much of the centrist hysteria directed today at the Corbynite left for their foreign policy stances, and how they even chillingly predicted many of the concerns & talking points of what would become known as the alt-right. Many stalwart enemies of the show make appearances, such as Nick Cohen and longtime melt enterprise Little Atoms. PowerBase was an invaluable resource when researching this episode (powerbase.info/index.php/Main_Page) and we'd also like to thank our friend Phil BC for some of his writing on Harry's Place and the hated Decents. PART TWO: HARRY'S PISS AND YOU HAVE THE second instalment of our two-parter on the hated Harry's Place, the pro-war shitrag that set the blogosphere alight in the early to mid 2000s. We conclude our discussion on these horrendous hawk bastards - including their hated affiliate Stephen Pollard - before discussing the hated Frank Field's new Birkenhead Social Justice Party and portrayals of class and "the underclass" in cinema. We play the episode out with a song by the legendary Silver Jews, in tribute to the late, and dearly missed, David Berman.

John Williams, London Symphony Orchstra [00:23] "The Desert and The Robot Auction" Star Wars 20th Century Records 2T-541 1977 Pretty much every aspect of this soundtrack is seared into my Gen X nerd mind. Silver Jews [03:15] "Advice to the Graduate" Starlite Walker Drag City DC55 1994 The debut outing from David Berman and friends, here including partners in crime Steve Malkmus, Bob Nastanovich, and even Steve West. There is also a lovely cover of this song by The Pastels (https://youtu.be/tQ1vuKAGmUo?si=y7G-DZUy094zyJUf) (recorded for a Peel session). Lena Lovich [06:30] "I Think We're Alone Now" Stateless Stiff Records SEEZ 7 1978 (1979 reissue) From the original UK Stiff Records release of Stateless, a very first-wave New Wave version of "I Think We're Alone Now", originally recorded by Tommy James and the Shondells. Also available in Japanese! (https://youtu.be/URPtOAs_eMc?si=zX0h-wST3jcLzadK) Lena Lovich [09:18] "Lucky Number" Stateless Stiff-Epic JE 36102 1979 The US version changes up the track order, and has a number of songs remixed by Roger Bichirian. David Bowie [13:47] "Golden Years" Station to Station RCA Victor AQL1-1327 1976 (1986 reissue) Carlos Alomar and Earl Slick laying down the funky guitars. The cover features a photograph of Bowie by Steve Shapiro from Nicholas Roeg's The Man Who Fell to Earth (1976) (https://youtu.be/KarWCgIw3Wk?si=52k2oqnxkEJ2HNah). Sinéad O'Connor [17:46] "Some Day My Prince Will Come" Stay Awake (Various Interpretations of Music from Vintage Disney Films) A&M Records B0029005-01 1988 (2018 reissue) The late great Sinéad O'Connor interpreting Snow White's ballad accompanied by the late great Andy Rourke from the late great Hal Willner. Willner was one of the most imaginative music producers, responsible for so many excellent tribute albums, and one of the most innovative music shows on network television: Night Music (https://youtu.be/ChPPW6NbsFk?si=AusrNnmpxTl4mWUI). Graham Parker and the Shot [18:55] "Wake Up (Next to You)" Steady Nerves Elektra 9 60388-1 1985 Graham gets all romantic in a Motown sorta way. This single made it as high as 39 on the Hot 100. Graham Parker and the Rumour [24:00] "I'm Gonna Tear Your Playhouse Down" Stick to Me Mercury SRM-1-3706 1977 Graham and company do a fine rendition of this song that was initally a hit for Ann Peebles (https://youtu.be/cyMsvE8UcbI?si=VqkTZdDF9ubuspVT). The Rolling Stones [29:35] "Dead Flowers" Sticky Fingers Rolling Stones Records COC 59100 1972 The first album the Stones recorded after being freed from their Decca Records obligation. This copy has one of the actual working zippers, as designed by Andy Warhol. Many listeners will also be familiar with Townes van Zandt's acoustic version that appears on his live album Roadsongs, and was subsequently used in The Big Lebowski (Coen, 1998). The Aquadolls [33:40] "Tweaker Kidz" Stoked on You Burger Records BRGR390 2014 Fun track from the debut Aquadolls album. Talking Heads [36:06] "Once in a Lifetime" Stop Making Sense Sire 1-25186 1984 There was a very cute promo (https://youtu.be/R2gVgpHIDz0?si=UfreL9mJCNr_K3iC) for the A24 re-release of the film recently. Nadja [42:03] "The Stone" The Stone Is Not Hit by the Sun, Nor Carved with a Knife Gizeh Records GZH70 2016 As usual, more heavy dreamy goodness from one of my favorite duos. Music behind the DJ: "Gomez" by Vic Mizzy

EVERY OTHER KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO MONTHLY $6 USD PATREON SUPPORTERS. Enjoy this excerpt and please subscribe now via this link to hear this full episode. Thanks!Stephen Malkmus and Matt Sweeney discuss their band the Hard Quartet and its new, self-titled debut LP, living in places like Chicago and New York City, the memorial weekend event for Steve Albini that Matt and I attended in Illinois this past July and playing complicated games of dice, the friendship that Stephen and Matt shared with the late David Berman and fresh perspectives on the time Berman, Stephen, and Bob Nastanovich infamously heckled Nirvana, how the Hard Quartet all became friends and eventually started this band where all the guitarists take turns playing bass, the stories behind some of the songs and sounds by the Hard Quartet, the Edmonton Oilers and Neil Young's iconic father, the late hockey writer, Scott Young, Matt's amazing video series Guitar Moves, what's next for the Hard Quartet, other future plans, and much more. Support vish on Patreon! Follow vish online.Related episodes/links:Ep. #890: Man ManEp. #869: Steve AlbiniEp. #677: PavementEp. #591: Matt SweeneyEp. #492: I Remember Me and David BermanEp. #481: David BermanEp. #392: Stephen MalkmusEp. #373: Pavement's Bob Nastanovich and Steve WestEp. #165: Bob Nastanovich of Silver JewsEp. #74: Stephen MalkmusEp. #38: Krist NovoselicSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

On this week's Talkhouse Podcast we've got a reunion of sorts, in celebration of a new release of old music: It's David Pajo, Cassie Berman, and Tim Furnish. These three met in the fertile Louisville scene of the early 1990s. Pajo played guitar in the wildly influential band Slint and went on to play with Tortoise, Royal Trux, Stereolab, and Interpol at various times over the years—he's currently a member of Gang Of Four. But the subject of this conversation is Pajo's sorta-solo career, which went through various M-names, from just M to Papa M and Aerial M. As Aerial M, Pajo brought on some friends for a brief time to tour Europe, where they recorded a Peel Session—more on that in a minute. The friends that Pajo recruited to play in the Aerial M live band were Tim Furnish, whose legendary Louisville band Crain had broken up recently—and who has since recorded experimental rock with the band Parlour—as well as Cassie Berman and Tony Bailey. Berman had been kicking around in Louisville bands, too, and she would go on to join Silver Jews, the band fronted by her husband, David Berman. Drummer Tony Bailey, as you'll hear, played in about a million bands in the area—he died, sadly, in 2009. The reason for today's reunion of the lineup that burned bright but quick is the release of Aerial M's new Peel Sessions album. In case you're unfamiliar, BBC DJ John Peel used to invite the coolest bands of his day—from the ‘70s into the 2000s—to record a few songs specifically for his show, many of which were later released with the same striking artwork. In 1998, Aerial M stopped by and recorded three songs that would turn out quite different to the versions Pajo crafted in the studio, and would really be the only evidence that this lineup left of its existence. Pajo was recently reminded of this session, so he set about tracking down the tapes, sprucing them up, and handing them over to Drag City for a proper release—including an amazing replica of those original John Peel Sessions sleeves. Check out the song “Vivea” right here. I don't think these three had sat down for a chat in a while, so it's like sitting in on a reunion with three people who have a lot of fond memories. They talk about their '98 tour, including the recording of this record, plus they get into fond remembrances of Tony Bailey, racing Stereolab to the record store, and even what they're up to now: Just a few days before this recording, Cassie Berman participated in a tribute to David Berman on the anniversary of his untimely passing, and Furnish has been working on some cool-sounding visual art for other bands. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to David Pajo, Cassie Berman, and Tim Furnish for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and be sure to check out all the great stuff at Talkhouse.com and in our wider podcasting network. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/talkhouse

This week on the Pavement Top 50 Countdown, jD is joined by Jessica from Ann Arbor to reveal track 20 and discuss her Pavement origin story.Transcript:Track 2:[0:00] Previously on the Pavement Top 50. Today, we're talking all about number 21, Cut Your Hair. Russell, talk to me about your relationship with this song. I love this song for a few reasons. One, I think because it's ubiquitous. And when I talk about pavement to the rest of the free world, people are like, I don't remember that band. And if I say cut your hair, people are like, yeah, I remember that. Hey, this is Westy from the.Track 3:[0:41] Pavement, and you're listening to The Countdown. hey it's jd here back for another episode of the top 50 countdown for seminal indie rock band, pavement week over week we're going to count down the 50 essential pavement tracks that you selected with your very own top 20 ballots i then tabulated the results using an abacus and speed, just speed how will your favorite song fare in the rankings well you'll have to tune in to find out So there's that. This week I'm joined by Pavement superfan Jessica from Ann Arbor. Jessica, how the fuck are you doing? Super fucking good. I love it. I love it. This is exciting. When people fire back an F shot at me, that's like my favorite thing. It's validation to a degree. I was wondering if you were going to say like, hey, motherfucker, since I heard that maybe you haven't had a lot of ladies yet. I haven't. I said that to, I will promise I will say that in the future. Us ladies can be motherfuckers too. Yeah, yeah. Well, let's get right into it, Jessica from Ann Arbor. Let's hear your Pavement Origins story. Okay. She's opening a tome right now, folks. I know, I didn't want to go back into childhood, but it probably is high school-ish. Okay.Track 3:[2:11] So that would be late 80s, early 90s. And I lived in Michigan, which I do again. And I liked a lot of like alternative music, but it was kind of hard to find out about it. Right. Back in the day before the internets. um so one way was i read a lot of like british music magazines like enemy and melody maker um and i would read little tidbits which comes into the first time i met pavement so um.Track 3:[2:53] Oh, and I loved R.E.M. That was like my number one, probably, favorite band. I like the Replacements and a lot of British shoegazy bands. But the week after high school, my best friend and I decided to move to Athens, Georgia. And we were 17. And we just picked up and left. And we ended up living across the street from Michael Stipe. That's pretty fucking cool. That was like a dream come true. We were 17 for a while.Track 3:[3:24] So it was like this Disney world for music lovers because there were so many cool bands. But it was a little bit hard to get into stuff like bars and things the first few months. But we met a lot of people and that helped. And then we turned 18 and then we could get into more things. things but there was like cool bands playing for four dollars like five or six nights a week it was really cool we go dancing a lot and stuff um but we had tickets to go see u2 that we bought in michigan before we left so we went back for that but then we had to drive back, because we heard pavement was playing at the 40 watt in essence really this was in 92 okay so we went to the u2 show which was pretty awesome and um wayne from uh no guards from wayne's world was like satellite linked into that show and played drums for something on mtv, So that was a random place to be. But we had to drive back to Athens, and it was like 12 or 14 hours. And we went like straight to the show.Track 3:[4:42] And it was crazy and wild and sweaty. And Gary is a band. And he was doing handstands and headstands and hanging from the rafters. And it has since been put on YouTube. So now I can watch my 17-year-old self's view of watching them. But we really wanted to talk to them because we read in Enemy or Melody Maker or that they were going to be on 90210, Beverly Hills 90210, but that they, Stephen got in a fist fight with one of the guys, one of the actors. Oh, my gosh. And so before I even heard what they sounded like, I was like, I like these guys. They beat up somebody on 90210. So that was the first thing I asked them. And it was a rumor that Scott started about Stephen. than, I think, just to fuck with the UK press or something. Which sounded, that was a pretty cool thing, too. And, yeah, that was an awesome show.Track 3:[5:52] And, yeah, I was hooked. I think that summer before that, so right after high school, is I think I got Slandered Enchanted was the first thing I heard. You got that in real time, basically. I think so because we volunteered to work for this local free magazine to review bands, and they gave us a lot of free stuff. And I think that that's where we got that. I don't know if we bought it or not.Track 3:[6:28] And then I moved back to Michigan. and i had we went to high school with jim but we weren't really friends but then we worked at a store together and then we somehow started talking found out we liked a lot of the same music, and then that's jen will be coming up on a future episode just so you know, crazy jen and she's like the super fan uber fan i'm like a robin to a batman i would think because she worked at a super cool record store and so she had all the seven inches before, and cool promo things and she knew like you know label owners and promoters and people who ran clubs and all kinds of stuff so even at you know she was a year older than me so we're still like you know well 18 19 year olds and um.Track 3:[7:27] Oh, she had the inside track. So she would like make me tapes of all her cool seven inches. So I had like, you know, the peel sessions and we had all these weird bootlegs. And then I think I went to England the year before that, but then I went again and got a lot of weird bootlegs, including some pavement ones.Track 3:[7:54] And um then we went to see them together um and she is better remembering this so she had to kind of fill me in we saw them in chicago and we've gone all over the place to see them we've gone on lots of road trips because they're very important to us yeah and um but chicago is was only about four hours away and um um we also somewhere in there i think she she wanted to remind me and i guess i'm filling in some gaps that we um we wrote them some weird fan letters, somewhere in here somewhere in like 93 or 94 which i used to do with a lot of bands and i became friends with a lot of bands from writing really weird fan letters and sending really strange presence um we would just like really exaggerate things like she says that we found a danzig fanzine or something and we just changed the words around to something but we would just pretend we were like insane for them like we would say that we would, crawl a hundred miles over broken glass just to smell their shadows.Track 3:[9:11] Knows just like really over the top weird stuff um we weren't um obviously serious um and we would just put weird toys and um gadgets and odd things and just send gift boxes to bands we liked and it always made an impression um so yeah um it's a good icebreaker if you're shy too. Jen always thinks that I was better at talking to people in bands, but I'm super duper duper duper shy either. I have to overcome like being terrified. But if you have like a funky present or something silly to do or say, then it makes it easier. And they always enjoyed that. And I think that first time we gave them some weird thing we got from a truck stop was a license plate with a Confederate flag on it, which I'm cringing at now, and it said, Ass Kickin' Southern Rock. And Westy put it on his drum kit, and that made us excited.Track 3:[10:22] And then we, I think we saw him in Detroit like the next day or the next week or something. And they let us go to the sound check, and that was very exciting. And yeah, we always tried to be like in the front row, laughing and screaming and dancing. And it was very fun. And um they they gave us cool things too like one time they gave us some stephen keen paintings that were like left over from something um really.Track 3:[11:01] We got some cool stuff um and then once we got through with like kind of like we you know gush a little bit about what songs we liked or um stuff then they would we would just like kind of act like regular people with them and we'd like go out to dinner with them or go walking around with them and it was pretty cool i bet holy crap that's fucking dynamite, it was groovy those were the salad days we made them last for a few years too, talk to me about that after that refreshing sip of water i hope it's not moonshine it's uh just Just agua. I'll try not to slurp too much in the microphone. Let's see. I had to write down some of these things because I have these big blank spaces.Track 3:[11:56] So let's see. And I'm blind because I'm old now. I'm almost 50. Me too. And let's see. Okay. Okay. I had to get some help with Jen and the internet. All right, so let's see. Then we saw him in Detroit. Oh, apparently they did two shows, an early show and a late show. That was in 94.Track 3:[12:21] So we saw him in May and October. So at this point, we'd seen him like five or six times. Then we went to see him in Cincinnati.Track 3:[12:32] And I'm trying to think. We went to this, like, we would just go to the dirtiest, nastiest places that were like out in the middle of nowhere. We could have got killed and we were in jen's like old subaru that backfired all the time and pretty sure we got a flat tire once um and it was mostly like big scary drunk guys at these shows and then it was just us little girl um but um oh i know we made shirts for them i think, i don't know if jen has or will talked about but she wanted me to tell you we made these um homemade shirts and they were on um baseball kind of shirts with like you know three-quarter sleeves they were green they're very kind of 70s retro and um our old gym teacher had a t-shirt shop so we um would go and just make weird collages and then print them out into iron-ons and then he put them on and then we do lettering and i would like sew on sequins stuff and so like yeah they were very 70s looking like they would say like you know pavement rules or pavement is number one and they would have some like album art on it or some pictures of them and or just random stuff and they really liked those and i think they signed our shirts we wore them a couple times and scott really liked him so we made him one.Track 3:[13:59] And, um, there's a picture of us wearing ours in the, um, in the pavement documentary. Oh, really? In slow century? Yeah. Yeah. It's the back of us though. Cause I think, I think, I think Scott took that picture and owned it, but we had our own pictures of our faces, which we still have. Jen has most of them.Track 3:[14:24] Um, but yeah, I made one for, well, we both made it for Scott, but yeah. Yeah, she was, I sewed on like a million like individual sequins on part of his shirt. And he liked that one a lot. And we would still, we'd give him weird presents too. There were these cool stores. There's one in Cincinnati and one in Chicago. They were called Big Fun and Uncle Fun. And they had like really weird retro toys and just weird stuff from Europe. Up like we got these really tiny harmonicas that were the box had made in occupied japan they were so tiny or and we just give them like spark guns or toys or trading cards or just weird stuff that we could find um and then you know they started knowing us every time we'd show up they'd be like hey i'm here um and that was kind of cool because then we'd know like the the sound guys and the tour managers too. So even if it was somewhere, cause I went to see him in England quite a few times. Oh, that was, so yeah, I lived in England for a couple of years in London. Um, and, um, saw him there and that was very different, you know, and then I saw them as they got bigger and bigger cause we saw them in pretty little clubs and then like bigger clubs and some theaters and stuff.Track 3:[15:51] Um, and, But it would be weird, because sometimes in London, there's other people in big, fancy bands back there, backstage.Track 3:[16:01] And I would just kind of sit quietly and be like, this is exciting. And for some reason, this isn't a very musical memory, but I remember I had been in England for a couple of years, and I missed a lot of American stuff. Yeah. Just like the, I don't know, I missed Taco Bell. And weird American stuff. And Bob had some Tic Tacs and for some reason I thought they were American and they were nowhere else. And so I got really excited and I was like, America Tic Tacs! And then we had a Tic Tac fight, um backstage um but.Track 3:[16:42] Mostly we were just i would just kind of rock out love the shows we got very excited if they ever dedicated songs to us which they would every once in a while like you know if it was like our 10th show or our 10th year or something or our 20th show um we went a lot of road trips around america i'm going to see them and um yeah it was always an amazing time i bet they became your buddies yeah do you still talk yes um it's not quite as rock and roll now i play online scrabble with bob pretty much every day you do that's my most rock and roll mom story that i have that's pretty cool that's what nerdy we are that's very cool amazing he is he's like a sweet teddy bear they're all so nice yeah um i've had and i've had a lot of good talks with all of them and um so it's pretty cool when you um well they always I say, like, don't meet your heroes, but almost every band I've met has been awesome, and, um.Track 3:[18:01] Uh i've known a lot of them for 10 20 30 years now that's very cool and so i didn't see him quite a bit during the breakup times i saw um steven and the jicks a couple times, in the early 2000s in preston school industry and that was fun because me and jen had kind of lost touch she had moved out west and i moved to england and it still wasn't really good internet days and so we were like connecting through pavement like scott would say hey yeah she's in colorado now and she has a chihuahua i would be like tell her i said hi if you see her before me.Track 3:[18:51] Um it was they're like um we kind of think of them as our big brothers i bet yeah i mean and the fact that you got to see them and their rise to prominence right like that's that's pretty cool, but i have to say you know since they never got like mega gigantic they never became like stuck-up assholes so no no yeah they've always been the same um and so i didn't see him like a of reunion-y stuff like in the like 2010s thing i think i might have been having a baby somewhere in that time gotcha and being a mom and being kind of boring um, so the last time i saw them um jen came out here and we saw him in detroit, oh that's cool at the masonic temple when was that 20 2022 or yeah yeah okay and so So that had been like basically 30 years of us going to see them off and on. And I got front row for that one, so I was very excited. And she had seen them earlier on in the tour, so she got to tell them that we were going to have our reunion. And it was pretty cool. They dedicated some songs to us, and that always makes you feel like a super fan.Track 3:[20:14] So yeah it was pretty groovy yeah I bet what's your what's your go-to record these days, um Jen and I were kind of talking about this I think I think, Probably Slanted and Crick and Rain are like my comfort records. Yeah. But it was when I was kind of a teenager, so there's kind of like an angsty, whole different world that I was taking them in. But it still feels like my comfort. Those are my comfort albums. albums um but i definitely have like favorites on all the um ones past then plus the cool thing was is we got to hear um songs that ended up coming out like years later earlier on and we had like different names for them because we didn't know what they were called or they would be on, a bootleg or something and yeah we had our own names for them that we had to unlearn.Track 3:[21:23] Um like i think we called grounded i think jen was saying we call it the sedan song okay just because he said something about the sedan in the parking lot maybe i don't know we just pick one word and be like oh that's that one um we may not have even known some earlier song names or we just make up our own we did a lot of singing to the um stuff we liked once where they were like singing back and forth, like call and response, like, yes. Uh, Circus 1762. We love singing that one in the car. So, um, so, um, I can definitely play those first two albums and all the like, uh, pre singles and stuff, um, solidly, but I kind of pick and choose what I listened to on the later albums. Okay. What I'm in the mood for. Yeah, I can see that. Well, what do you say we flip the script here and talk about song number 20? Are you down with that? I'm down with that. Well, let's do that. We'll hit that right after this break. Hey, this is Bob Mustanovich from Pavement. Thanks for listening.Track 2:[22:34] And now on with a countdown. 20!Track 3:[24:49] This week on the show, number 20 on the countdown. I'm pretty excited about this one. It's Blackout. This is the ninth song from Wowie Zowie to make the cut on the top 50. Pretty good showing for Wowie Zowie, I would say. What do you think, Jessica, from Ann Arbor? I think it is a very solid pavement song. Yeah. Like, I think it belongs in the top 20 to 30. Okay. Because, I don't know, it hits all the right pavement beats. It's kind of pretty. It's kind of dirty.Track 3:[25:28] It's got weird lyrics. I'm not sure what it's about. No, it's really tough with us out there. Yes, I mean, sometimes it sounds so like, I don't know. You know, it's, what's it called when you're just saying words? I call it word salad. Word salad. That's what I call it. I'm so lyrical. Yeah, like just, yeah, because sometimes they don't make any sense. You just get little images. That's right. They give you vibes, right? Yeah, or moments. I definitely feel like they have this world and there's some characters in them. You know like loretta's in there somewhere right um um i don't know that one feels like kind of like i don't know a guy in high school or college or starting job or something he's kind of lost, i don't know if there's a real whole story there but i get little snippets right things stream of consciousness that's what i think i was thinking stream of consciousness yes Yes. Or he just gets little, you know, words that rhyme. Little phrases here and there. Or they just sound groovy. Is that the one that has...Track 3:[26:49] I always thought it was Dirty Scots, but then I saw somewhere that maybe it was Sturdy Scots. And I always liked that because I like a lot of Scottish everything and Dirty Scots.Track 3:[27:04] I did, I don't want to ramble on a thing. I just thought of a David Berman thing. Oh, sure. Dirty Scot. I never saw Silver Jews, but love, love, love them. But when I was living in London, David Berman did like a reading at this little dirty bar called Filthy McNasty's. I don't know why Dirty Scott's made me think of that. And that was the one and only time I saw and met him in person. He was very nice and shy. I had tickets for Purple Mountains, but obviously we know how that turned out. Yeah. Yeah, pretty terrible. Yeah.Track 3:[27:48] Back to the song for a moment. I'm sorry. No. What is your relationship with this song? Like, do you have any sort of relationship with this song? You mentioned that Crooked Rain, Crooked Rain, and Planted are your sort of go-tos. Is this a song that you'll pick and choose from Wally's Alley? Or do you pass it up? Or what's the deal? It's a thumbs up for me. Because there are a few that I kind of go like, eh. i'll listen i don't think there's anything i skit really ever um and i kind of like that all the albums have like songs that are like making me feel like i'm gonna cry one minute and they're so slow and sad and then the next minute i'm like jumping up and down and screaming something stupid with them um and that one's more in the like mellow um slow sad thing and i'm yeah i'm I'm a sucker for that kind of song. That's good. I think it's pretty. It is pretty. It's got a great melody. Yeah. It's a good solid one. Yeah. I'd put it on a mixtape for somebody. Okay.Track 3:[29:00] If I was introducing to them a system pavement. That's the highest compliment you can make to somebody, you know? Like, we get that. We get that because of our era. But it is such a high compliment, right? I'm going to make you a mixtape. I remember I burned somebody a CD once, like a mixtape on a CD. And it just wasn't the same. Just wasn't the same. It isn't. It was so hard because you had to fit them into, you know, the side. and I didn't like leaving too much space. I put little parts of movies and shows and like weird little snippets of people talking. Oh, that's badass. I have gotten compliments many years later from many of my high school friends that I did make really good mixtapes. So I kind of need to borrow them from them because they probably were pretty good. People like send me pictures of the track listing and I'm like, ooh, I forgot about too much of those bands. I'm going to go look them up now. Oh, that's great.Track 3:[30:02] Yeah, mixtapes. The children today, they won't know. No, they just really won't. Well, cassettes are starting to come back in a weird way. So maybe they will. Maybe they will. I will say I have a 12-year-old daughter now. And right after we went to see Pavement in 2022, I took a few videos and I was watching a couple on my phone and she came in the room and said, Hey, I know that song. It was Harness Your Hopes. And I was like, I was like, no, you don't. Cause you're 10 and no, you don't. And I don't think I've ever played this around you. And she goes, yeah, I do. And then she like said a couple of lines and I was like, what are you talking about? And then obviously it was TikTok. Yeah. And that blew my mind. And it's made a comeback again. I know. She told me the other day. As we're recording this. She goes, oh, pavement's blowing up on TikTok again. And I'm like, what? Is it the same thing? And she's like, no, it's something with baggy pants and spinning. Yeah. Which she sort of explained to me. Even Mark did it. I saw that. I saw everybody was giving it a little go. Yeah. I'm impressed. Me too. So fun. I kind of love that, though.Track 3:[31:20] Well, it makes sense that they would make a comeback. That was a random song, but it's a random song. It's very odd and quirky and funky. And when you look at its numbers on Spotify, it's incredible. Like the number of downloads or streams it has versus the next song. It's mind-blowing. It is mind-blowing. I hope some of the children explore some more pavement because they would have such a grand old time.Track 3:[31:58] They are obsessed with the 90s right now, so maybe they will. Yes. I have impressed my child with some of this stuff. Yeah. I think she's even impressed about this. Oh, that's cool. Yeah. Well, I've really enjoyed my time with you today. Ditto. Yeah, this has been a lot of fun. It's always good doing this gig right now.Track 3:[32:22] The first time around, I was solo. I did every song in the catalog solo.Track 3:[32:27] Wow. And that was really tough to do because you're sort of talking to an audience that you don't know if they're even there. Uh this time around with the top 50 it's been so great getting to meet people like i've met you know at this point i've met 30 people or 39 people uh-huh yeah 39 people 39 people 29 people whatever anyway you get the point and where are you in the world i'm in toronto canada oh i've been to toronto a bazillion times oh that's great lots of bands there ah any good venues that you can rhyme off um massey hall massey hall is great yeah that's why i saw pavement twice there oh i think i saw damien rice there okay um i think i saw arcade fire there um that would make sense travis okay from scotland um david gray i had a friend i lived with in england and then she lived in glasgow and then she went back to toronto so i would go see her a lot and we go see a lot of the bands that we loved so i love toronto i would live there in a second i wish i could kind of it was a little bit warmer but um uh it's been a spectacular this year we have we had no snow yeah we had three days of snow like through the whole winter so all right And I'm changing my mind, though.Track 3:[33:56] Something awesome. Especially if something happens in November. I said that the last time the creep got in, but...Track 3:[34:06] Yeah, well, you know, you guys have your shit to deal with, for sure. We have our shit up here, too. Yeah. Listen, I will let you know when this episode comes out, because as I mentioned, we are recording this deeply in advance, because I'm a bit of a flake. And I want to make sure I've got all these in the can before I flake out. And that's what I'm trying to do. You sound like you're on top of things, man. I'm impressed. I'm trying. I'm trying. I'm trying. I'm trying. I'm trying. I'm trying. All right. Be well. Stay swell. And wash your goddamn hands.Support this podcast at — https://redcircle.com/meeting-malkmus-a-pavement-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Part 2 of my conversation with guest Phil Stacey about the music of the 2010s.  Show notes: Phil's 2016 #1: Drive-By Truckers with a political statement in a divided year Jay's 2016 #1: The final act of Bowie was a masterpiece Phil's 2017 #1: Courtney Barnett and Kurt Vile join forces Jay's 2017: #1: Strong second act from the Afghan Whigs Phil's and Jay's 2018 #1: Cathartic blast of political anger from Superchunk Phil's 2019 #1: David Berman's final album as Purple Mountains Real talk about people dealing with tough issues  Shocking deaths over the last decade Jay's 2019 #1: Sarcastic pop-punk excellence from Toronto's PUP Phil's 2020 #1: Jason Isbell deals with ghosts on his 7th album COVID memories Jay's 2020 #1: Topical protest hip hop from Run the Jewels Completely Conspicuous is available through Apple Podcasts. Subscribe and write a review! The opening and closing theme of Completely Conspicuous is "Theme to Big F'in Pants" by Jay Breitling. Voiceover work is courtesy of James Gralian.

Hank crawls across the finish line in the race to 60 years-old with a special birthday edition of Bike Rides and takes a super deep dive into the late David Berman's two main bands, The Silver Jews, and Purple Mountains

Welcome back to Aquarium Drunkard Transmissions. This week on the show, Joe Pernice of The Pernice Brothers, Scud Mountain Boys, and Chappaquiddick Skyline—as well as books, records, and other projects under his own name.  Since the early 2000s, Transmissions host Jason P. Woodbury have placed Joe on their personal Mount Rushmore of criminally underrated singer-songwriters. There have always been genres associated with Pernice's work—chamber pop, y'allternative, retro pop, power pop, indie—but it all comes back to those songs: literate, catchy, sly, funny, and often heartbreaking. We published a talk with Pernice last year on the occasion of The Pernice Brothers' 1998 album Overcome By Happiness receiving deluxe reissue treatment from New West Records. But with a brand new Pernice Brothers album, Who Will You Believe, still fresh in record stores, we figured it would be a blast to have him on to talk for the podcast. And we were right—chatting with Joe was a total blast, and you're going to enjoy this wide ranging talk about everything from David Berman to the internet to mortality.  Aquarium Drunkard is supported by our subscribers. Head over and peruse our site, where you'll find nearly 20 years of playlists, recommendations, reviews, interviews, podcasts, essays, and more. With your support, here's to another decade. Subscribe at Aquarium Drunkard.  Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts. This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

This week on the pod. jD welcomes his buddy, Jeremy from Niagara Falls on to discuss his Pavement origin story and reveal song 26!Transcript:Track 2:[0:00] Previously on the Pavement Top 50.Track 1:[0:02] Stephen, what are your initial thoughts about this song, The Hex? The Hex, well, it's a really cool song. I think it's completely different to anything else that Pavement does. I think it's very unique. It's got a style which isn't really there in any... I can't think of any other song that looks like it.Track 2:[0:19] Hey, this is Westy from the Rock and Roll Band Pavement, and you're listening to The Countdown.Track 4:[0:25] Hey, it's JD here, back for another episode of our Top 50 Countdown. For seminal indie rock band, Pavement. Week over week, we're going to count down the 50 essential Pavement tracks that you selected with your very own top 20 ballads. I then tabulated the results using an abacus and a girl named Shannon that might have played bass in an indie rock band. Sigh. So there's that. This week, I'm joined by Pavement superfan, Jeremy from Niagara Falls. How's it going, motherfucker?Track 3:[0:54] It's hot. It's hot.Track 4:[0:56] It's really hot.Track 3:[0:58] It's been hot all week. Yeah. So sorry if there's fan noises in the background. They're here to cheer me on.Track 4:[1:04] Yes, of course they are. And that's very good that they are doing that for you because it will give you adrenaline and strength that you need and require to get through this next question. Jeremy, from the Falls, what is your pavement origin story?Track 3:[1:20] Story um my origin story for the band pavement is a little um stranger than most i i did not come to them by way of their music i i came to them by way of uh discussions about just how cool their uh their albums the the song names were, so i before i ever heard a pavement track which was years uh uh it was it was uh i had a friend who was in a band named uh cindy and they before they were called cindy they they were racking their brains about what they wanted to call themselves and we just got in this deep discussion one night i have heard we started talking about i don't think i've heard of king cobb steely, There's probably a good, I bet a good amount of this audience would really dig King Cub Steely because it's kind of in the same vein. But they had awesome song names.Track 3:[2:21] Luckily, I keep my feathers numbered for just such an emergency. That's a song name, Time Equals Money and Money Equals Pizza and Therefore Time Equals Pizza. Just stuff like that. And we got talking about it. And I was like, yeah, that's really cool. and we're talking about the band Head. Lowercase and an uppercase. Head with a lowercase h. That's right. And an uppercase, yeah, just because it was the 90s. And then my friend turned to me, he's like, I just wish that I could have an album title as good as Crooked Rain, Crooked Rain. And he just, he went on for like half an hour on that. I was like, that is a really cool album title and who is this band? And he's like, Pavement, check them out. And of course, being the 90s, I mean, being dirt poor, I couldn't. That's right. That's the only way you could do it. I couldn't purchase an album. Because they weren't being played on the radio.Track 3:[3:15] Well. That's right. And it was pre-internet. And yeah, they weren't being played on the radio. But, and this is, I like hearing the stories of people out here saying like, yeah, my first experience was like I got onto a torrent site and I ripped all their albums over the course of like a week or however long it used to take. But before that we used to have this thing and it doesn't exist anymore rarely does that's right of uh compilations you remember yeah and there was a big one in the 90s it was really big because of the secret hidden track that i think everyone only bought it for the secret hidden track it was called no alternative and nirvana did uh of uh at the very end wasn't listed everyone who was there It wasn't listed, but they did – it's sappy, but it's also called Verse Course Verse. It was an unreleased track, and it kicked. It was so good. But also on that album was Matthew Sweet, Goo Goo Dolls, and Pavement did Unseen Power and Picket Fence. And who was the second one you named? Goo Goo Dolls. Yeah. Goo Goo Dolls? You know, like rather funky band until, you know, Twister. No, it's not Twister. Until that Twister song.Track 3:[4:41] They did a song on the Twister set. No, it was the Asteroid one. No, it wasn't the Asteroid one. Fuck. Oh, yeah. Dude. It's called Angel or something like that. No, they did a song on the Twister set. It's like Alanis Morissette did a song. On the record, you came uninvited. Yeah, anyway, this is riveting conversation for somebody who tuned in for Pavement. I know.Track 3:[5:13] Beastie boys was also on the alternate and breeders did a really good live live track but but really it was like you could get uh like that was if you did not have a lot of money and you wanted to hear and this is backwards thinking because nowadays you'd be like why would you buy a whole album for one song well everybody did everybody bought it for that nirvana song and uh and then you got a little a little sampler of all these other bands that you could get into And that was my first. Hold on, let's talk about this for a second. So what did you think of On Scene Power? Yeah. It was good. And in comparison to everything else on the album, it's like, oh, this is top ten. This is really fresh and inviting. And I dig the sound. It was kind of rare. It wasn't overproduced. and it didn't have that, you know, that pastina. Am I using that word correctly? You know, patina. Sorry, patina. It's fucking boiling. It's hot. Did I mention it's hot? It's like 55 degrees in Canadian. 55? Celsius. But yeah, I think it's like 40. I was like 55. Your skin would be melting.Track 3:[6:35] Anything after 35, I'm like, it's all the same. I like the heat, but it's not like this muddiness. Yeah. I can't handle it. Really? Yeah, it's the thing. It's not the heat, it's the humidity. No, oven's dry heat. Anyway. Yeah. Again. But yeah, no, I really, I like the sound. And I was also big into Sonic Youth, but I had a bit of a bone to pick with Sonic Youth because their stuff never really seemed to get me to the place where I was like, yeah. Yeah and it felt like pavement was like they got it it was it was kind of this it's like a visceral, sort of song yeah but it's it's it rocks i totally know what you mean you know i mean yeah i've been i've been uh nose deep in in pavement's catalog for almost five years now so, like i mean obviously i enjoyed it prior to that but you know just looking at it week after week week after week you know it's it's been asked me to name a fucking song um title though and i'm usually stumped or or where it falls on a record and there's people that will be able to do oh yes it's right after this and before this and it's like i just can't do that i'm just because that's part of the culture though that's part of like the like we when we lost physical media, like it's like remembering your best friend's phone number do you even know it now i don't Oh, I know my wife's. I don't know my wife's. I don't know my kids.Track 3:[8:03] Oh, really? Yeah. Yeah. But yeah, so that, like that compilation. And then you'd think I would have rushed out and I would have bought, you know, a pavement album, but I didn't because a scant few years later, the Brain Candy soundtrack came out and being the massive kids of all fan I was. Okay. All right. Is R. I was and I still am. Yeah. And will continue to be. And you know who was on that soundtrack oh matthew sweet fuck me really, he followed yeah he follows you around doesn't he yeah but pavement like painted soldiers is, like it's in my top five songs it's in my top 15 for sure no my top 10 and it's the best spiral There is. Other than the unreleased Preston School of Industry. For sale, the Preston School of Industry. But yeah.Track 3:[9:09] And another breakout track on a soundtrack album that has like... They are? Yeah. They play Butts Wiglin'. Yeah. They might be Giants, I think, did a track. Uh, stereo lab and like a real, Oh, and of course the odds were on there, but yeah, it's kind of five. I think there was even a GBV guy by voices song on there. I think that might, it was by first exposure to guided by voices. I got into a lot of music through compilations, something that does not exist. And I wonder how we can rectify this. Yeah.Track 3:[9:57] Well, we have to change the industry one person at a time. Starting at this moment in time. And this is the... It's 66 degrees. Good things are forged in heat. This is... Hey, listen. This is the closest I've ever recorded an episode to drop date. Like, most everything else is done. Oh, yeah? I did it in the spring. You know? So, this is... What is the date? It's June 20th. And this goes out on the 28th. Yeah. Or whatever next Monday is. Wow. Look at me. Look at me knowing fucking calendars. 24th. Okay. Fair enough. Yeah. Yeah. Sure is. Yeah. It's sooner than you think. That's right. No. Into that editing bay. This one doesn't get edited. This podcast doesn't. But yeah. Oh no. All my secrets. Okay. Back to the matter at hand here. There's a lot of... So if you haven't noticed, Jeremy and I are buddies and we're doing some catch up at the same time that we're um that we're doing this so that's why we're getting a little distracted i apologize for that and i hope this is acceptable for your pavement listening uh enjoyment yeah it's a forgiving crowd have you ever listened to the episode of meeting malchus called uh hate mail.Track 3:[11:17] Oh you should look that i haven't heard that one i got a hate mail letter oh yeah i just decided to do an episode on it because it is like a screed it is like it is like martin luther knocked you know nailed something to my door you know and it was like it was like oh deep cut wow yeah now it was type was it written or was it typed oh then you know it's serious yeah listen to that one oh wow if you're just getting into to this because of the top 10. There's a whole other podcast out there where I go through each of the songs. It's called Meeting Malchmus. That's the feed that you're on right now. And there's lots of good... I can only hope that this generates at least one more hit. It might. So from there, you finally buy a record? Or do you get into the torrents?Track 3:[12:11] I bought, oh, and this is shameful, and now I wish you do edit it. I bought Crooked Rain, Crooked Rain through another form of dead media, the Columbia House Records Club. Dude, Columbia House was money. It was so good. It was so good. It was. 12 CDs for a penny? You're paying 30 bucks afterwards, but hey. And it was one of those auto ship deals. That's where they got you. That's where they got you on the lazy. It just shows up, right? Because it was $30 a hit, and you would be like, fuck. But if you played your cards right, you won. The house did not always win, but they must have won enough.Track 3:[12:51] Yeah. I mean, and you could send them back and say, you know what? Liz Fair just isn't my cup of tea. I'm going to exile Guyville. Yeah, this one, I think it was her follow-up. I was like, eh. Never sent me Matthew Sweet. So Crooked Rain, Crooked Rain. Do you know where the title comes from? It comes from, apparently, it comes from Purple Rain, Purple Rain. And Stephen just liked the rhythm of that. Or it may have even been David Berman who suggested it. And, yeah.Track 3:[13:26] If I'm wrong, shoot me an email. JD at meetingmalchmas.com. Would love to hear from you. So you put that one on the old CD player, I'm guessing. Not a turntable. about this point and yeah it starts with silent and that song just melts your brain like right off the bat it is i i that album for me is like a textbook like this is how you start an album like this series of songs like this is how you do it this is how you you break it in so you lay the frown the foundation for the listening experience you're about to undertake and man i yeah i listened to that album a lot. It's a masterpiece for sure. I will fully admit, I thought he was saying Silent Kit for the longest time. I thought it was about drummers. Well, nobody really knows. It's got multiple titles. People will say Silence Kid, and people will say Silent Kid. People will say Silent Kit, and people will say Silence Kit. So I think on the liner notes, it's Silence Kid. So, yeah. Oh, interesting. Yeah. Did you ever get a chance to see them live?Track 3:[14:45] So, jury's out on that. It was the 90s. I was young. I got around a lot. And a friend of mine was like, no, I don't think we do. We did see them. And I was like, I distinctly remember being at, like, the Cool House. Did you go to Lollapalooza in 95? At one point.Track 3:[15:08] Okay. No, I've never been to a Lollapalooza. I was just going to say, because they played that, and that might be something that you saw and forgot. Because I can't imagine, you are going to generate some hate mail. That you saw them live and you don't fucking know that you saw them live? What kind of fucking planet is this? This is so different than the other interviews I've done for this program. I know. I know. But you know what? If I did, I enjoyed it. Well, there's that. that and if i didn't then you know so there's that i i guess i never will do we want i mean somebody had to somebody had to remind me that i've seen wean like several times and somebody was like you know i was like oh i wish i could i wish i could see wean and they're like you've seen like eight times like oh that's oh yeah that's a really shitty superpower to have dude, i know i know i have a very bad short-term memory but my long-term memory is near You're fucking impeccable still. Well, see, my short-term memory was bad at the time. You didn't, yeah. See, I don't create new memories. Yeah. I have a very difficult time creating new memories. Yeah. I still have them, but yeah. Oh. Yeah. It's ever since I got zapped. Okay. What do you say we flip the record over and start talking about song number 26? You up for that? Yeah. Let's do it. We'll be right back after this.Track 2:[16:34] Hey, this is Bob Mustanovich from Pavement. Thanks for listening, and now on with a countdown. 26!Track 3:[21:05] This week, we are celebrating song number 26, Fight This Generation. What do you think of this one, Jeremy from the Falls? This is probably, it bridges the best run, I think, that Pavement has on any album, starting with AT&T, going right through to the end of Wowie Zowie. I started AT&T, I just listen to these tracks over and over again. And Fight This Generation is definitely a staple in that run. Yeah, I think so. And it's a staple of their live show as well at this point. Even when I saw Malcolm on the Traditional Techniques tour, he played a guitar and computer version of it. And it was really quite fucking cool. Oh, really? Oh, I would have loved to have seen that. There's got to be a video of that. I'm sure there is on the old YouTubes. Yeah, I wouldn't be surprised. Yeah. Like, I love the demo version in that enhanced Wowie Zowie release. Oh, right. Yeah, yeah. Nice and Critter's Edition. Yeah. Yeah. Yeah.Track 3:[22:24] But yeah, no, this track does that thing that I like so much in every song I hear it in, where you start listening to it and then halfway through it turns into a different track also. Absolutely. Two different songs mashed together for sure. Yeah. So in listening to this again for this I couldn't believe this track is only like four, it's under four and a half minutes. This feels to me like an epic six, seven minute long track but it's not. It's a tight 4.23. Yeah. Tight 423. That's funny.Track 3:[23:04] I mean, long for a pavement track, but it feels like, it feels a lot longer. Doesn't it? Doesn't it? Maybe I'm just thinking of the demo version. It does because, okay, so not in a bad way for me. No, no. No. But because it feels like two different songs, I think that might give you the illusion that it's long. Yeah. You know? Plus the repetitive outro, like just that jam at the end. That always feels too short. And yet it feels like a day. It feels like a good day. Punching in, punching out. You're friends with the coyote. You're not friends with the coyote. Or the sheep rather no i, you know so there's been like three matthew sweet references and now like two looney tunes all right well um what else do you have to say about fight this generation, This, um, like all, all lyrics are interpretive. Yes. Like, and, and I, and I hesitate because I've listened to everybody else talk and they're so. Erudite.Track 3:[24:27] That's a great word. And I think that's what I'm trying to say. But they, they, they're very, they, they've got very strong opinions and they're very, they're very knowledgeable and they've obviously put a lot of pen to paper and sorted this out and, you know after 18 cups of coffee and and i i'm still i grapple with this one because it's like seeing shapes and clouds and you know you know that old um oh man it's a charlie brown comic from years ago uh and and they're like all sitting on the grass and they're looking at the clouds and the one one i think linus is saying like oh look that's like that cloud looks like washington crossing the delaware and and that one looks like uh rodan's the thinker and and that cloud looks like the the the stoning of saint peter and and they're like what do you see charlie brown he's like i see a ducky and a horsey but you know so i think you can i think you can do that with this track i mean just the the title alone evokes like uh an emotion yes and and the The way that it's, like, the way the song is constructed, how it starts off in 3-3, moves to 4-4 time in there, you get the sense of, like, there's two sides clashing. I'm still trying to figure out, like, for you.Track 3:[25:55] Wait a minute. 3-3. There's no 3-3. 3-4.Track 3:[25:59] At the beginning? Yeah. There's no 3-3. Oh, yeah.Track 3:[26:09] I'm not a music student, but it sounds pretty waltzy to me. Anyways, what is this song about to you? What viewpoint do you see this from? Because I think there's a couple different ones. Is this punching up or punching down? Oh, I don't think it's punching at all. I think this is a jumping up and down song.Track 3:[26:36] Um it's just anthemic and it's just you can get behind the the idea of fight this generation but i don't think any of the other stanzas um support any information about which generation it is who's doing the fighting you know that sort of thing and to me that's what makes it an anthem because you know the kids listening to it right now can feel like they're fighting the gen xers whereas like we were fighting boomers you know um but is it ever like the gen xers fighting the millennials well i suppose a few years ago it may have been because that's that's where i kind of landed on it's like it's the song itself feels cyclical in the way that it's it's like you could probably put it on repeat and it's just this constant like the the themes in it are are such such that it is like there's always going to be this realization, like the fight is part of the progress. It's part of the identity. So therefore it has to exist, but you're in it on one side and then you're on the other side of it. So you're constantly at odds with the generation before you and the generation after you. Absolutely. Yeah. It's very funny that that's the way it's turned out, you know, or keeps turning out.Track 3:[28:04] It's like Battlestar Galactica.Track 3:[28:08] New or old the new one all right the good one the really good one i liked the old one as a kid but it doesn't hold up well the old one had a robot dog and yeah and action figures yes i had a star buck with one arm did it come that way no no i pulled it off i wanted to make him a star wars was villains so that's what i did so listen it's been great talking to you today about your pavement origin story uh fight this generation and uh you know just a basket of other things uh hope uh you enjoyed yourself i know i did and uh that's what we've got for you this week next week we'll we're getting into the top 25 man so we we start to kick out the top 25 next week we're halfway way fucking home. Can't wait to hear it. I'll talk to you then. Wash your goddamn hands.Track 2:[29:05] Thanks for listening to Meeting Malcolmists, a pavement podcast where we count down the top 50 pavement tracks as selected by you. If you've got questions or concerns, please shoot me an email. JD at MeetingMalcolmists.com.Support this podcast at — https://redcircle.com/meeting-malkmus-a-pavement-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

On this week's Talkhouse Podcast we've got two incredible singer-songwriters who sprung from the same fertile late '80s/early '90s scene, and who are still doing it right all these years later: Joe Pernice and Bill Janovitz. Joe Pernice first found notice in the country-ish pop band Scud Mountain Boys, whose home-recorded songs landed them a deal with Sub Pop in the mid-1990s. The Scuds weren't around super long, but their end was the beginning of the Pernice Brothers, Joe's long-running band that continues to put out excellent, often melancholy songs. The latest Pernice Brothers album—and by the way, he's really the only constant member at this point—is called Who Will You Believe, and it stands up there with his incredibly durable catalog. In addition to writing and playing songs, Pernice wrote a great novel a while back called It Feels So Good When I Stop, and he even had a short stint writing for TV. But for now, he's concentrating on music. Check out “December in Her Eyes” from Who Will You Believe. The other half of today's conversation, Bill Janovitz, has been the singer and guitar player for the band Buffalo Tom since their inception back in 1986, and while there have been quieter periods in there, they've consistently released records, including the new Jump Rope, which comes out on May 31. Buffalo Tom came out of the same incredible Boston/Amherst music scene that birthed Pernice Brothers, Pixies, Dinosaur Jr., Sebadoh, and many more, and these guys dive right into reminiscing about those fertile days. In addition to making music, Janovitz is also something of a rock historian, having written the comprehensive Leon Russell book in recent years, as well as a volume on The Rolling Stones. His next book is about The Cars, which these guys talk about during this chat as well. Check out “Helmet” from the upcoming album Jump Rope right here. Like I said, these guys dive back into the Boston days, talking about mutual friends and collaborators like J Mascis and David Berman of Silver Jews. They also try to remember their first encounters, one of which involves Pernice being a little ornery, and they talk about selecting songs for records—and how they never know which ones people are going to react to. Enjoy. 0:00 - Intro 2:46 - Start of the chat 7:37 - Joe's legendary cousin 12:15 - Joe walks out of college and has "a mild nervous breakdown" 18:20 - "When did you meet [David] Berman?" 23:58 - "My first album was made for $60." 31:01 - Berman wants to hear Joe say the word "cocksucker." 42:12 - Craft versus hack, and writing for TV and film Thanks for listening to the Talkhouse Podcast and thanks to Joe Pernice and Bill Janovitz for chatting. If you like what you heard, please follow Talkhouse on your favorite podcasting platform, and make sure to check out all the goodness at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/talkhouse

Susan Berman to intrygująca postać. Z jednej strony była dziennikarką i pisarką, cenioną autorką reportażów o mafii i kryminałów. Z drugiej, jej ojciec, David Berman, był znanym gangsterem. W Wigilię 2000 roku znaleziono ją martwą w wynajmowanym przez nią domu w samym sercu Beverly Hills. Przyczyną śmierci była rana postrzałowa z tyłu głowy. Wyglądało to na egzekucję. Policjantom przypominało to metody wykorzystywane przez gangsterów. Czy ofiara zapłaciła za grzechy własnego ojca?

As the dust settles after Record Store Day 2024, Joe Pernice joins the "second-timers club," returning to our podcast to unpack Who Will You Believe? the new album from The Pernice Brothers (New West Records). The Record Store Day Podcast is written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music. Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton. For the most up-to-date news about all things RSD, visit RecordStoreDay.com) Sponsored by Dogfish Head Craft Brewery (dogfish.com), Tito's Handmade Vodka (titosvodka.com), RSDMRKT.com, and Furnace Record Pressing, the official vinyl pressing plant of Record Store Day. Please consider subscribing to our podcast wherever you get podcasts, we're here every week and we love making new friends.  

Amanda Holmes reads David Berman's “Snow.” Have a suggestion for a poem by a (dead) writer? Email us: podcast@theamericanscholar.org. If we select your entry, you'll win a copy of a poetry collection edited by David Lehman.This episode was produced by Stephanie Bastek and features the song “Canvasback” by Chad Crouch. Hosted on Acast. See acast.com/privacy for more information.

jD is joined by Matt F Basler to discuss his experience with Pavement and to analyze song number 45 on the countdown.Transcript:Track 1:[0:00] Previously on the Pavement Top 50.Track 2:[0:02] So there you go. At number 46, it's the third Wowie Zowie song to chart behind Best Friend's Arm at number 49.And Motion suggests itself at 48. Here we are at 46 with We Dance, the first track of the 2005 masterpiece Wowie Zowie. Maui.Keith, what do you think about We Dance?So, yeah, I think it's a great song.I love how it leads off the album. It's got like, I feel like it has this ethereal quality to it.Like that kind of just, I don't know, it seems just kind of dreamy sort of for me.I don't know if that's how it comes off to anyone else at the beginning of the song.Track 3:[0:59] Hey, this is Westy from the Rock and Roll Band, Pavement, and you're listening to The Countdown.Hey, it's JD here, back for another episode of our Top 50 Countdown for the Seminole Indie Rock Band.Track 6:[1:12] Pavement. Week over week, we're going to count down the 50 essential Pavement tracks that you selected with your very own Top 20 ballads.I then tabulated the results using an advanced abacus and, well, frankly, a calculator.And all that's left for us to reveal is this week's track.How will your favorite song fare in the rating? Well, you'll need to tune in or whatever the podcast equivalent of tuning in is, I suppose, downloading to find out.Track 3:[1:38] This week.Track 6:[1:39] We're joined by a Pavement superfan, Matt F. Bosler. So there's that.How are you doing, Matt? I'm wonderful. This is good to hear.Yeah, no, I think so. Yeah, man.Uh it's a snowy blustery day where i am very cold what's it like where you're at uh same so i'm in i'm in uh st louis missouri it's it's a frozen hellscape currently, so i'm in a robe right nowi'm in our our place is cold we can't keep it warm ceilings are too tall oh my god that's terrible that's a but in the summer i bet you it's awesome it's hot then, there's no good time there's nogood period oh man well maybe when the cardinals play i don't know are you a cardinals guy i'm not a sports guy not a sports guy at all i i'll fake it sometimes right get by you know right,I've learned how to say how about them cards, that's great you got it nailed you got this whole thing figured out.Track 3:[2:59] Well.Track 6:[2:59] Motherfucker, we're here to talk about your pavement experience.And I've been calling it your pavement origin story. So why don't you share with us what that looks like?Well, I see a post. I see a post out there on the internet.It says like, oh, we're talking about the top 50 pavement songs.Would any of you like to talk about it? Maybe discuss your origin stories?Reason i say i say to myself i say matt uh perhaps you would be a unique perspective on something like this as i am what i think especially in the world of pavement fans i'm a fairly newuh of pavement fan i'm a newcomer uh to to the band now i'm a i'm a coming of age in the the 90s.Track 3:[3:53] You know?Track 6:[3:54] I'm listening to Nirvana, Pixies, Replacements.I'm a cool guy. We were from a small town in Missouri, though, so it was difficult to figure out what was cool and what wasn't cool.Coolest things we were reading were like Guitar Player Magazine, and then you'd find out about a band from someone else.You'd bump into a cool person, and they'd go like, Like, I've never heard of, I don't know, some band, you know?Ever heard of the Stooges? And you'd go, no.Well, somehow, I had gotten it in my brain that I'm sure you're aware of Nu Metal and, Saliva, perhaps, or Korn, certainly.Track 3:[4:46] Sure.Track 6:[4:46] Backwards K, yeah. Yeah. Somehow in my brain, I thought Pavement was a new metal band. Get out.Now, I don't know how this happened.Maybe the name, maybe the way the name was written at some point, the logo.Sure. And so I totally wrote them off, you know? Now, of course, getting into music is not a linear thing.So I would hear Pavement songs.I was familiar with some, you know, Cut Your Hair.When I dove in, I was like, oh, I have heard this. But I never connected.Dear friend Ryan tried to get me into Pavement.Showed me, I think, maybe one of their late night.But I don't know. It never came together. always thought oh pavement their new metal and a lot of my friends listen to pavement, but I think what's the band white pony is that the albumno no.[5:57] Oh, shoot. What are they called? Drawing a blank. Deftones.Oh, Deftones. Okay. Yeah. Deftones somehow, whatever.I'm not saying you're a dunce if you like the Deftones, but the Deftones were kind of new metal, but slipped into the indie rock. People liked them as well.So it wasn't insane that somebody would maybe have a new metal band on their their list of bands they liked if they listened to things that i liked right so years go by i just don't get into ityou know and and uh i should have i should and i'm a bad music listener too takes me a long time i gotta listen to things over and over again to like uh get into it um, so it's it's i i try reallyhard i try to be listening to new stuff all the time but it It feels like an undertaking for me to do that, so I don't do it as much as I should.Anyway, driving in the car maybe five years ago, six years ago, with my beautiful lover, Courtney, she puts on a song, Range Life.Track 3:[7:03] Oh.Track 6:[7:04] Boy. And this is rare that this happens to me.Like I said, you usually got to hear something over and over.Range Life, we're maybe halfway through, and I go, now see this. Now this is good. Now.Track 3:[7:16] This is what music should be.Track 6:[7:18] Who's this? She goes, this is Pavement. I say, no, no, no.No, I know Pavement. This isn't Pavement.Pavement would be doing like the thing that old Jonathan Davis does at the end of that.He'd be scatting or something.She shows me the phone.I'm swerving all over as I just stare at this phone scrolling, going, wait, this can't be right.Track 3:[7:46] Well, it was.Track 6:[7:47] It was right.Track 1:[7:50] And man.Track 6:[7:51] Yeah, then I started. So even still, though, it's like I said, a bad music listener.And now I'm coming into Pavement with a billion albums.And they're a weird band, right? So I started listening to the top on Spotify.So you've got like Harness Your Hope. Good place to start.Track 3:[8:11] Yeah.Track 6:[8:11] Start there. I'm like, oh, this is great. I love all of these.And you know those are probably the most like easily accessible um pavement songs which it was fun to find out they have a lot of songs that are uh maybe not so easily accessible, then ii go well i gotta dive into an album i choose at random sort of uh wowie zowie jesus christ which is now now that's kind of my my favorite one which i guess that's kind of you you know,your first one, but because I'm like, Oh, these guys are, are weirdos too. So, And even, you know, I think they're an interesting band to get into late.[8:58] Because by the time I went, well, I'll get into the subreddits. I'll really dive in.People are talking about EPs so much.But, you know, I'm coming more from a world where EPs don't come into the conversation as much.Like with pavement those seem like very main albums uh but i can't really think of another band where eps would be discussed on such a same level as as the full albums um and yeah iwould i mean there's i'm still at a point where like i can't name there's songs on each album that if you named them i wouldn't know them offhand you know like gotcha you'd know themto hear them but but not retrieve the song by name.Which is great. I mean, yeah, and I'm still, you know, like I said, it does take me a long time to get into stuff.And like I was saying, I think even especially kind of the back ends of Pavement albums get pretty wild.So yeah, I mean, I'm still kind of digging through and figuring it all out.Oh, that's really cool. Cool. First of all, you're a great storyteller.So thank you for that. That was a good story.Is it fair to say then you've never seen them live? We did go see them in Kansas City.Track 3:[10:25] Oh.Track 6:[10:26] I mean, one of the terrible things to me is like, listening to them now, they would have been, because I probably would have been getting in.Track 3:[10:34] Like.Track 6:[10:35] You know, with Crooked Rain probably would would have been the first one i would have bought if i if i did it at the right time right and i would have absolutely i mean this wouldhave been my favorite band and then i mean they are now i i, consider them in the they so it's pre-pandemic they were going to play a show in barcelona, right and we i mean we weretalking about it um because it just felt like i i felt like i missed out.This is a band I could have seen several times.And you're going like, well, they've already done a reunion tour.There's a good chance we'll never get to do this. So maybe we go. Maybe we check it out.Track 3:[11:21] And then.Track 6:[11:22] Of course, that all went away. And then we went and saw them in Kansas City a couple of years ago, I think, a year ago, two years ago. And it was wonderful.Track 3:[11:33] It was great.Track 1:[11:34] Yeah.Track 6:[11:35] You lucked out because that 2010 Renewed Tour, although it was very special to me, I saw them in Central Park in New York City and that was really special.They didn't look like they were having the best time. That's what I understand.But this tour, they seemed like, like SM in particular, just seemed like he was having fun.Right. And yeah, that's interesting too, because yeah, now my perception of them is like, wow, what a great live band.Yeah. But even in their heyday is the wrong term, but I guess pre-Breakup, right?Sure. Even then, people were kind of like, oh, they're sloppy.That's like their whole thing.Yeah and i you know that's not something i ever experienced yeah the kansas city show was just a great band oh yeah so much fun so do you have any um any favorite tracks or a favoritefavorite record at this point is it still wowie zowie yeah i think so um.[12:38] It was interesting well so that was you know i i probably listened to that for a year or two before i started going like okay i'm a i'm a join the subreddit guy and uh it was reallyinteresting for me to learn that that was like uh not well received initially um and even the later stuff too i i i think twilight is great i think bright in the corners is great and you know Imean, I know that I'm getting all this stuff at once.There's no like, oh, I love Payment. I love the sound of Slanted and Enchanted.Can't wait to see what's next. And then you get this kind of polished record, and maybe that would be a disappointment.But to me, it's all at once. So I don't know.I really love it all. It would be really hard for me to rank.Track 1:[13:34] Like.Track 6:[13:35] Well, and also, I mean, I did listen to, like, started listening to the top Spotify plays, and then I would listen to some, like, other people's like my favorite tracks or whatever deepercuts or whatever and right and so like part i don't necessarily even know like what's from terror twilight bright in the corners without like thinking about it um so for effort and you knowslanted change is a little easier to just discern that sound from the later stuff but even Even Crooked Rain is a fairly slick record.So yeah, a lot of those tracks, I don't really... Like I said, unless I go, oh, what is that on?It's all just like pavement songs. Wowie Zowie, I know the best.That I could do. But yeah, they're all just kind of like...It's just a bunch of good songs. I agree. I so agree with you.And I discovered them in a similar way. I discovered them late.I discovered them after Terror Twilight.So I got the same gift that you got, which is like five records at once.Yeah. And to hear people say like Carrot Rope, I've seen people say like.Track 3:[14:55] Oh.Track 6:[14:56] But that one, that one's a toss off. That one's a joke, stupid song.And I'm just like, I don't... Sure.Track 3:[15:02] I guess.Track 6:[15:03] But I like it. And I think, yeah, fun songs like that, there's room room for that again if you were so stoked for the next 10 pavement songs and one of them you felt, was a silly gooftrack maybe i could see being a little more disappointed but i don't know i think it sounds like uh sounds like animal crossing music um which was another big part of the pandemic for usyeah and i enjoyed it tied it all in a bow you just tied it all in a bow you You are a master storyteller.Track 1:[15:36] Well.Track 6:[15:36] What do you say we go to the track that we're going to talk about this week, and we can do that right after this little break. What do you think? Can't wait. But I will.I'll wait, because you just said there's going to be a break. So I can wait.Track 1:[15:52] And I'm excited to do it.Track 6:[15:54] Excellent.Track 3:[15:55] Well.Track 5:[15:55] We'll talk to you right after this. Hey, this is Bob Mustanovich from Pavement.Thanks for listening. Now on with the countdown. 45.Track 3:[19:55] So this is song number 45 on the countdown and it is our first track from terror twilight on the the list so far it is you are a light what do you think of this track matt personally andhey you know not trying to be controversial i like it i think it's great oh that's not controversial i guess you're right i guess everybody wrote in i didn't like i saw you talking about peoplewrite in for your top 50 and i went i'm not qualified i'm i shouldn't oh i should let the the real guys do this um so far i i agree i've i've been i've been keeping up with the pod and i'm i'mthere there's not which there's only been a couple but there's not yet been a track that I've gone.Track 6:[20:52] You people are insane. And you are a light. I'm right there with them.Sure, this could be a top 50 for me.Yeah, I think it's a lovely song. I think his vocal tone is maybe one of the best that we've heard of performances delivered vocally.It's so clean and so smooth um i love all the atmospherics in this song nigel has.[21:19] Created like a soundscape you know for the rather sparse band arrangement which we're used to with this band you know sort of uh filling in the gaps really nicely i love how thesong opens with that almost it almost sounds like you're turning something on yeah like a flick of a switch or something doesn't it oh yeah yeah yeah uh for sure old electronics remindsme of or something yeah in a in a movie i don't know if old electronics really make that sound but i feel like they do yeah yeah yeah.[21:57] Um yeah i think i think you know that's a a thing about um like his vocals like sometimes, uh i'll listen to vocal takes of the pavement you know and be like i wish i was boldenough, to be okay with that uh and this isn't one of those right like this he sings very like like, on key and everything, which is cool, too, to have those differences.And then to, like, know that, like, on other songs, and of course I'm not thinking of any right now, but he does it a lot, right, where it's not necessarily on the correct pitch or with greattone.Track 2:[22:44] And so songs like this.Track 6:[22:45] Right, are just kind of like, well, yeah, he could have done it perfect, but it feels better, more fun to...To do it um more fun i guess or uh whatever and um and right here randy jackson being like you're a little pitchy dog yeah right and that's it that you know i mean like i said like if i'mever recording a song like there's no way i i would i would i'm very self-conscious about things like that and uh it's it's nice to have someone to look at and go it's so it's okay you You canhave fun with it, or you can do it more like you're a light and nail it and make a very pretty song.But then I do like how this song is almost cut in half, right?There's the first chunk, and then there's the second part, half.[23:40] Dynamically, there's tons of shifts. And that's another songwriting thing that I appreciate in this song. They don't go back to the first part.And I think in songwriting, I don't know.I feel like that's a tough thing to do, to go like, nope, it's just this and then this and then we're done.We don't need to overdo it.There's no reason to come back to even like a chorus, which I don't know.I mean, the song would be difficult to kind of say what is a chorus.Yeah. Yeah. yeah i suppose you are the you know like you are the light the the calm in the day you're the light the calm in the day um like i suppose that scores but you're right there's no,There's no pavement blueprint. We've heard six songs so far on the countdown, and they're all remarkably different.Track 4:[24:35] They're all remarkably different from a structure standpoint as well as just like a finished product.Track 6:[24:42] I love that too. I'm glad you pointed that out because it's like verse, chorus, verse, chorus, and then weirdness, and then sort of a bridge, and then sort of out. But none of it is...Songwriting 101 no and right like it is interesting i think because you could take a lot of these songs in this this top 50 and pretend well what if there was a band that was this like this wastheir entire thing uh and you know you'd be like oh that's they're cool uh, But right, pavement does do a lot of different things.And to me, that's more interesting. I think I get the impression from some of the diehards, which again, I'm not saying anyone's doing it wrong or anything, but I think sometimes peoplewill get sort of stuck on their idea of pavement, or maybe the version of pavement they like.And it can be annoying to them when they diverge from that too far in their minds.But I think I look at it like.[25:58] Well, I only have to listen to one band. I don't have to get into five or six other bands.It's making it easy for me. That's great.[26:12] What do you think this song is about?Do you think it's about anything, or is it just word salad, or what's the deal? Man, I'm not a lyric guy.No, okay. I guess I'm more of a connotative lyric person, right? Okay, expand on that.These words feel a certain way together.It's not like a story. It's not like a linear tale, right?Track 4:[26:42] Right.Track 6:[26:43] And I'll do that even with songs that maybe are... like someone will go oh that song that's about him riding on a train and i'll be i'll almost be disappointed when someone tells methat right i'm like oh i guess it is yeah okay i see um i i like lyrics that just to me my interpretation was like well that makes me feel this way and And all of these words kind of like cometogether to elicit an emotion.And that's sort of the vibe I get from pavement lyrics.I think you're right. I think you're bang on. People talk about it like.Track 4:[27:26] Oh.Track 6:[27:26] It's just nonsense.And I think maybe in like a, oh, it's about this. It's this.I'm talking about these things.Maybe that's true, but I do think that they always seem to me to be pretty carefully selected things.[27:46] Elicit uh an emotion a specific like vibe and feeling and uh yeah i mean i i did i so like i said i'm not really lyric i don't really like pour over lyrics um and i did for this because ithought that would be a good thing to do and then that's when i learned well i am bad at it i have no idea what this is about i but i like them all i do like cool i like cool words and these arelike I read these and I go, well, this is cool.I like how this makes me feel.And they all are neat words together.Yeah, and some of them connect. I think You Are a Light, The Calm and The Day, I think that fits together. That may be about somebody, but maybe not.I love, lyrically, it almost reminds me of David Berman.[28:37] I Drive a Stick, Gotta Love It, Automatic. like that's the the vocal delivery of that is really cool so i think you're right there's there's almost as much like a michael stipe sort of yeahthing going on where it's like this word sounds good with the melody i'm going to use that in lieu of uh writing something heartfelt and uh, linear or or something along those lines i don'twant to say this song isn't heartfelt or other pavements no but you know what i mean i know you mean and i think sometimes when you write a song, you might you know you say wellyes this song is about the way I felt when this thing happened.[29:21] But I'm not it's not about that thing you know what I mean it's more about the emotion and, like I said I don't really enjoy story songs that much or I feel like you're sort of likestripping away a layer for people to enjoy it.Because, you know, you're going like, well, I don't have a red truck, so I can't...You're making me do more work, right? Because now I have to go, okay, that's the way you felt about your red truck.What could I feel that way about instead of just talking about the emotion and then, you know, whatever.I'm getting above my pay grade on talking.But yeah, I'm sure like maybe old mouth missed, could say, oh, yeah, this is about, like, Lethalizer Slingshots is about the time that we did this and this and this, but I don't know what thatmeans. Yeah. Yeah.Track 4:[30:31] Swallow propane.Track 6:[30:32] I just know, hey, as much of a fan as I am, not going to do that, Steve. Not going to do that.Track 3:[30:40] No.Track 6:[30:40] I don't think I will. I don't think I will. Where do you think this fits?Do you think it's a good spot at 45, five or do you think it should be uh like is it properly rated do you think or would you have it would you have it higher up or would you put it lowerdown for for yeah i mean i think for me i i think i'm gonna have more issues myself with the with the top because i think sure with people who are perhaps better fans than i know it there'sno such like it would be hard for me to not say a.Track 4:[31:16] Oh.Track 6:[31:17] Cut Your Hair should be top five. That's a, what a great song.And I think, I feel like it's going to get deeper cut, less pop song toward the top.And this, I don't know, this kind of.Track 3:[31:33] To me.Track 6:[31:33] This would probably maybe go higher for me, but I think...Man, they got a lot of songs. They got a lot of good songs. You have a lot of songs. 120 were selected for this process. 120 songs.I guess really, right? This is sort of a fool's errand from the start.It's just kind of a fun way to talk about a bunch of songs. I think you've mentioned...Track 3:[31:57] You got me.Track 6:[31:57] You got me. Yeah, I think you've talked about it.It's like, well, yeah, this is 45 today, but next week.Track 1:[32:07] It wouldn't make my top 100 or something you know that's um that's pavement fans are a little fickle yeah but but if if this was like the guitar player magazine i'll talk shit on themagain uh top 100 guitar players you know this wouldn't be the one that gets me in the comment section going you're out of your mind what that's no way gotcha so i would read it and i'dgo go yeah did you see the guy did the top 500 guided by voices songs holy shit no i did uh it might have been uh what a challenge some publication some some music magazine and umwe'll have to check that out i consider myself a a fan of a pretty fair weather fan of guided by voices but i do like them now that was a band i tried to get into late and i went i can't there'sno way i can't do it it's too much work and i'm reading this top 500 and like it was crazy to me that his like top 30 i maybe knew two or three songs out of it um wow i have to check this iat least have to check the top 50 out see how many get you in those comments going you're out that's crazy well i'm i'm probably like you in that you know i've got b1000 and i've got umgosh i can't even even think of the other records that i have but uh.Track 6:[33:35] I don't know that I could name. I'm a bad fan here because I don't know if I could name 50.I don't know if I could name 50. They have tricky names to recall at times as well. Yeah.Yeah. So this, right, I think this is certainly an easier undertaking.Makes more sense to me to do the top 50 pavement than top 500.I mean, at least here you can go like, the difference between, you know, 30 and 25 makes sense on a top 500.What is 450 to 442?Like, what is that? That's right. How do you even quantify?Track 3:[34:22] But again...Track 6:[34:23] Well, most people had difficulty doing 20. Most people had difficulty doing 20 ranked, which is what I asked for.I asked for 20 rank songs and then i would get emails from people i'd be like dude just do your do your top five and then add another 15 songs you know like because like you said it'stough once you get to a certain point you know like what is 17 you know what i mean out of 20 and i think this is a band where you go like if i'm in a bummer mood they've got themthey've got songs for that and if i'm if i'm wanting to have a have a good fun party time that's a different different set of of songs um major leagues was my that was my most played onspotify last year oh cool all right because you get that uh report at the end of the year right so yeah we'll see, hopefully that that makes it somewhere i guess i guess uh that would havemade it easier for me because yeah how would i pick a number one i guess if i listen to that the most i that would be your number one for 2023 i guess so i guess yeah well matt f basler uhit's been great talking to you about pavement and i really i really appreciate your time this this podcast season two here of meeting malchus is is entirely uh shouldered by the guests so uhyou did a you did a formidable job, and I appreciate that a lot.[35:51] Is there anywhere that people can find you that you want to be found, or is there anything project-wise that you're working on that you want to talk about.Track 4:[36:01] Or anything like that?Track 6:[36:03] Yeah! Matt F. Bosler everywhere. We're a band, I suppose.Track 4:[36:08] Matt F.Track 6:[36:08] Bosler is a band and a me, and we're doing songs and, I think I could see, I'm not going to say if you like Pavement, you'll like my stuff, but I think if someone was listing bandsthey liked, it would sound crazy if someone said, I like Pavement, Matt F. Bosler.It wouldn't be whiplash for someone to mention those two things sonically together.We just did, a couple years ago, though, we did a synth album of covers of modern country songs about beating people up.So that's maybe a little bit out there. Can you find it on Bandcamp?Track 4:[37:01] Yeah.Track 6:[37:02] Yeah, yeah. It's everywhere. Spotify, Apple Music, all that.That and then as an apology to country music for making a mockery we did then we made a an album of country originals whoa so we're doing a lot of stuff we're doing some some crazystuff out there that's cool i hope i hear you on the pod list this year do you know what the pod list is, no so every year i do something called a pod list for my birthday and i solicit tracksfrom, talented pavement uh fans and they do covers and then i put all the covers together in a podcast playlist or a pod list and uh i get it sequenced by somebody who who uh i get itsequenced by somebody who knows sequencing and uh it's usually pretty fucking fun that's wonderful wonderful i have a podcast i guess that'll be july podcast i'm not good at namingthings so yeah it is just matt f bosler's podcast or you're really good at naming things well sandy and kevin are okay they named me so mom and dad yeah yeah all right brother well it'sgreat talking to you like i said uh that's what i've got for you this this week.Track 3:[38:27] So stay cool and wash your goddamn hands.Thanks for listening to meeting Malcolm is a pavement podcast, where we count down the top 50 pavement tracks as selected by you.If you've got questions or concerns, please shoot me an email JD at meeting Malcolm is.com.Support this podcast at — https://redcircle.com/meeting-malkmus-a-pavement-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Jarvis Taveniere from Woods discusses the sound and lyrical themes on their new album, Perennial, our shared love and interactions with the late David Berman, the work that Woods did with Berman in their band, Purple Mountains, a brief Wikipedia-like history of Woods and recalling former members like Kevin Morby, from digital to analog, the Woodsist universe, working on new music, touring, other future plans, and much more.Supported by you on Patreon, Blackbyrd Myoozik, Pizza Trokadero, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S. and Black Women United YEG. Follow vish online. Related episodes:Ep. #821: Kurt VileEp. #779: Kevin MorbyEp. #515: Matthew “Doc” DunnEp. #492: I Remember Me and David BermanEp. #481: David BermanEp. #165: Bob Nastanovich of Silver JewsSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

Oliver checks out the latest from Philly's Constant Hit Maker - Kurt Vile, including an 'instant classic' that pays tribute to Petty, Dylan, and David Berman. Also, music from Australian indie rockers Lower Plenty's latest LP. Follow @asonicyouthpodcast on Insta and Facebook. This show is part of the Free FM 89.0 YOUTH ZONE. Made with support of NZ on Air.

In this episode, Cory talks with Discograffiti about: The tracks on each record that've driven Cory batshit crazy; The piece of advice David Berman passed along to him, which wound up having a profound effect; And Cory's picks for his two best records, his worst, and what he believes to be the best Wand song of all time. Listen: https://podfollow.com/1592182331  2-3 podcasts / week: Patreon.com/Discograffiti  Currently, there are over 100 Patreon episodes. That's an entire universe of indispensable music podcasts available to you for the price of a cup of coffee a week. Please Pledge/Share: Gofund.me/d316c87c Coming Monday: The Cory Hanson Patreon Collection, Vol. 2 CONNECT Join our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153 Patreon: www.Patreon.com/Discograffiti Podfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠ Instagram: https://www.instagram.com/discograffitipod/ Facebook: https://www.facebook.com/Discograffiti/ Twitter: https://twitter.com/Discograffiti YouTube: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhw Web site: http://discograffiti.com/ CONTACT DAVE Email: dave@discograffiti.com Facebook: https://www.facebook.com/hooligandave Instagram:  https://www.instagram.com/davidgebroe/ Twitter: https://twitter.com/DaveGebroe #coryhanson #wandband #westerncum #coryhansonwesterncum #dragcity #dragcityrecords #bestof2023 #metalmachinemuzak #discograffiti #soldiersofsound #hotlicks #thetop10 #thetopten #top10show #tapedundermyballs #davidberman #silverjews #thesilverjews --- Send in a voice message: https://podcasters.spotify.com/pod/show/discograffiti/message Support this podcast: https://podcasters.spotify.com/pod/show/discograffiti/support

Kurt Vile discusses his lovely new EP, Back to Moon Beach, Philly, Boston, and Atom and His Package, pandemic prescience, writing songs that show love for George Jones, Dead Milkmen, Bob Dylan, Tom Petty, and David Berman, our personal connections to Berman, Silver Jews, and Purple Mountains, interacting with Neil Young, bringing your children to work, our shared love for the late Dallas Good and the Sadies, working with Cate Le Bon, tour, other future plans, and much more.Supported by you on Patreon, Blackbyrd Myoozik, Pizza Trokadero, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S. and Black Women United YEG. Follow vish online.Related episodes:Ep. #481: David BermanEp. #492: I Remember Me and David BermanEp. #406: Courtney BarnettEp. #56: Dallas GoodEp. #669: Dallas Good RememberedEp. #703: The SadiesRelated links:Bob Dylan and His Band Took Toronto to Unexpected and Rewarding Places Massey Hall, October 26Last Night in Toronto (by Vish Khanna)Support this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

Gregg Turkington discusses his collaboration with Erik Paparozzi on the wonderful new album, Neil Hamburger Presents Seasonal Depression Suite, why a Christmas-themed concept record set in a chain hotel works so well, surveys, reviews, and why customers get so entitled at hotels and motels, Frank Sinatra's Watertown and David Berman's songwriting, serious artists who are very funny, the star-studded and collaborative nature of this release, Bob Dylan's Desire and working with Scarlet Rivera, other future plans, and much more.Supported by you on Patreon, Pizza Trokadero, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S. and Black Women United YEG. Follow vish online.Related episodes:Ep. #775: Will Oldham & Lori DamianoEp. #562: Bill CallahanEp. #501: Gregg Turkington and Eric NotarnicolaEp. #481: David BermanEp. #466: Gregg TurkingtonEp. #163: Tim Heidecker and Gregg TurkingtonSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

How many dimensions are there? We might not be aware, but we are actually used to living in a curved, multidimensional Universe. In this episode theoretical physicist David Berman explains how, and he also dives into the world of string theory which predicts that the Universe has ten dimensions, some of which are hidden from our view. We first published this episode back in 2012, as part of our Science fiction, science fact project. David Berman You can also read the articles that accompany this podcast: Kaluza, Klein and their story of a fifth dimension and The ten dimensions of string theory.

Ian chats with Jarvis Taveniere of Woods about their fantastic new record Perennial, John Cale and the Velvets, and cutting Purple Mountains with David Berman. COP & LISTEN TO "PERENNIAL" NOW SUBSCRIBE TO JOKERMEN ON PATREON WATCH OUR "BOB DYLAN REVISITED" SERIES ON YOUTUBE MERCH AVAILABLE ON JOKERMEN.SHOP FOLLOW JOKERMEN ON INSTAGRAM AND SUBSTACK

Producer, engineer, mixer... If your into music, the chances of you having heard a project that Taveniere has been involved with in some way is very likely. Having worked with the likes of Anna St. Louis, the late David Berman, Shannon Lay, Woods, James Toth, Whitney Real Estate and so many other wonderful artists. On this episode we talk about Jarvis' youth growing up, getting into music, playing with the likes of Wooden Wand and Woods, his masterful techniques  beind the scenes and so much more!

Retired Intelligence Detective Gary Jenkins brings you the best in mob history with his unique perception of the mafia. David Berman was a Jewish-American organized crime figure active in Sioux City, Iowa, the Twin Cities, and the Las Vegas Strip. He was a casino gambling pioneer in Las Vegas, a partner with mobster Bugsy Siegel … David Berman – From Capone to Bugsy Seigel Read More » The post David Berman – From Capone to Bugsy Seigel appeared first on Gangland Wire.

I received a book from this week's guest, the London-based American artist Orfeo Tagiuri called “Little Passing Thoughts”. It reminded me of that fine tradition of cartoons, mixed with a dose of surreal humour, and a dash of poetic perspective, and above all, a very profound, touching, sincerity.  In today's episode, Orfeo and I talk about what it takes to come up with great ideas, where they come from, and about the fact that he dislikes the term artist and might prefer “visual poet” which seems apt after giving one glance at his work. Also in this episode, we hear about Orfeo's literary tastes and his recommendations on some great reads, including books you may never have heard of included below: Favourite book that I've never heard of: “Joseph and His Brothers”, by Thomas Mann Favourite book of the last 12 months: “The Smile at the Foot of the Ladder”, by Henry Miller Most disappointing book of the last 12 months: “Little Birds” by Anais Nin The book he would take to a desert island: “Actual Air“, by the late poet David Berman: a collection of poems The book that changed his mind: “The Gospel According to Judas”, written in the second century but not included in the Bible, and also “Chaos” by James Gleick Find Orfeo: Instagram: @orfeot Website: https://www.orfeotagiuri.com/ Buy his book: https://chosecommune.com/book/orfeo-tagiuri-little-passing-thoughts/ Follow me ⁠⁠@litwithcharles⁠⁠ for more book reviews and recommendations!

Pastor David Berman joins us to discuss the growing evil in America. We will delve into the assault on Christianity, the normalization of pedophilia, and groomer culture. Guest Link CLF Church

The boys are back and this time they're discussing the first long play in the Hip's discography, Up to Here.https://ratethispodcast.com/ghtthLive tracks featured in the episode:Blow at High Dough - Barrie ON 1990Everytime You Go - London ON 1989Transcript0:00:00 - Speaker 1We're now one episode into this grand experiment, and I'm not sure if we've learned anything concrete at this point. I think it's safe to say that the EP surprised Pete and Tim. Going into this, they were under the impression that the hip is a very special band with cultural significance, and the whole nine and Then their first foray into said music Gave them werewolf baby. Now, before you go sending me nasty emails, know that in my heart the EP has a charming place on the mantle. I wouldn't hide from the music on the EP, nor, however, what I seek it out. Now, though, we move on to a more honed and refined version of our bar band. from Kingston Up to here is a taste of the South, delivered on the backs of songs that have stood the test of time, Produced by a famed knob turner, Don Smith, who had previously worked with the likes of you, to the traveling willbaries and Keith Richards, to name just a few. At any rate, let's just say, the hip picked up what Don Smith was putting down, and together they birthed the classic. That's what I think anyway. What, though, will our friends Pete and Tim think of up to here on their first listen? Let's find out in this episode of getting hip to the hip. 0:01:25 - Speaker 2Long sliced brewery presents getting hip to the hip. 0:01:35 - Speaker 1Hey, it's JD here and welcome to getting hip to the hip, a tragically hip podcast. I'm here, as always, with my friends Pete and Tim, and I want to ask them right up front How are you doing, boys? 0:01:47 - Speaker 3Doing well, doing great. It's Monday, Monday morning in Portland and there's frost on the ground. 0:01:52 - Speaker 1Oh, Really not here. 0:01:54 - Speaker 3Yeah, Yeah, Oh, no, no. 0:01:57 - Speaker 5Molly is. it's Monday night in Malaga and You know it's a thunderstorm right now outside, so I hope my internet holds up, but It's getting chilly. man, We're definitely in the winter, That's for sure. 0:02:12 - Speaker 1Oh god, What does that mean? like 20 degrees. 0:02:16 - Speaker 5It's, it's 16 right now. You know that's. Oh I'm trying for you. 0:02:21 - Speaker 1What is it here right now? It's four. 0:02:25 - Speaker 5Oh god man, No thanks Geez. 0:02:31 - Speaker 1I'm a hardy Canadian, for four is good for this time of year, for is like your coat's unzipped and you're drinking a stout. 0:02:38 - Speaker 5I can't drink those stouts here. Let me tell you, man, I'm sticking a light beer, That's for sure. 0:02:43 - Speaker 1Oh, yeah, I'm, yeah I'm, I'm well into the stouts, That's for sure. So up to here, I believe it's recorded in Memphis. I'm gonna double check that right now. Yep, Memphis, Tennessee, and it's got that sort of muddy southern Field to it. you know it's like a well, It's like a well-worn in pickup truck. you know it's got some, it's got some mud on the sides, Really comfortable to drive. That's what this record is and it comes on the tail of their 87 EP. But in those two years the growth to me anyway seems Market. you know, like there is a market growth in terms of, you know the songwriting and the songwriting, The lyrics in particular. but the but the content, you know is is just a little more Worn in like a great pair of jeans. What do you guys think, Pete? Wow. 0:03:43 - Speaker 5Well, you said something in beginning of the Of your kickoff and it's really hard, because I wanted to make this note, because I know that you, there's probably some pretty hardcore hip fans listening to this. so, given the Yeah, given the fact that there's only a week to To listen to these, to really dig into them, you know, I'm just, Basically, on behalf of Tim and myself, begging for forgiveness. you know, don't send hate mail because it's, it's, It's tough, like it's. I know Tim is really a solid music connoisseur, Probably well more than I am, and you know No, but you know he's, he's pretty thoughtful, But, but, but I thought about it too. like, like bands that I really love, like God man, What would I, how, what would my reaction be for listening to two jokers Who never heard this before and have a week to listen to it? you know what? what would they? You know what I'm saying, Tim, Do you do? JD, Do you feel me like I? 0:04:49 - Speaker 1I feel like there's daggers toward us, you know first of all, Pete, at getting hip to the hip. calm is where you want to go with your complaints about. No, I'm kidding, but You got to think in terms of context. here everyone gets the conceit of the shell. people got this record, people got their hands on this record And they got to sit with it for a year before the next record came out. 0:05:15 - Speaker 5So yeah, yeah, you know, Just asking for forgiveness, but all in all, to what your your your. your point was JD, I mean I did. I know we're gonna go song by song, but I just want to say I I started off with this record. This is kind of the same way I did the other one, the last EP. first I started off on my computer, was not feeling it Pop the pop the earbuds in, went for a run with it, Really started to warm up to it and then I took it out in the car and and JD, you've been in my cars, You know that's got a premium audio sound system in it Yeah and oh man, Oh man, It is. I want to walk into a roadhouse somewhere in Memphis and this band's playing and just whoo, there's a lot of crunch man. Oh, I dig it. I got lots to say, but I'll send it over to Tim. 0:06:10 - Speaker 3Well, I had a similar Reflection. I was talking to my wife the other day and about the band and I Said or you know what if my favorite band was in a podcast, someone else was reviewing it, and What if they didn't like it? What if they loved it or what have you You know in either way? I thought, well, hopefully, if I, you know, if I'm an open-minded Pod listener to my favorite band, Hopefully it would be entertaining, Hopefully it'd be funny to hear these Two schmucks talking about what they think you know and with without much background at all. It's kind of like what I said last time without you know, ever trying a certain type of food. It's like, oh, my god, okay, Let's do this. but I am with this album. I, Yes, I started it in the car and it just seemed like really good road trip music. I totally concur with you, Pete, about it being in the boss, in the car Felt like road trip music, felt like, you know, I wanted to drive to go see a show or go see a show by them. Definitely worked in the car. listen to it at home a fair amount, I think. in general it feels, and no production value. definitely more polished Than the last album we listened to totally. yet You get very familiar, like the storytelling is still there, right? The song structures changed a little bit but like the. the DNA is definitely still there. Compared to the last album, Yeah, it's like pinnacle. 0:07:51 - Speaker 1Top perfection bar rock. Yeah, I heard, You know. 0:07:54 - Speaker 3George Thoreau, good like guitar. I just heard this bluesy rock and roll bar Kind of just awesome riffing and I you know, now that you mentioned it, Being in Memphis, I just absolutely heard some country Wow kind of rock and roll tones in there. Oh, that's big time, big time, Elvis, you know there's, There's definitely some of that in there, from Memphis for sure. more so, much more so than the last album. 0:08:25 - Speaker 1Interesting. So, experience wise, did you prefer this record to the last record or not? or where were you there? 0:08:34 - Speaker 3For me. I kind of likened the last record as a pizza with the works, like where is this going? kind of thing. Throw it all together and see what we get. and this one is for sure an evolution. So I would say, sure, I like it more. but it just to me also just feels like an evolution and I'm curious. I was describing it to a friend, and actually to my wife actually, and she was like it sounds like it's just going to get better And I said, well, I definitely hope so, As we listen. 0:09:11 - Speaker 1Yeah, well, I mean, that's what makes this interesting to me getting your first listens in on these records that were seminal to not only me but to a great swath of our country and places you know near and far. I am curious whether the evolution continues for you, And I think that that's going to be fascinating as we as we roll into things. So, Tim, thanks for that. Now, Pete, what have you got in terms of last questions or comments on this record, Or do you have any? Let me know. 0:09:55 - Speaker 5Oh, there was one question I was going to ask you to JD Diamond status. Yeah, So that's Canada's version of platinum, But I'm curious to know why they have that different status. when, for example, if you have the Stones or the Beatles who are from the UK, does the UK have a different? 0:10:21 - Speaker 1I don't know if they have a different one. I've never heard if they have a different one. I know that you guys have diamond, like America has diamond as well. 0:10:28 - Speaker 2It's 10 million copies. 0:10:29 - Speaker 1Yeah, it's 10 million copies. 0:10:31 - Speaker 2We do. 0:10:32 - Speaker 1It's 10 times what we have. So diamond in Canada is one million and platinum in Canada is 100,000. Okay, I see, And it jives out because America has roughly 10, 10 times the population. So, you know, 100,000 and a million. What's interesting, though, is the province of Quebec, which is, you know, I think, 11, 10 or 11 million people. they have artists that have, in the past, consistently hit platinum status, or diamond status, rather, with 100,000, pardon me, a million copies of a record, which is staggering, You know, when you figure, the rest of Canada has a difficult time putting together a million, a million sales in records. Now, this is all off the table, now that we don't sell records anymore, But back in the day, this was a, you know, a big marker of things. So, yeah, you have Quebec. that just is, you know, able to market themselves to. it's because they can put up stuff in French and they can, they can. you know they have access to that audience. 0:11:52 - Speaker 5That's crazy. Yeah, it was a lot of questions. 0:11:55 - Speaker 1What were you listening to in 89? Do you remember Either of you guys? 0:11:59 - Speaker 3Yes. 0:12:00 - Speaker 1Where are you at? 0:12:02 - Speaker 3I was senior in high school. 0:12:04 - Speaker 1Yeah. 0:12:05 - Speaker 3Yeah, it was everything from Southern California punk rock. Yeah, we had a lot of local punk rock going on and we had you know friends in punk rock bands But you know kind of flip the rock and roll coin. I was also listening to like, oh, a lot of new wave, Holy cow, a lot of new wave kind of influence for my sister And that's everything 80s new wave. And then also I was for a period there like a big fan of the cult. You know I like Epic Guitar. I don't always need it, but I like a band that has you know back bone drum bass, blah, blah. but I love a great guitar player And the hip has definitely some guitar going on. 0:12:54 - Speaker 5Yeah, 89. 89, I was. I was I'm a tad younger than you guys, but 89, it was coming out of like some late stage Steely Dan and and Huey Lewis sports was just, I mean, God damn Nice. I don't think there was a bigger album and we talked about that last week. you know some Huey Lewis vibes in there And then you know, I just feel like I went right into. you know Guns N' Roses and the Motley crew of that time before getting thrust into. you know 90s grunge, like everybody else did with Alice and Chains and and and you know Soundgarden and eventually Nirvana. 0:13:45 - Speaker 1I was a big Pearl Jam guy, That was kind of where I was at. Okay, Yeah, I was a Pearl Jam guy, and but that was later. That was, you know, into the 90s. Back in 89, when this came out, I was listening to hair metal. I was straight up listening to hair metal And I recalled, on the intro, the cold open of the first episode. you know, when I heard the hip for the first time and the impact that it made on me. you know, in spite of the, the garishness of the hair metal that I was listening to, there was something that I really liked about this pickup truck band from Kingston, And you know there's a lot to like on this record for sure. So what do you say? we get into it and attack this sucker track by track. Yeah, good to go, man, All right, So we kick off with Blow It High, Do Welcome back and welcome back to CFY's fourth annual Canada Day Festival for Canada's 123rd birthday. 0:14:54 - Speaker 4We're at very Ontario half the time of our lives. Believe me, this band is going to be very, very hot. We'd like you to listen now to Tragically Hip. He's a rapper like Tizorim, never like the stars To throw some passion, throws a passion in some. just bring him on. We're so close, the best that we get to listen now. But you can't look me in for the smile of your eyes. the further it's gone, the higher I go. And if I'm high I go, and if you blow the cry I go. Maybe I feel fine, I'm pretty, just genuine. It makes no sense. it makes no sense for a track to be unified And if I'm hip-sick you should leave it high. It was the strangest thing. I should move so fast, move so fast in the better way I pray Sometimes, the best that we get to listen. now you gotta remember the smile of your eyes. the further it's gone, the higher I go. And when you blow the cry, I go. Now that the speedway, the same evidence, the same. Well, I ain't no movie star but I can give it hand in a thing In the better way I pray Sometimes, the best that we get to listen. now you gotta remember the smile of your eyes. the further it's gone, the higher I go, And if I'm high, I go. Yeah, I'm gonna fly, I go, Gonna fly, I go, I fly. Now that the speedway. the same evidence, the same evidence. 0:19:25 - Speaker 3I mean to me that just crushed it. as the first song, It just hit the ground running, which I love. I'm really into checking out song orders and there was a while many, many, many years ago, I was hoping to be a fan of song three. There was a cadence to some albums that I really enjoyed and this song as a song one it was super good. This is kind of where I mentioned hearing guitar licks that you'd hear from George Thurgood or you know. it was very kind of smithereens, Tom Petty friendly in that way. Some of the lyrics like oh, what do I have? Don't get ahead of yourself. or faster it gets, the less you need to know. I love that line faster it gets, the less you need to know. It's like, just keep the momentum going, And that's also a song that was awesome in the car. 0:20:21 - Speaker 5Well, I mean, yeah, I mean, what a fucking banger of a first tune, The slide. I had the same thing. I very much got some Thurgood tunes or vibes in there, The way the song starts out, I think, with the drums and then a little crunch guitar, and then that in my notes I wrote down the layers, the way they layer the song into getting it, getting the ball rolling, and it just from no disrespect to the EP, but leaps and bounds, recording quality wise, just production, leaps and bounds. It was just. 0:21:00 - Speaker 2you tell me like well, this is going to be a fucking record. 0:21:07 - Speaker 5I was very excited from that first track, Absolutely All right, We'll stick with you and move into. 0:21:13 - Speaker 1I'll Believe in You or I'll Be Leaving You Tonight. 0:21:17 - Speaker 5Which it took me a minute to get the play on words there. I know I'm a bit dense, I'm a blonde, You can't see that for just you listeners out there, But the riff in there is just so catchy I think. at first I was like, oh, this is like a typical late 80s riff and I'll make that reference a couple of times for a few songs here. But the more I listened to it I was like I want to try to play that. I took out the guitar and I was like, oh, that's cool man, It's just cool, It's cool to play and it sounds cool And I can imagine playing it back in that time I mean, if I was alive in that time. it's just like I don't know. I'm sorry I'm trying hard time, particularly myself, but it's a really love that jam. 0:22:11 - Speaker 1We're not rock critics, so we're people who are telling it like it's Oh, yes, we are. Oh, I forgot, Put your quill away. What did you think of this one Lesser Bangs? 0:22:26 - Speaker 3Yeah, it's kind of a little bit of a similar feel. It was cranking in the car really well, I found myself I didn't know what to call it I was doing the chin back and forth to the cadence of the song. It was like kind of reminded myself. I was like I'm doing kind of the chicken thing right now. Just have this good tempo. The two minute mark around then is when Gord starts kind of talk singing, as he does sometimes, And then it moves into, as Pete mentioned, the big guitar riff. And I enjoy when the structure changes up a little bit. I think the last album I felt like there was more consistency and structure which made me lose my interest a little bit. So I like it when the tempo changes or there's like a build up, slow down, build up. you know This had a good speed to it. There's also definitely some country music influence in there. I mean, I could hear it right away. 0:23:34 - Speaker 1That's so interesting to me. I'd have to listen really hard to hear to find country in there. 0:23:41 - Speaker 3But if you listen to some, yeah, some old school kind of country and it just reminds me of, like, the era from when Elvis started to go a little more rock and roll, Like it. just it's very Memphis. It's definitely influenced by the region, I feel. 0:23:58 - Speaker 1All right. the next track on the record is another single from this record. It's probably one of the songs that if you do meet somebody that knows the Tragically Hip, they might know this song. 0:24:11 - Speaker 3Okay. 0:24:11 - Speaker 1It stands. you know it stood the test of time in their live set Throughout the nineties. it was a fertile place for them to play when they played it live. It was a fertile place for them to jam inside of and introduce or workshop new songs. So you'd get like a record two years down the road from a time that you saw them live and there'd be this worked out song. But you'd hear this rough you know this rough lyric phrase or a lick that maybe is familiar on a record two years down the road. It was such a cool little thing to hear them. you know, jam these songs out and you'd go see them. I would see them like multiple nights in a row and it would be different, Like it wasn't, like they were just fucking around and like it was spontaneous and it was very storytelling and yeah, So I'm talking way too much here. This is your show. New Orleans is sinking. 0:25:12 - Speaker 3Yeah. So you know, I'd love to hear a version of this song where they take it longer or they jam out it and or something like that. because first listen, you know the story is actually pretty doom and gloom sounding It's. you know it's kind of about maybe giving up, I don't know. It just felt like, you know, there was some dark, heavy thoughts in there and then it felt just as as a song on the album. it felt a little bit filler to me it was more staple. it was more regular hip. It just like had the typical structure I've heard thus far Wow. So I didn't think I loved it. That is fucking awesome. I like the idea of the song, but it just felt kind of like, okay, this is a, this is a song. three hip, hip song. 0:26:05 - Speaker 4No No. 0:26:07 - Speaker 1Oh wow, It'll be interesting to hear if this change. I hope so. 0:26:13 - Speaker 3Yeah, yeah, yeah, yeah, Yeah. No, I want to hear, I want to hear more versions of it. 0:26:17 - Speaker 1Yeah, you should. 0:26:18 - Speaker 3Like I was saying, like it was songs have some, have some change or cadence change or an up and a down, and this just felt like, okay, this is song three. What are we going to do for four? Oh wow, Sorry, hip hip fans who have that as a moment, It's not mine yet. 0:26:36 - Speaker 5Well, I'm going to read from my notes to, but before I do, real quick, I got to say this song just by the title and the way that it started. I got this really weird feeling and I'm going to indulge me for just one moment with a story I remember when Hurricane Katrina hit in 2005. Tim, you remember, I mean JD. I don't know if the news of it was as big in your neck of the woods as it was, Oh yeah. 0:27:05 - Speaker 1It was huge, It was huge. 0:27:07 - Speaker 5But the night the hurricane made, you know, landfall, so to speak. I remember listening to a guy. you may or may not have heard of him. He used to do some something called Freeform Radio. He's the godfather of Freeform Radio. His name is Jim Ladd, Nationally syndicated, but he's from LA, and I remember smoking weed on my patio there and he said ladies and gentlemen, this is going to be really bad. It was before like the hurricane even made landfall and this is going to be really bad. And he started. the song he played was When the Levy Breaks by Led Zeppelin And it was just really dark and haunting. So I got that same vibe when I started listening to this song and I was like, like Gord's fucking vocals on this are up into this song. from everything I've heard from the EP with the most extreme, in my opinion, just the most range, the most talent. Like if I was a record producer and I'd heard this as a demo, I'd be like sign this fucking band, this guy's off the charts. There's a mention of somebody named Colonel Tom in the song And I don't know who Colonel Tom is. JD, if you got a line on this, let me know. But my initial thought was go ahead, Tim or whoever knows. No, you tell us your initial thought. My initial thought was it was a David Bowie reference to Space Up, but I could be wrong. 0:28:49 - Speaker 3I just read two references. One was just, it was about the North versus the South. you know, some war back then, back then. But then I also read a reference said that it had to do with Elvis's manager, which made me think, okay, yeah, Colonel Tom Parker. So I think that's what it ties to in Memphis and all of that. 0:29:10 - Speaker 5That makes sense. 0:29:12 - Speaker 1Yeah they talk about. this is like Gord's first foray into writing most of the songs. He's handling most of the lyrics, but not all of the lyrics. And why am I saying this? Oh, because they talk about his notebook. He was notorious for having always having a notebook on him and just writing down phrases. And you know, like he would write full lyric, full lyrics or stanzas or whatever. But even if he heard something that he thought was cool, like a cool turn of phrase, he would write that down. So maybe it was even, you know, like Colonel Tom from Memphis, and that's literally the only thing that's relevant about that lyric is that one individual moment. You know it might not be the story of the rest of the song, you know. 0:29:59 - Speaker 3Sure Yeah. 0:30:01 - Speaker 1I don't know though. Yeah, Colonel Tom Parker. That's what I've always thought. 0:30:05 - Speaker 5Good, What a song, though, man? What a fucking song. I mean, it is just chock full of dirt, you know. 0:30:13 - Speaker 1It's a dirty song, right It's yeah. It is Dirty, Dirty, It's mighty yeah. 0:30:18 - Speaker 3You know it's, it's. I just thought it was also. yeah, I agree, I agree, I just yeah, let's just. 0:30:24 - Speaker 1There's other tracks that you like better. That's cool, That's totally cool. It's not. it's not on my top 10 list, So. 0:30:30 - Speaker 3I'd like to hear other versions of it maybe other live versions of it and see how they can do it Me too. 0:30:36 - Speaker 1It became a staple. for sure, It was a. it was a staple. 0:30:38 - Speaker 3Yeah, That's. that's exactly what my take of it was. 0:30:42 - Speaker 1Whereas the next song was not so much a staple Early on, it was, but it didn't live on in the set list for forever. but it's a great example of Gord, you know, sort of weaving a yarn here and telling a story and using actual Canadian history but giving it a unique spin. So you know, he's playing with things a little bit, but he's telling the story and then he makes it about his own family. What do you guys think of 38 years old? 0:31:14 - Speaker 4I've got my name in administration So People leave. don't have people left, nothing to feed. The last thing they wanna do is hang around here. Most of came from town from long French name, But one other dozen was a hometown shame. Same pattern on the table, same clock on the wall, Been one seat empty, 80 years and all Freezing slow time, away from the world. He's 38 years old, never kissed a girl. He's 38 years old, never kissed a girl. Music. We're sitting on the table. heard the telephone ring. Father said he'd tell him if he saw anything Other type from the window in the middle of the night. Held back the curtains for my older brother, Mike. See, my sister got a ring. so a man got killed. Love for which prison man's buried on the bill. Folks spend back a normal when they close the case. They still stare at the shoes. in the past, our place, Music, Music, Music. My mother called. the horror finally ceased. He whispered yeah, for the time being, Natalie, No, but show the squad, come make a phone. Said let's go, Michael's son, we're taking you home. Same pattern on the table, same clock on the wall, Been one seat empty, 18 years and all Freezing slow time, away from the world. He's 38 years old never kissed a girl. He's 38 years old never kissed a girl. He's 38 years old never kissed a girl. Music, Music, Music, Music. 0:35:03 - Speaker 5Music. It's crazy. so I ended up this above all songs. I ended up doing the most research on, Started researching the prison and there was a guy who was shot there years ago And his last name was Trudeau and I was like, was he related to the prime minister or what? Like all this weird miraculous rabbit hole that I went down. But getting back to the song, I got to be totally honest with you. So I know you guys feel me on this. when you look at like records during this time that came out, You'd have the first one or two to three songs will be just these fucking bangers. And then song four just you look in the structure of the record is going to bring it down a little bit. It's kind of like, okay, everybody relax. you think about it like even playing a live show. That's just the way that the records were made back in the day. And I start hearing that and I'm hearing this song come in with the guitar And I'm like, oh, this is man. those first three songs are fucking bangers. And I'm like, no, they're just going to be this fucking cheesy. yeah, just, you know, Give me some acoustic, a little bit of love, whatever. And I got to say this is probably my favorite song in the record And it took some evolution on my part because first I started digging in the lyrics And I was like you know there's rape prisoners, murder, like all this crazy shit, And I'm like what the fuck is going on here. And then you know ultimately just the song itself, like the melody and everything involved, Which is it's just. it's a I probably my favorite song in the record. Sorry to spoil your alert, but yeah, loved it. loved it. 0:37:00 - Speaker 1It gave the record legs. I think this is the fourth single from the record, Maybe the third or fourth single. So there were four singles on the record and I want to say this is the third, But it might have been the fourth, so gave it some legs as well. 0:37:13 - Speaker 3Favorite song. I'm just confirming 38 years old favorite song. 0:37:20 - Speaker 5On this record. Yeah, I just think it's really 38 years old. was it never been kissed, never made love? 0:37:31 - Speaker 3Yeah, all that, yeah, Never kissed a girl. 0:37:35 - Speaker 5Just, I don't know man, I feel like and this is crazy, I can't believe I'm going to say this And I'll probably be if you kick me off this podcast after what I'm about to say. I totally get it, But a lot of hip lyrics, especially this song about something historical. I really get some Gordon Lightfoot vibes from man. 0:38:02 - Speaker 1Hey, there's nothing wrong with that. 0:38:05 - Speaker 5You know same name, I guess, but you know, I don't, I just and that guy I fucking fucking loved Gordon Lightfoot. If you don't like it and you want to kick me off the podcast, be my guest, That's the hill I will die on. 0:38:16 - Speaker 3We'll keep you. I think I thought, okay, this is some more kind of dark, gloomy storytelling And I feel like I, you know, on an album, I don't need too much of that, I don't need a lot of that, and me personally. And I also thought, okay, if I'm at a hip show, Some dude next to me is like yelling for this song to be played. I think that's a little weird. like when would they play this song at a live show? It's just like, it's just a little much. you know, Maybe Gordon knew that in the future, true crime would be a thing. you know, podcasts and TV shows and everything. Because it just feels like I mean a song about rape and killing. It's just like how many times you need to hear that? I don't need to hear it very many times. So I thought it was super heavy and you know the same thing Like lyric just too much. Yeah, storytelling is just a lot. you know, maybe I'm too sensitive or something, But I was like, yeah, if I'm at this show with my girlfriend and some dude just keeps yelling to hear this song, we're gonna move. 0:39:24 - Speaker 1I've always said that the hip is really funny with their, because I came from the same school that Pete did With. you know especially heavy metal where it was like banger, banger, banger and then like ballad. Yeah, the ballads would be where you would slow dance and you would make out on the dance floor, you know, after you were head banging and stuff like that. And I just think the tragedy hip does the same thing. they do two slow songs or two ballads on every record, kind of thing ish. But the subject matter is never something that you would want to slow dance or make out to Like. it's always fucking heavy, heavy shit And really when you think about it it's like C, G, D, A minor on an acoustic guitar. you know it's like a three or four chord song that fits in the realm of those heavy metal ballads. But then you put that story about family over top of it and it's like Jesus Christ, this is unreal, Yeah, and you know it overall just comprises them into this epic band that can go there. 0:40:33 - Speaker 3Like not many bands even do something like that lyrically or with storytelling, you know. So, you know it's so. part of me was like, okay, what makes me feel uncomfortable about this? Because I appreciate the music and all the effort and creativity. you know, it's like it's because bands don't really do this often Sinister type storytelling. maybe I know a person or two who kind of fits this mold of a character a little bit to a degree. you know it's just like, wow, okay, What's the next song for me? 0:41:07 - Speaker 5The song when I heard the guitar start and I got to tell you JD I don't know if I told you this, I know I didn't mention this to you, Tim, But the very much got some, you know, with those, those that rock ballads and nothing else matters, vibes from Metallica. And growing up in Downey, where I was born, you know, James Hetfield went to my high school, so, like you, you if you weren't a Metallica fan like you, Or you could be excommunicated from the city. like everybody was Metallica fan Like you. just you just weren't not, you know, a Metallica fan. and getting to Tim's question about why or you, JD, you said why the hip never. I mean it's the eternal question why the hip never broke through. You know, here you got this ballad that everybody's expecting to like dance to at a concert or whatever. but then there's lyrics of, like you know, rape and murder and stuff like they did. they did went outside the box, And that's kind of cool, because not a lot of bands do that Exactly. And so like they sacrificed the ability of being, you know, the ability of of fame or whatever it may be, to have to be a fucking cool outside the box band. I don't know. that's my view. 0:42:36 - Speaker 3Well, there's some also, like I was trying to say, there's some artistic merit to it. you know if, if not, a lot of bands go, go there with something. I mean I mean at the same time, era, late 80s. it's not like Morrissey wasn't talking about doom and gloom with Smith or the Cure or something. I mean it was right there, right in there, but I don't know when it. for me it just hits differently when it's comprised of the sound formula that the hip have, and there he's just like letting the listener have it with this character, and it's just guitar driven rock and roll, it's just. 0:43:13 - Speaker 5It's like a preacher that's telling the congregation like, like he's saying some, some shit to the congregation that, hey, you may not like what you're about to hear, but you're going to fucking hear it whether you like it or not. 0:43:25 - Speaker 1Exactly, I don't know that's. 0:43:27 - Speaker 5does that make sense to you, Tim? 0:43:28 - Speaker 3I mean, that's kind of the way I'm going to provide for you, For sure, for sure, yeah, yeah, yeah, I'm not going to jump the gun, but I kind of had a similar, you know, mindset, feel from the next song. 0:43:41 - Speaker 1Well, let's go into it. she didn't know. I was going to say it's sort of dark too. you know it's couched in this blues, bass, lick sort of thing. you get a nice groove in the back with the bass and the drums, but then those lyrics come in and it's like man, yeah, this is some more broken hearted, dark shit. 0:44:10 - Speaker 3At the same time, it does have this groove to it. there's almost this like I don't want to say pop, but there's this, there's this beat to it that is a little bit different than the other songs. it's I don't know, it's it's Interesting. A little bit different but there's like yeah, yeah, exactly it, it, it. to me it ties a little bit more back to the overall feel, not conceptually with lyrics, but from blow it high to like there's a drive to it, there's a good. it embraced me more just musically in the song it's, it's, it feels like a good sing along, like I could hear the song on the radio driving across Canada. 0:44:51 - Speaker 1You do, I'm. I'm very curious why it wasn't a single it's perfect length for a single it's. it's three minutes and 30 seconds. you know it's, you're in, you're out. there's a nice bridge. you get a little bit of silliness. maybe the subject matter, I don't know, but 38 years old, was a single, so yeah. so what do you got? 0:45:12 - Speaker 5Well, I kind of, you know, just sticking with what Tim said, you know the amount of tragedy fitting with the name of the band involved in the lyrics. I really think, because a lot of the, a lot of the sound that that that Memphis, correct, it was recorded in Memphis. Yeah, that that vibe is just, it is consistent. I mean, I feel like if you asked me where do you think this record was recorded, Pete, I probably would have said Memphis, if I, if, like you, had a gun to my head and I had to guess, just because this the overall sound of it. And one thing I noticed really strangely and I don't know if you got this too, Tim JD, you may have noticed this listening to it so many more times, but moving from the end of this song into boots or hearts, there's a vinyl crackle. there's a tape crackle and and maybe the hardcore hip fans will get this. So at the end of she didn't know if the song ends with like a tape crackle and then the begin. it's something you don't, at least I didn't hear on any other songs. you hear a tape crackle at the beginning of boots or hearts. 0:46:39 - Speaker 3I heard it. 0:46:40 - Speaker 5I know you're talking about you know I'm talking about it, just I heard it. 0:46:44 - Speaker 3I heard it on my, on my sono speaker. I heard it and I went back and replayed it and stuck my ear over there. I was like what the hell is that sound? I mean, I'm familiar with what that sound is but yeah, I thought it was like coming from outside or something because it wasn't on any other tune and I was like right right. 0:47:03 - Speaker 1I think if you did it on more tunes it would take away from it, but to me it's. to me it's like just an accoutrement. that's like there to remind you that this is rustic, this is, you know, this is coming out on CD, but this should be, you know, like vinyl was. vinyl wasn't as popular in 1989 as cassettes and CDs were. CDs were really just emerging, but cassettes were like huge but it was still recorded on tape, I would imagine yes, yeah, yeah, yeah for sure, for sure yeah so you add a little bit of that into it and it's like you know it makes it sound more like authentic. 0:47:41 - Speaker 3I don't know, that's just my, I mean back back then you know BC boys were doing some like needle-hitting the the disc sound to start off songs. or you know, back then people were take starting to take other sounds as the beginning of songs or even ending songs or whatever. so I think it kind of it fits, definitely fits for 1989 let's go to boots, baby there's a line in there. 0:48:06 - Speaker 5I don't know if there's one line in that song that gets me anybody. anybody want to throw a guess out there? I don't know. no, Tim. Gady, no, okay it's even babies raid raised by wolves. know the wind, he's just like what? 0:48:24 - Speaker 3yeah, man, dude, that was the second wolf, the second wolf reference earth song. right, you know for sure there's more to come imagine what it will. 0:48:36 - Speaker 1hardcore fan I'm not joking, there's more to come these f**king douchebags man this song to me it felt really long. 0:48:46 - Speaker 3that it was not long and it felt like a little more country than the last ones. definitely, you know boots or hearts come on. you know it's like okay, is this the crossover song to the south of the United States to get more fans? yeah, I just the lyrics was a single yeah, for sure, I can't imagine a single, but it was a single who was managing these guys at the time who were like we got it, we got it, we got, at least get the south, because if you get the southern belt of the US, that's like that could be a business, you know so yeah, when I heard the song, I was like, oh yeah, I get it. they were after something here and it seems very it's too much more country to me, so I just kept moving well, if you know, you also have to think too like. 0:49:35 - Speaker 5I don't know how long the recording process took for them, but if you're, you know you're Canadian boys. from where, what? which province are they from? JD? 0:49:45 - Speaker 1they're from Ontario, so they're from where I am, about two hours, about two hours east of where I live. they live in King. there, they came from Kingston okay, yeah, Kingston, that's right. 0:49:56 - Speaker 5so, if you know, maybe they, maybe they individually travel, but you're all there as a group of people, you're recording a record, it's your first full length studio album and you're spending time in Memphis, Tennessee. I mean, I see what you're saying, Tim. then maybe the manager, the the high rubs for maybe like, but guys, we got a, we got to do this. but also, you know, it's the same thing, as you know, that that culture takes a hold of you. you know you spend JD when you over in the UK for the pave tour for a while. how quickly did it? I mean, we don't say it in the United States, but how quick did it take you to say cheers instead of thanks? you know, yeah, yeah, it only takes a couple of days and then asking for the toilet. 0:50:46 - Speaker 1that's, that's the. that's the biggest thing for me. like I just thought, like it sounds so rude, like where's the hey man, where's the toilet? you know, it just sounds rude, but it's just what everybody says. yeah. 0:50:59 - Speaker 3I got it to say that really clear yeah. 0:51:04 - Speaker 5Tim, how long did it take you to say little symetheos when you were over here in Madrid? 0:51:08 - Speaker 4I mean, you know, I've traveled around yeah, yeah, yeah, not long it's a song called every time you go there, I got my hands, the numbers be up, my smile's right in my hands. Every time you go, every time you feel what I see. Every time you go, heart and eye feel me. Well, down here, but I take two kids round the gas like no place. Say the thing is time when things start, The dance, the wilds of charity, no time to rise, to get afraid. They were pissing, pissing, playing a part. She's a lover, a man, a soul, a game of games, Say the door. I'll remain in the corner of your lips And I was made up of my smile. you're both a man. Every time you go, every time you feel what I see. Every time you go, heart and eye feel me And it makes them feel. let me dance through the air to feel Love me, love, love, love, love, love, love, love, love, love, love. Well, I tell you, every time you go, what I see. Every time you go, heart and eye feel me. Every time you go, every time you go, what I see. Every time you go, heart and eye feel me. Every time you go, heart and eye feel me. Oh gosh. 0:54:37 - Speaker 5Go ahead Tim please. 0:54:39 - Speaker 3I feel like this is just a total hip song. It's got good structure, has awesome drum, backbone beat. I like the chorus ad. Not all their songs have a strong chorus, So I like that aspect of it. It felt like maybe the last quarter of the song felt a little repetitive, like excessively repetitive, Like it just kept going a little bit. But I don't know, man In the Big Snake Pit, it's a song about taking risks, falling in love. What else about it? It's still kind of on the emotional high spectrum to me. But it's a good song. It's a oh. what did I have a note here about? Oh, the drawn out dramatic ending with the vibrato Just becoming a hallmark signature of some of the hip, And I'm just slowly accepting it as one of their things, Because it was really shocking to me on the first EP to hear excessive vibrato. It's like woo Yeah. 0:55:56 - Speaker 5Let's go. I gotta say, gentlemen, this is the only song on the record that literally my notes are. I just it's just nothing. I listened so many times I'm like what the fuck am I missing? And I don't know. It's one of those songs where maybe, hopefully, in a year or two years, and I listen to it and be like dude, yeah, there it is, But I just didn't. it couldn't, it was a sleep placebo, I just didn't do it. I don't know why. 0:56:34 - Speaker 3Well then you should talk about the next one, because I was similar with when the weight comes down. 0:56:41 - Speaker 5Okay, I really liked the structure of the song. I liked the tone of the guitar, One of the things this and well, another one I'll get into But I really think there's a lot of thought put into the guitar tone there. Maybe people I just think at that time people were really obsessed. There wasn't a lot of tricks you could do on things like Logic or Pro Tools or whatever. So whatever was coming out of that speaker was what was going to be on the tape. The guys were like dialing shit in, but the harmonies on when the weight comes down. I think there's talent there, but it just takes away from the meat of the song. If I would and there's other songs on this record where I love the harmonies, but for me that song just it just sounds like maybe just in age Well, I don't know 10 more years. 0:57:48 - Speaker 3I very few notes. I just thought, yeah, it's all right. I thought it was kind of heavy weight comes down, I don't know. 0:57:57 - Speaker 2I didn't. 0:57:58 - Speaker 3at that point I was yearning for something a little bit more different through the tracks which I think I got with the next song. 0:58:05 - Speaker 1Well, that's good, because you're starting to disappoint me here. 0:58:09 - Speaker 3Well, trickle down. I mean Gord's voice. he gets a little more adventurous with going low and high and high and low. There's a kind of a change at a minute and a half where the lyrics pause and you get some actual music, Like he's storytelling a lot through these songs. He's singing, getting to the chorus. The jam keeps going through many songs, but this one there's actually a pause with lyrics and you get some good. you get some good guitar There's like kind of these swing back into the lyrics with guitar. I don't know, I thought that was just better, a better composed song. You know the idea about it. you know being poor, being on welfare, waiting for the check. you know I think it's a song that probably was appealing or easily identifiable across Canada or the US at the time being down and out on your luck financially. I mean, who has not been able to identify with that? So to me it was a pretty great song. This was up there more. 0:59:27 - Speaker 5Well, I trickle down my notes. I wrote half on a paper, half on my phone. Again, guitar tone. I remember one of my first guitar teachers had a Mesa Boogie triple rectifier stack and this guy was obsessed with tone and just very similar like early 90s, late 80s, sort of hair bandy, but just that tone, just there. that's there in that song And this reminded me of like when I was listening to that song I pictured Patrick Swayze. do you know the line in Roadhouse when he goes always be nice till it's time not to be nice. I feel like like I just like I just got that vibe dude, This is a banger, Love it This takes. I feel like the last couple of songs dipped down a little bit for the record. It's a bit of a, of a valley, so to speak, And then it's like man, put your, put your boots on, man, we're going back uphill And this song takes me right back there. 1:00:38 - Speaker 4And I loved it. Love it Same. 1:00:40 - Speaker 2Loved it. 1:00:41 - Speaker 1Yeah. So now that we're uphill and our boots are on, we get. we get what could be. I'm going to tip my hand here and I'm sorry to tip my hand before you guys get to weigh in The 11th track. the last track on this record is on my top 10. Okay, But I don't think it should have been the last track on the record. I think the last track on the record should be another midnight. 1:01:09 - Speaker 4Okay, So I'm going to tip my hand here and I'm sorry to tip my hand before you guys get to weigh in. Okay, So I'm going to tip my hand here and I'm sorry to tip my hand before you guys get to weigh in. So I'm going to tip my hand here and I'm sorry to tip my hand before you guys get to weigh in. I think this was the last track on the record. And the mountains stand high. When the mountains stand high, Can't let us run wild For another midnight, For just another midnight. Perhaps we'll run our election day Pumping hands and kissing all the babies. Ain't no time for a shout of doubt. So maybe is there another way? Or where a storming catalach Racing for a roadblock in the distance, Flashin' by a lifetime in an instance. Can we take it back? Am I is dying? Am I is dying? And the river don't sleep? When the water runs cold And the calender burns And the story unfolds, And the mountains stand high. When the mountains stand high, Can't let us run wild For another midnight. Can we take it back? Can we take it back? Can we take it back? Can we take it back? And the mountains stand high. When the mountains stand high, Can't let us run wild For another midnight, For just another midnight, For just another midnight, For another midnight. 1:05:01 - Speaker 3I'm down. I think opiate it is a. it's just. It left me either wanting to take a break from the hip for a bit and listen to something else Or, like just it was, I was a little stumped. 1:05:14 - Speaker 1Too dark for you, I guess. Well, let's focus on, let's focus on another midnight first then. So where do you, where do you stand on that track? 1:05:27 - Speaker 3I overall yeah, I overall liked it. I don't have a whole lot of notes about it Overall liked it. You know, I thought it fit well in there. There was, as I kind of said about Every time you go, there was a better mix between verse and chorus. you know, with song structure, I love the one lighter that we're all, or we're a stolen Cadillac, Like you know. I'm going to use that. I love that. That just makes me feel the pain of, you know, escape or trying to be better, do better, I don't know. I thought it was a pretty solid track. 1:06:05 - Speaker 5It's funny that line stood out to you. I mean, I noticed it. I love this song, man. I actually would have put this song at the end to close the record too, And I'll give you my thoughts on opiated. but the line that stuck out to me the most was Burning like a cigarette long season. And then the chorus, the core. I don't know if you'd call it the chorus, You'd call it maybe the pre-chorus, because Oh My, He's Dying is the chorus, more or less. I don't know, I don't write songs, I'm not a musician and I don't play one on television. But and the river don't sleep when the rottar one runs cold, That entire stanza, if you will. I don't know if we're going to call it. is it's fucking dude? I mean, that's Grammy. shit, man, That's. Grammy shit, It comes together with the music. so well, I'm like man, that's one of the things that when I listen to this record, I'm like, yeah, why did that band not fucking peak in the US and all over the world? Because that's so good, It's so good. 1:07:19 - Speaker 3I mean, this could have been like a track three. It was just a great song, good momentum, and it just had the makeup for it. 1:07:30 - Speaker 1for me, Yeah, I would have made it a single, for sure. 1:07:33 - Speaker 5Yeah, totally. 1:07:35 - Speaker 1It's a little long 356, but you could probably trim it up a bit, But I wouldn't because it's perfect. But yeah, I think it's a great, I think it's fucking great And it's just making me think. Tim's reaction to this album as a whole at this point is making me come back to the fact that these guys at this point are like 23, 24 years old. This is some dark shit for young men to be documenting And it makes me wonder if that's a reflection of. you know they've been advanced since 84 in Canada. At this point they have a manager. you know they're booking things. They're not just, you know, driving around willy-nilly touring, They're doing full on tours that are planned out and they spent a fuck of a lot of time on the road, And in Canada that's that means driving all night, like to get from city to city. you know you're driving hours you're driving. you know it's like the last song we listen to, Like another midnight, like. I know it's not couched in that way in the song, but you could take it that way because to me, What I'm getting at here is this is a road record, This is a. this is their first record. This is, you know, the EP is almost like those first four Beatles records where they're playing cover songs. They're still doing their garage act, but this is this is it. This is life on the road and all the shit that comes with it. 1:09:20 - Speaker 3So mr Leiden, like that to me, says you know a lot about the songwriting style, But I'm wondering what you think of the songwriting so, yeah, I briefly, you know, looked into Gord songwriting, how he did it, and so much of it led me to believe that he was, or they were, meeting Band, meeting people on the road and hearing these you know tough stories and you know, just Putting those into song, Yeah, that's the only thing I could come up with. he wasn't sitting around To me Making up these stories like they were influenced by something, and that's how a lot of great writers and poets are. like David Berman, I think a lot of what he wrote was about people he connected with at bars, sitting around on a barstool, you know. 1:10:11 - Speaker 1Interesting. Yeah, I'm not sure. What are you thinking there, Pete? 1:10:17 - Speaker 5To be honest with you, I feel What you said, JD, about. you know the darkness for these people, this young, and you know I often think about. you. know the way and Tim can relate to this. JD, You cannot, because, just by virtue of where you were born, you know A lot of the way we view Canada is, you know, and to put it in just the most beautiful terms, It's Snow, it's bears, It's manitoba, It's maple syrup, It's mounted police, everything's jolly, you guys have health care and Everything's grand north of the border, on the roof of the US. you know, in the most simplest terms now, When I look at and in JD this, you and I have talked about funny things like, You know, the show trailer park boys, right, and yes, I'm making a big Canadian reference there, Right, as funny as that show is, Tim, I don't know if you've ever watched it It's not very plenty plenty. Well, you know, as funny as that show is and I love it to my boat, to the core of my bones That reality in Some parts of Canada, you know, we don't view parts of Canada as being like, You know, some really dark, dreary parts of Portland, where you're at, or me being from LA, or Long Beach to me, To be more specific, There are some dark ass parts of Long Beach and it's, you know, That has I don't know what Kingston's like, I don't know where these guys grew up, but I'd have to imagine, you know, being on the road and seeing, being exposed to different, different things had influenced their, their lyrical content to this, to make them go to this really dark place. and Maybe that's why, again, they didn't, they didn't break through to the States. But I think it's all for the better, because I think the art would have suffered had they, had they done so, You know, are they not? Yeah? 1:12:28 - Speaker 1Yeah, Yeah, I'm, I'm interested in that. I mean, definitely the specter of Milhaven lives large for a Kingston er growing up in the 70s, I have to imagine, But I don't know. but I like the idea of the amalgam of their you know roots Combined with all this time on the road, Accounting for that sort of songwriting style. you know what I'm saying. 1:13:00 - Speaker 3It's gotta be why they had a good following in Detroit, you know, Cleveland, New York, All that whole region, because that's like some tough living around there and I in this, this Band, I think resonates with so much of that, so much of that. 1:13:22 - Speaker 1Yeah Well, fellas, That's up to here. There's only one thing left to do in this episode, and And that is for you to pick your playlist song, your MVP of the album, if you will, And let us know what that is. so I don't know. I'm gonna close my eyes and point. 1:13:54 - Speaker 5What are you doing this to me, man? 1:13:56 - Speaker 3I'm just gonna go. yeah, I'll go blow it. I do. I is, that's, you know, like you said, Pete, a sister banger. it got me right, right at the right, at the opening of the gate. 1:14:07 - Speaker 1I wonder if that's where your your view of the album as a whole comes from then as well, or it's influenced by The idea that you know your favorite track is the first track. You know it should get better than that, right, like again, We're talking about song Structure here, not structure Sequencing. you know, like blow it oh is like the perfect song to Open a concert or open an album, but It's also tough to get bigger than that. 1:14:44 - Speaker 3True, I think it we start to with trickle down, or every time you go, definitely every time you go, it just has a A more singable single, you know, on the radio aspect to it. I think I'm just trying to, you know, find What resonates most with me with this band and where I'm gonna see them Stay at, I guess sort of thematically, and how they evolve, you know, and and how I wanted them I maybe subconsciously to evolve, especially on the production side of things that for some did it Gotcha. 1:15:23 - Speaker 1All right cool. How about you Pete? 1:15:27 - Speaker 5It's a tough draw. I mean blow at the high-doh or 30 years old. I mean flip a coin. 1:15:36 - Speaker 1Won't do it. I won't do it, No no, no, it's fine. 1:15:38 - Speaker 5Okay, so I'd say the first track to it, Just it. just. there's the thing that the reason why I'm saying that over 30 years old because I remember listening the first time 30 years old be like And I don't want this the person Who's listening this playlist to start listening and be like You know, I want them to like, just fucking love you, right, You know me, I want them So Holy. but yeah, blow at the high-doh. 1:16:11 - Speaker 1All right. Well, thanks so much for doing this again, fellas. We'll talk again soon, and and We'll keep on getting hip to the hip, Looking forward to it. Thanks, JD pick up your shit. 1:16:34 - Speaker 2Thanks for listening to getting hip to the hip. Please subscribe, share, rate and review the show at getting hip to the hipcom. Find us on Twitter and Instagram at getting hip pot and Join our Facebook group at Facebookcom slash groups slash fully and completely. Questions or concerns email us at JD. at getting hip to the hipcom. We'd love to hear from you podcast, some such. Support this podcast at — https://redcircle.com/fully-and-completely/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Title: That's Grammy shit!Welcome to this episode where we dive deep into The Tragically Hip's album, Up To Here. Join us as we discuss the band's growth, refinement, and southern rock influences that make this album a memorable piece in their repertoire. We'll also explore the impact of producer Don Smith and the impact this record had on our friends Pete and Tim.In this episode, we examine standout tracks like "When The Weight Comes Down," as well as the storytelling prowess of Gord Downie in songs like "Trickle Down". We'll also delve into the possible connections between The Tragically Hip and heavy metal bands like Metallica.Join Pete and JD as they share their thoughts on the darkness found in different parts of Canada and how it influenced The Hip's music. Don't miss this exciting journey into the world of The Tragically Hip!https://ratethispodcast.com/ghtthChapters:- (0:00:00) - Getting Hip to the Hip- (0:10:52) - Tragically Hip Album Review- (0:27:13) - Analyzing Two Songs- (0:40:10) - Tragic Hip Music Storytelling- (0:52:59) - Review of the Tragically Hip's Album- (1:06:56) - Canadian Band's Dark Songwriting AnalysisKeywords: The Tragically Hip, Up To Here, southern rock, Don Smith, album review, Gord Downie, storytelling, Metallica, Canada, music influencesLive tracks featured in the episode:Blow at High Dough - Barrie ON 1990Everytime You Go - London ON 1989Transcript0:00:00 - Speaker 1We're now one episode into this grand experiment, and I'm not sure if we've learned anything concrete at this point. I think it's safe to say that the EP surprised Pete and Tim. Going into this, they were under the impression that the hip is a very special band with cultural significance, and the whole nine and Then their first foray into said music Gave them werewolf baby. Now, before you go sending me nasty emails, know that in my heart the EP has a charming place on the mantle. I wouldn't hide from the music on the EP, nor, however, what I seek it out. Now, though, we move on to a more honed and refined version of our bar band. from Kingston Up to here is a taste of the South, delivered on the backs of songs that have stood the test of time, Produced by a famed knob turner, Don Smith, who had previously worked with the likes of you, to the traveling willbaries and Keith Richards, to name just a few. At any rate, let's just say, the hip picked up what Don Smith was putting down, and together they birthed the classic. That's what I think anyway. What, though, will our friends Pete and Tim think of up to here on their first listen? Let's find out in this episode of getting hip to the hip. 0:01:25 - Speaker 2Long sliced brewery presents getting hip to the hip. 0:01:35 - Speaker 1Hey, it's JD here and welcome to getting hip to the hip, a tragically hip podcast. I'm here, as always, with my friends Pete and Tim, and I want to ask them right up front How are you doing, boys? 0:01:47 - Speaker 3Doing well, doing great. It's Monday, Monday morning in Portland and there's frost on the ground. 0:01:52 - Speaker 1Oh, Really not here. 0:01:54 - Speaker 3Yeah, Yeah, Oh, no, no. 0:01:57 - Speaker 5Molly is. it's Monday night in Malaga and You know it's a thunderstorm right now outside, so I hope my internet holds up, but It's getting chilly. man, We're definitely in the winter, That's for sure. 0:02:12 - Speaker 1Oh god, What does that mean? like 20 degrees. 0:02:16 - Speaker 5It's, it's 16 right now. You know that's. Oh I'm trying for you. 0:02:21 - Speaker 1What is it here right now? It's four. 0:02:25 - Speaker 5Oh god man, No thanks Geez. 0:02:31 - Speaker 1I'm a hardy Canadian, for four is good for this time of year, for is like your coat's unzipped and you're drinking a stout. 0:02:38 - Speaker 5I can't drink those stouts here. Let me tell you, man, I'm sticking a light beer, That's for sure. 0:02:43 - Speaker 1Oh, yeah, I'm, yeah I'm, I'm well into the stouts, That's for sure. So up to here, I believe it's recorded in Memphis. I'm gonna double check that right now. Yep, Memphis, Tennessee, and it's got that sort of muddy southern Field to it. you know it's like a well, It's like a well-worn in pickup truck. you know it's got some, it's got some mud on the sides, Really comfortable to drive. That's what this record is and it comes on the tail of their 87 EP. But in those two years the growth to me anyway seems Market. you know, like there is a market growth in terms of, you know the songwriting and the songwriting, The lyrics in particular. but the but the content, you know is is just a little more Worn in like a great pair of jeans. What do you guys think, Pete? Wow. 0:03:43 - Speaker 5Well, you said something in beginning of the Of your kickoff and it's really hard, because I wanted to make this note, because I know that you, there's probably some pretty hardcore hip fans listening to this. so, given the Yeah, given the fact that there's only a week to To listen to these, to really dig into them, you know, I'm just, Basically, on behalf of Tim and myself, begging for forgiveness. you know, don't send hate mail because it's, it's, It's tough, like it's. I know Tim is really a solid music connoisseur, Probably well more than I am, and you know No, but you know he's, he's pretty thoughtful, But, but, but I thought about it too. like, like bands that I really love, like God man, What would I, how, what would my reaction be for listening to two jokers Who never heard this before and have a week to listen to it? you know what? what would they? You know what I'm saying, Tim, Do you do? JD, Do you feel me like I? 0:04:49 - Speaker 1I feel like there's daggers toward us, you know first of all, Pete, at getting hip to the hip. calm is where you want to go with your complaints about. No, I'm kidding, but You got to think in terms of context. here everyone gets the conceit of the shell. people got this record, people got their hands on this record And they got to sit with it for a year before the next record came out. 0:05:15 - Speaker 5So yeah, yeah, you know, Just asking for forgiveness, but all in all, to what your your your. your point was JD, I mean I did. I know we're gonna go song by song, but I just want to say I I started off with this record. This is kind of the same way I did the other one, the last EP. first I started off on my computer, was not feeling it Pop the pop the earbuds in, went for a run with it, Really started to warm up to it and then I took it out in the car and and JD, you've been in my cars, You know that's got a premium audio sound system in it Yeah and oh man, Oh man, It is. I want to walk into a roadhouse somewhere in Memphis and this band's playing and just whoo, there's a lot of crunch man. Oh, I dig it. I got lots to say, but I'll send it over to Tim. 0:06:10 - Speaker 3Well, I had a similar Reflection. I was talking to my wife the other day and about the band and I Said or you know what if my favorite band was in a podcast, someone else was reviewing it, and What if they didn't like it? What if they loved it or what have you You know in either way? I thought, well, hopefully, if I, you know, if I'm an open-minded Pod listener to my favorite band, Hopefully it would be entertaining, Hopefully it'd be funny to hear these Two schmucks talking about what they think you know and with without much background at all. It's kind of like what I said last time without you know, ever trying a certain type of food. It's like, oh, my god, okay, Let's do this. but I am with this album. I, Yes, I started it in the car and it just seemed like really good road trip music. I totally concur with you, Pete, about it being in the boss, in the car Felt like road trip music, felt like, you know, I wanted to drive to go see a show or go see a show by them. Definitely worked in the car. listen to it at home a fair amount, I think. in general it feels, and no production value. definitely more polished Than the last album we listened to totally. yet You get very familiar, like the storytelling is still there, right? The song structures changed a little bit but like the. the DNA is definitely still there. Compared to the last album, Yeah, it's like pinnacle. 0:07:51 - Speaker 1Top perfection bar rock. Yeah, I heard, You know. 0:07:54 - Speaker 3George Thoreau, good like guitar. I just heard this bluesy rock and roll bar Kind of just awesome riffing and I you know, now that you mentioned it, Being in Memphis, I just absolutely heard some country Wow kind of rock and roll tones in there. Oh, that's big time, big time, Elvis, you know there's, There's definitely some of that in there, from Memphis for sure. more so, much more so than the last album. 0:08:25 - Speaker 1Interesting. So, experience wise, did you prefer this record to the last record or not? or where were you there? 0:08:34 - Speaker 3For me. I kind of likened the last record as a pizza with the works, like where is this going? kind of thing. Throw it all together and see what we get. and this one is for sure an evolution. So I would say, sure, I like it more. but it just to me also just feels like an evolution and I'm curious. I was describing it to a friend, and actually to my wife actually, and she was like it sounds like it's just going to get better And I said, well, I definitely hope so, As we listen. 0:09:11 - Speaker 1Yeah, well, I mean, that's what makes this interesting to me getting your first listens in on these records that were seminal to not only me but to a great swath of our country and places you know near and far. I am curious whether the evolution continues for you, And I think that that's going to be fascinating as we as we roll into things. So, Tim, thanks for that. Now, Pete, what have you got in terms of last questions or comments on this record, Or do you have any? Let me know. 0:09:55 - Speaker 5Oh, there was one question I was going to ask you to JD Diamond status. Yeah, So that's Canada's version of platinum, But I'm curious to know why they have that different status. when, for example, if you have the Stones or the Beatles who are from the UK, does the UK have a different? 0:10:21 - Speaker 1I don't know if they have a different one. I've never heard if they have a different one. I know that you guys have diamond, like America has diamond as well. 0:10:28 - Speaker 2It's 10 million copies. 0:10:29 - Speaker 1Yeah, it's 10 million copies. 0:10:31 - Speaker 2We do. 0:10:32 - Speaker 1It's 10 times what we have. So diamond in Canada is one million and platinum in Canada is 100,000. Okay, I see, And it jives out because America has roughly 10, 10 times the population. So, you know, 100,000 and a million. What's interesting, though, is the province of Quebec, which is, you know, I think, 11, 10 or 11 million people. they have artists that have, in the past, consistently hit platinum status, or diamond status, rather, with 100,000, pardon me, a million copies of a record, which is staggering, You know, when you figure, the rest of Canada has a difficult time putting together a million, a million sales in records. Now, this is all off the table, now that we don't sell records anymore, But back in the day, this was a, you know, a big marker of things. So, yeah, you have Quebec. that just is, you know, able to market themselves to. it's because they can put up stuff in French and they can, they can. you know they have access to that audience. 0:11:52 - Speaker 5That's crazy. Yeah, it was a lot of questions. 0:11:55 - Speaker 1What were you listening to in 89? Do you remember Either of you guys? 0:11:59 - Speaker 3Yes. 0:12:00 - Speaker 1Where are you at? 0:12:02 - Speaker 3I was senior in high school. 0:12:04 - Speaker 1Yeah. 0:12:05 - Speaker 3Yeah, it was everything from Southern California punk rock. Yeah, we had a lot of local punk rock going on and we had you know friends in punk rock bands But you know kind of flip the rock and roll coin. I was also listening to like, oh, a lot of new wave, Holy cow, a lot of new wave kind of influence for my sister And that's everything 80s new wave. And then also I was for a period there like a big fan of the cult. You know I like Epic Guitar. I don't always need it, but I like a band that has you know back bone drum bass, blah, blah. but I love a great guitar player And the hip has definitely some guitar going on. 0:12:54 - Speaker 5Yeah, 89. 89, I was. I was I'm a tad younger than you guys, but 89, it was coming out of like some late stage Steely Dan and and Huey Lewis sports was just, I mean, God damn Nice. I don't think there was a bigger album and we talked about that last week. you know some Huey Lewis vibes in there And then you know, I just feel like I went right into. you know Guns N' Roses and the Motley crew of that time before getting thrust into. you know 90s grunge, like everybody else did with Alice and Chains and and and you know Soundgarden and eventually Nirvana. 0:13:45 - Speaker 1I was a big Pearl Jam guy, That was kind of where I was at. Okay, Yeah, I was a Pearl Jam guy, and but that was later. That was, you know, into the 90s. Back in 89, when this came out, I was listening to hair metal. I was straight up listening to hair metal And I recalled, on the intro, the cold open of the first episode. you know, when I heard the hip for the first time and the impact that it made on me. you know, in spite of the, the garishness of the hair metal that I was listening to, there was something that I really liked about this pickup truck band from Kingston, And you know there's a lot to like on this record for sure. So what do you say? we get into it and attack this sucker track by track. Yeah, good to go, man, All right, So we kick off with Blow It High, Do Welcome back and welcome back to CFY's fourth annual Canada Day Festival for Canada's 123rd birthday. 0:14:54 - Speaker 4We're at very Ontario half the time of our lives. Believe me, this band is going to be very, very hot. We'd like you to listen now to Tragically Hip. He's a rapper like Tizorim, never like the stars To throw some passion, throws a passion in some. just bring him on. We're so close, the best that we get to listen now. But you can't look me in for the smile of your eyes. the further it's gone, the higher I go. And if I'm high I go, and if you blow the cry I go. Maybe I feel fine, I'm pretty, just genuine. It makes no sense. it makes no sense for a track to be unified And if I'm hip-sick you should leave it high. It was the strangest thing. I should move so fast, move so fast in the better way I pray Sometimes, the best that we get to listen. now you gotta remember the smile of your eyes. the further it's gone, the higher I go. And when you blow the cry, I go. Now that the speedway, the same evidence, the same. Well, I ain't no movie star but I can give it hand in a thing In the better way I pray Sometimes, the best that we get to listen. now you gotta remember the smile of your eyes. the further it's gone, the higher I go, And if I'm high, I go. Yeah, I'm gonna fly, I go, Gonna fly, I go, I fly. Now that the speedway. the same evidence, the same evidence. 0:19:25 - Speaker 3I mean to me that just crushed it. as the first song, It just hit the ground running, which I love. I'm really into checking out song orders and there was a while many, many, many years ago, I was hoping to be a fan of song three. There was a cadence to some albums that I really enjoyed and this song as a song one it was super good. This is kind of where I mentioned hearing guitar licks that you'd hear from George Thurgood or you know. it was very kind of smithereens, Tom Petty friendly in that way. Some of the lyrics like oh, what do I have? Don't get ahead of yourself. or faster it gets, the less you need to know. I love that line faster it gets, the less you need to know. It's like, just keep the momentum going, And that's also a song that was awesome in the car. 0:20:21 - Speaker 5Well, I mean, yeah, I mean, what a fucking banger of a first tune, The slide. I had the same thing. I very much got some Thurgood tunes or vibes in there, The way the song starts out, I think, with the drums and then a little crunch guitar, and then that in my notes I wrote down the layers, the way they layer the song into getting it, getting the ball rolling, and it just from no disrespect to the EP, but leaps and bounds, recording quality wise, just production, leaps and bounds. It was just. 0:21:00 - Speaker 2you tell me like well, this is going to be a fucking record. 0:21:07 - Speaker 5I was very excited from that first track, Absolutely All right, We'll stick with you and move into. 0:21:13 - Speaker 1I'll Believe in You or I'll Be Leaving You Tonight. 0:21:17 - Speaker 5Which it took me a minute to get the play on words there. I know I'm a bit dense, I'm a blonde, You can't see that for just you listeners out there, But the riff in there is just so catchy I think. at first I was like, oh, this is like a typical late 80s riff and I'll make that reference a couple of times for a few songs here. But the more I listened to it I was like I want to try to play that. I took out the guitar and I was like, oh, that's cool man, It's just cool, It's cool to play and it sounds cool And I can imagine playing it back in that time I mean, if I was alive in that time. it's just like I don't know. I'm sorry I'm trying hard time, particularly myself, but it's a really love that jam. 0:22:11 - Speaker 1We're not rock critics, so we're people who are telling it like it's Oh, yes, we are. Oh, I forgot, Put your quill away. What did you think of this one Lesser Bangs? 0:22:26 - Speaker 3Yeah, it's kind of a little bit of a similar feel. It was cranking in the car really well, I found myself I didn't know what to call it I was doing the chin back and forth to the cadence of the song. It was like kind of reminded myself. I was like I'm doing kind of the chicken thing right now. Just have this good tempo. The two minute mark around then is when Gord starts kind of talk singing, as he does sometimes, And then it moves into, as Pete mentioned, the big guitar riff. And I enjoy when the structure changes up a little bit. I think the last album I felt like there was more consistency and structure which made me lose my interest a little bit. So I like it when the tempo changes or there's like a build up, slow down, build up. you know This had a good speed to it. There's also definitely some country music influence in there. I mean, I could hear it right away. 0:23:34 - Speaker 1That's so interesting to me. I'd have to listen really hard to hear to find country in there. 0:23:41 - Speaker 3But if you listen to some, yeah, some old school kind of country and it just reminds me of, like, the era from when Elvis started to go a little more rock and roll, Like it. just it's very Memphis. It's definitely influenced by the region, I feel. 0:23:58 - Speaker 1All right. the next track on the record is another single from this record. It's probably one of the songs that if you do meet somebody that knows the Tragically Hip, they might know this song. 0:24:11 - Speaker 3Okay. 0:24:11 - Speaker 1It stands. you know it stood the test of time in their live set Throughout the nineties. it was a fertile place for them to play when they played it live. It was a fertile place for them to jam inside of and introduce or workshop new songs. So you'd get like a record two years down the road from a time that you saw them live and there'd be this worked out song. But you'd hear this rough you know this rough lyric phrase or a lick that maybe is familiar on a record two years down the road. It was such a cool little thing to hear them. you know, jam these songs out and you'd go see them. I would see them like multiple nights in a row and it would be different, Like it wasn't, like they were just fucking around and like it was spontaneous and it was very storytelling and yeah, So I'm talking way too much here. This is your show. New Orleans is sinking. 0:25:12 - Speaker 3Yeah. So you know, I'd love to hear a version of this song where they take it longer or they jam out it and or something like that. because first listen, you know the story is actually pretty doom and gloom sounding It's. you know it's kind of about maybe giving up, I don't know. It just felt like, you know, there was some dark, heavy thoughts in there and then it felt just as as a song on the album. it felt a little bit filler to me it was more staple. it was more regular hip. It just like had the typical structure I've heard thus far Wow. So I didn't think I loved it. That is fucking awesome. I like the idea of the song, but it just felt kind of like, okay, this is a, this is a song. three hip, hip song. 0:26:05 - Speaker 4No No. 0:26:07 - Speaker 1Oh wow, It'll be interesting to hear if this change. I hope so. 0:26:13 - Speaker 3Yeah, yeah, yeah, yeah, Yeah. No, I want to hear, I want to hear more versions of it. 0:26:17 - Speaker 1Yeah, you should. 0:26:18 - Speaker 3Like I was saying, like it was songs have some, have some change or cadence change or an up and a down, and this just felt like, okay, this is song three. What are we going to do for four? Oh wow, Sorry, hip hip fans who have that as a moment, It's not mine yet. 0:26:36 - Speaker 5Well, I'm going to read from my notes to, but before I do, real quick, I got to say this song just by the title and the way that it started. I got this really weird feeling and I'm going to indulge me for just one moment with a story I remember when Hurricane Katrina hit in 2005. Tim, you remember, I mean JD. I don't know if the news of it was as big in your neck of the woods as it was, Oh yeah. 0:27:05 - Speaker 1It was huge, It was huge. 0:27:07 - Speaker 5But the night the hurricane made, you know, landfall, so to speak. I remember listening to a guy. you may or may not have heard of him. He used to do some something called Freeform Radio. He's the godfather of Freeform Radio. His name is Jim Ladd, Nationally syndicated, but he's from LA, and I remember smoking weed on my patio there and he said ladies and gentlemen, this is going to be really bad. It was before like the hurricane even made landfall and this is going to be really bad. And he started. the song he played was When the Levy Breaks by Led Zeppelin And it was just really dark and haunting. So I got that same vibe when I started listening to this song and I was like, like Gord's fucking vocals on this are up into this song. from everything I've heard from the EP with the most extreme, in my opinion, just the most range, the most talent. Like if I was a record producer and I'd heard this as a demo, I'd be like sign this fucking band, this guy's off the charts. There's a mention of somebody named Colonel Tom in the song And I don't know who Colonel Tom is. JD, if you got a line on this, let me know. But my initial thought was go ahead, Tim or whoever knows. No, you tell us your initial thought. My initial thought was it was a David Bowie reference to Space Up, but I could be wrong. 0:28:49 - Speaker 3I just read two references. One was just, it was about the North versus the South. you know, some war back then, back then. But then I also read a reference said that it had to do with Elvis's manager, which made me think, okay, yeah, Colonel Tom Parker. So I think that's what it ties to in Memphis and all of that. 0:29:10 - Speaker 5That makes sense. 0:29:12 - Speaker 1Yeah they talk about. this is like Gord's first foray into writing most of the songs. He's handling most of the lyrics, but not all of the lyrics. And why am I saying this? Oh, because they talk about his notebook. He was notorious for having always having a notebook on him and just writing down phrases. And you know, like he would write full lyric, full lyrics or stanzas or whatever. But even if he heard something that he thought was cool, like a cool turn of phrase, he would write that down. So maybe it was even, you know, like Colonel Tom from Memphis, and that's literally the only thing that's relevant about that lyric is that one individual moment. You know it might not be the story of the rest of the song, you know. 0:29:59 - Speaker 3Sure Yeah. 0:30:01 - Speaker 1I don't know though. Yeah, Colonel Tom Parker. That's what I've always thought. 0:30:05 - Speaker 5Good, What a song, though, man? What a fucking song. I mean, it is just chock full of dirt, you know. 0:30:13 - Speaker 1It's a dirty song, right It's yeah. It is Dirty, Dirty, It's mighty yeah. 0:30:18 - Speaker 3You know it's, it's. I just thought it was also. yeah, I agree, I agree, I just yeah, let's just. 0:30:24 - Speaker 1There's other tracks that you like better. That's cool, That's totally cool. It's not. it's not on my top 10 list, So. 0:30:30 - Speaker 3I'd like to hear other versions of it maybe other live versions of it and see how they can do it Me too. 0:30:36 - Speaker 1It became a staple. for sure, It was a. it was a staple. 0:30:38 - Speaker 3Yeah, That's. that's exactly what my take of it was. 0:30:42 - Speaker 1Whereas the next song was not so much a staple Early on, it was, but it didn't live on in the set list for forever. but it's a great example of Gord, you know, sort of weaving a yarn here and telling a story and using actual Canadian history but giving it a unique spin. So you know, he's playing with things a little bit, but he's telling the story and then he makes it about his own family. What do you guys think of 38 years old? 0:31:14 - Speaker 4I've got my name in administration So People leave. don't have people left, nothing to feed. The last thing they wanna do is hang around here. Most of came from town from long French name, But one other dozen was a hometown shame. Same pattern on the table, same clock on the wall, Been one seat empty, 80 years and all Freezing slow time, away from the world. He's 38 years old, never kissed a girl. He's 38 years old, never kissed a girl. Music. We're sitting on the table. heard the telephone ring. Father said he'd tell him if he saw anything Other type from the window in the middle of the night. Held back the curtains for my older brother, Mike. See, my sister got a ring. so a man got killed. Love for which prison man's buried on the bill. Folks spend back a normal when they close the case. They still stare at the shoes. in the past, our place, Music, Music, Music. My mother called. the horror finally ceased. He whispered yeah, for the time being, Natalie, No, but show the squad, come make a phone. Said let's go, Michael's son, we're taking you home. Same pattern on the table, same clock on the wall, Been one seat empty, 18 years and all Freezing slow time, away from the world. He's 38 years old never kissed a girl. He's 38 years old never kissed a girl. He's 38 years old never kissed a girl. Music, Music, Music, Music. 0:35:03 - Speaker 5Music. It's crazy. so I ended up this above all songs. I ended up doing the most research on, Started researching the prison and there was a guy who was shot there years ago And his last name was Trudeau and I was like, was he related to the prime minister or what? Like all this weird miraculous rabbit hole that I went down. But getting back to the song, I got to be totally honest with you. So I know you guys feel me on this. when you look at like records during this time that came out, You'd have the first one or two to three songs will be just these fucking bangers. And then song four just you look in the structure of the record is going to bring it down a little bit. It's kind of like, okay, everybody relax. you think about it like even playing a live show. That's just the way that the records were made back in the day. And I start hearing that and I'm hearing this song come in with the guitar And I'm like, oh, this is man. those first three songs are fucking bangers. And I'm like, no, they're just going to be this fucking cheesy. yeah, just, you know, Give me some acoustic, a little bit of love, whatever. And I got to say this is probably my favorite song in the record And it took some evolution on my part because first I started digging in the lyrics And I was like you know there's rape prisoners, murder, like all this crazy shit, And I'm like what the fuck is going on here. And then you know ultimately just the song itself, like the melody and everything involved, Which is it's just. it's a I probably my favorite song in the record. Sorry to spoil your alert, but yeah, loved it. loved it. 0:37:00 - Speaker 1It gave the record legs. I think this is the fourth single from the record, Maybe the third or fourth single. So there were four singles on the record and I want to say this is the third, But it might have been the fourth, so gave it some legs as well. 0:37:13 - Speaker 3Favorite song. I'm just confirming 38 years old favorite song. 0:37:20 - Speaker 5On this record. Yeah, I just think it's really 38 years old. was it never been kissed, never made love? 0:37:31 - Speaker 3Yeah, all that, yeah, Never kissed a girl. 0:37:35 - Speaker 5Just, I don't know man, I feel like and this is crazy, I can't believe I'm going to say this And I'll probably be if you kick me off this podcast after what I'm about to say. I totally get it, But a lot of hip lyrics, especially this song about something historical. I really get some Gordon Lightfoot vibes from man. 0:38:02 - Speaker 1Hey, there's nothing wrong with that. 0:38:05 - Speaker 5You know same name, I guess, but you know, I don't, I just and that guy I fucking fucking loved Gordon Lightfoot. If you don't like it and you want to kick me off the podcast, be my guest, That's the hill I will die on. 0:38:16 - Speaker 3We'll keep you. I think I thought, okay, this is some more kind of dark, gloomy storytelling And I feel like I, you know, on an album, I don't need too much of that, I don't need a lot of that, and me personally. And I also thought, okay, if I'm at a hip show, Some dude next to me is like yelling for this song to be played. I think that's a little weird. like when would they play this song at a live show? It's just like, it's just a little much. you know, Maybe Gordon knew that in the future, true crime would be a thing. you know, podcasts and TV shows and everything. Because it just feels like I mean a song about rape and killing. It's just like how many times you need to hear that? I don't need to hear it very many times. So I thought it was super heavy and you know the same thing Like lyric just too much. Yeah, storytelling is just a lot. you know, maybe I'm too sensitive or something, But I was like, yeah, if I'm at this show with my girlfriend and some dude just keeps yelling to hear this song, we're gonna move. 0:39:24 - Speaker 1I've always said that the hip is really funny with their, because I came from the same school that Pete did With. you know especially heavy metal where it was like banger, banger, banger and then like ballad. Yeah, the ballads would be where you would slow dance and you would make out on the dance floor, you know, after you were head banging and stuff like that. And I just think the tragedy hip does the same thing. they do two slow songs or two ballads on every record, kind of thing ish. But the subject matter is never something that you would want to slow dance or make out to Like. it's always fucking heavy, heavy shit And really when you think about it it's like C, G, D, A minor on an acoustic guitar. you know it's like a three or four chord song that fits in the realm of those heavy metal ballads. But then you put that story about family over top of it and it's like Jesus Christ, this is unreal, Yeah, and you know it overall just comprises them into this epic band that can go there. 0:40:33 - Speaker 3Like not many bands even do something like that lyrically or with storytelling, you know. So, you know it's so. part of me was like, okay, what makes me feel uncomfortable about this? Because I appreciate the music and all the effort and creativity. you know, it's like it's because bands don't really do this often Sinister type storytelling. maybe I know a person or two who kind of fits this mold of a character a little bit to a degree. you know it's just like, wow, okay, What's the next song for me? 0:41:07 - Speaker 5The song when I heard the guitar start and I got to tell you JD I don't know if I told you this, I know I didn't mention this to you, Tim, But the very much got some, you know, with those, those that rock ballads and nothing else matters, vibes from Metallica. And growing up in Downey, where I was born, you know, James Hetfield went to my high school, so, like you, you if you weren't a Metallica fan like you, Or you could be excommunicated from the city. like everybody was Metallica fan Like you. just you just weren't not, you know, a Metallica fan. and getting to Tim's question about why or you, JD, you said why the hip never. I mean it's the eternal question why the hip never broke through. You know, here you got this ballad that everybody's expecting to like dance to at a concert or whatever. but then there's lyrics of, like you know, rape and murder and stuff like they did. they did went outside the box, And that's kind of cool, because not a lot of bands do that Exactly. And so like they sacrificed the ability of being, you know, the ability of of fame or whatever it may be, to have to be a fucking cool outside the box band. I don't know. that's my view. 0:42:36 - Speaker 3Well, there's some also, like I was trying to say, there's some artistic merit to it. you know if, if not, a lot of bands go, go there with something. I mean I mean at the same time, era, late 80s. it's not like Morrissey wasn't talking about doom and gloom with Smith or the Cure or something. I mean it was right there, right in there, but I don't know when it. for me it just hits differently when it's comprised of the sound formula that the hip have, and there he's just like letting the listener have it with this character, and it's just guitar driven rock and roll, it's just. 0:43:13 - Speaker 5It's like a preacher that's telling the congregation like, like he's saying some, some shit to the congregation that, hey, you may not like what you're about to hear, but you're going to fucking hear it whether you like it or not. 0:43:25 - Speaker 1Exactly, I don't know that's. 0:43:27 - Speaker 5does that make sense to you, Tim? 0:43:28 - Speaker 3I mean, that's kind of the way I'm going to provide for you, For sure, for sure, yeah, yeah, yeah, I'm not going to jump the gun, but I kind of had a similar, you know, mindset, feel from the next song. 0:43:41 - Speaker 1Well, let's go into it. she didn't know. I was going to say it's sort of dark too. you know it's couched in this blues, bass, lick sort of thing. you get a nice groove in the back with the bass and the drums, but then those lyrics come in and it's like man, yeah, this is some more broken hearted, dark shit. 0:44:10 - Speaker 3At the same time, it does have this groove to it. there's almost this like I don't want to say pop, but there's this, there's this beat to it that is a little bit different than the other songs. it's I don't know, it's it's Interesting. A little bit different but there's like yeah, yeah, exactly it, it, it. to me it ties a little bit more back to the overall feel, not conceptually with lyrics, but from blow it high to like there's a drive to it, there's a good. it embraced me more just musically in the song it's, it's, it feels like a good sing along, like I could hear the song on the radio driving across Canada. 0:44:51 - Speaker 1You do, I'm. I'm very curious why it wasn't a single it's perfect length for a single it's. it's three minutes and 30 seconds. you know it's, you're in, you're out. there's a nice bridge. you get a little bit of silliness. maybe the subject matter, I don't know, but 38 years old, was a single, so yeah. so what do you got? 0:45:12 - Speaker 5Well, I kind of, you know, just sticking with what Tim said, you know the amount of tragedy fitting with the name of the band involved in the lyrics. I really think, because a lot of the, a lot of the sound that that that Memphis, correct, it was recorded in Memphis. Yeah, that that vibe is just, it is consistent. I mean, I feel like if you asked me where do you think this record was recorded, Pete, I probably would have said Memphis, if I, if, like you, had a gun to my head and I had to guess, just because this the overall sound of it. And one thing I noticed really strangely and I don't know if you got this too, Tim JD, you may have noticed this listening to it so many more times, but moving from the end of this song into boots or hearts, there's a vinyl crackle. there's a tape crackle and and maybe the hardcore hip fans will get this. So at the end of she didn't know if the song ends with like a tape crackle and then the begin. it's something you don't, at least I didn't hear on any other songs. you hear a tape crackle at the beginning of boots or hearts. 0:46:39 - Speaker 3I heard it. 0:46:40 - Speaker 5I know you're talking about you know I'm talking about it, just I heard it. 0:46:44 - Speaker 3I heard it on my, on my sono speaker. I heard it and I went back and replayed it and stuck my ear over there. I was like what the hell is that sound? I mean, I'm familiar with what that sound is but yeah, I thought it was like coming from outside or something because it wasn't on any other tune and I was like right right. 0:47:03 - Speaker 1I think if you did it on more tunes it would take away from it, but to me it's. to me it's like just an accoutrement. that's like there to remind you that this is rustic, this is, you know, this is coming out on CD, but this should be, you know, like vinyl was. vinyl wasn't as popular in 1989 as cassettes and CDs were. CDs were really just emerging, but cassettes were like huge but it was still recorded on tape, I would imagine yes, yeah, yeah, yeah for sure, for sure yeah so you add a little bit of that into it and it's like you know it makes it sound more like authentic. 0:47:41 - Speaker 3I don't know, that's just my, I mean back back then you know BC boys were doing some like needle-hitting the the disc sound to start off songs. or you know, back then people were take starting to take other sounds as the beginning of songs or even ending songs or whatever. so I think it kind of it fits, definitely fits for 1989 let's go to boots, baby there's a line in there. 0:48:06 - Speaker 5I don't know if there's one line in that song that gets me anybody. anybody want to throw a guess out there? I don't know. no, Tim. Gady, no, okay it's even babies raid raised by wolves. know the wind, he's just like what? 0:48:24 - Speaker 3yeah, man, dude, that was the second wolf, the second wolf reference earth song. right, you know for sure there's more to come imagine what it will. 0:48:36 - Speaker 1hardcore fan I'm not joking, there's more to come these f**king douchebags man this song to me it felt really long. 0:48:46 - Speaker 3that it was not long and it felt like a little more country than the last ones. definitely, you know boots or hearts come on. you know it's like okay, is this the crossover song to the south of the United States to get more fans? yeah, I just the lyrics was a single yeah, for sure, I can't imagine a single, but it was a single who was managing these guys at the time who were like we got it, we got it, we got, at least get the south, because if you get the southern belt of the US, that's like that could be a business, you know so yeah, when I heard the song, I was like, oh yeah, I get it. they were after something here and it seems very it's too much more country to me, so I just kept moving well, if you know, you also have to think too like. 0:49:35 - Speaker 5I don't know how long the recording process took for them, but if you're, you know you're Canadian boys. from where, what? which province are they from? JD? 0:49:45 - Speaker 1they're from Ontario, so they're from where I am, about two hours, about two hours east of where I live. they live in King. there, they came from Kingston okay, yeah, Kingston, that's right. 0:49:56 - Speaker 5so, if you know, maybe they, maybe they individually travel, but you're all there as a group of people, you're recording a record, it's your first full length studio album and you're spending time in Memphis, Tennessee. I mean, I see what you're saying, Tim. then maybe the manager, the the high rubs for maybe like, but guys, we got a, we got to do this. but also, you know, it's the same thing, as you know, that that culture takes a hold of you. you know you spend JD when you over in the UK for the pave tour for a while. how quickly did it? I mean, we don't say it in the United States, but how quick did it take you to say cheers instead of thanks? you know, yeah, yeah, it only takes a couple of days and then asking for the toilet. 0:50:46 - Speaker 1that's, that's the. that's the biggest thing for me. like I just thought, like it sounds so rude, like where's the hey man, where's the toilet? you know, it just sounds rude, but it's just what everybody says. yeah. 0:50:59 - Speaker 3I got it to say that really clear yeah. 0:51:04 - Speaker 5Tim, how long did it take you to say little symetheos when you were over here in Madrid? 0:51:08 - Speaker 4I mean, you know, I've traveled around yeah, yeah, yeah, not long it's a song called every time you go there, I got my hands, the numbers be up, my smile's right in my hands. Every time you go, every time you feel what I see. Every time you go, heart and eye feel me. Well, down here, but I take two kids round the gas like no place. Say the thing is time when things start, The dance, the wilds of charity, no time to rise, to get afraid. They were pissing, pissing, playing a part. She's a lover, a man, a soul, a game of games, Say the door. I'll remain in the corner of your lips And I was made up of my smile. you're both a man. Every time you go, every time you feel what I see. Every time you go, heart and eye feel me And it makes them feel. let me dance through the air to feel Love me, love, love, love, love, love, love, love, love, love, love. Well, I tell you, every time you go, what I see. Every time you go, heart and eye feel me. Every time you go, every time you go, what I see. Every time you go, heart and eye feel me. Every time you go, heart and eye feel me. Oh gosh. 0:54:37 - Speaker 5Go ahead Tim please. 0:54:39 - Speaker 3I feel like this is just a total hip song. It's got good structure, has awesome drum, backbone beat. I like the chorus ad. Not all their songs have a strong chorus, So I like that aspect of it. It felt like maybe the last quarter of the song felt a little repetitive, like excessively repetitive, Like it just kept going a little bit. But I don't know, man In the Big Snake Pit, it's a song about taking risks, falling in love. What else about it? It's still kind of on the emotional high spectrum to me. But it's a good song. It's a oh. what did I have a note here about? Oh, the drawn out dramatic ending with the vibrato Just becoming a hallmark signature of some of the hip, And I'm just slowly accepting it as one of their things, Because it was really shocking to me on the first EP to hear excessive vibrato. It's like woo Yeah. 0:55:56 - Speaker 5Let's go. I gotta say, gentlemen, this is the only song on the record that literally my notes are. I just it's just nothing. I listened so many times I'm like what the fuck am I missing? And I don't know. It's one of those songs where maybe, hopefully, in a year or two years, and I listen to it and be like dude, yeah, there it is, But I just didn't. it couldn't, it was a sleep placebo, I just didn't do it. I don't know why. 0:56:34 - Speaker 3Well then you should talk about the next one, because I was similar with when the weight comes down. 0:56:41 - Speaker 5Okay, I really liked the structure of the song. I liked the tone of the guitar, One of the things this and well, another one I'll get into But I really think there's a lot of thought put into the guitar tone there. Maybe people I just think at that time people were really obsessed. There wasn't a lot of tricks you could do on things like Logic or Pro Tools or whatever. So whatever was coming out of that speaker was what was going to be on the tape. The guys were like dialing shit in, but the harmonies on when the weight comes down. I think there's talent there, but it just takes away from the meat of the song. If I would and there's other songs on this record where I love the harmonies, but for me that song just it just sounds like maybe just in age Well, I don't know 10 more years. 0:57:48 - Speaker 3I very few notes. I just thought, yeah, it's all right. I thought it was kind of heavy weight comes down, I don't know. 0:57:57 - Speaker 2I didn't. 0:57:58 - Speaker 3at that point I was yearning for something a little bit more different through the tracks which I think I got with the next song. 0:58:05 - Speaker 1Well, that's good, because you're starting to disappoint me here. 0:58:09 - Speaker 3Well, trickle down. I mean Gord's voice. he gets a little more adventurous with going low and high and high and low. There's a kind of a change at a minute and a half where the lyrics pause and you get some actual music, Like he's storytelling a lot through these songs. He's singing, getting to the chorus. The jam keeps going through many songs, but this one there's actually a pause with lyrics and you get some good. you get some good guitar There's like kind of these swing back into the lyrics with guitar. I don't know, I thought that was just better, a better composed song. You know the idea about it. you know being poor, being on welfare, waiting for the check. you know I think it's a song that probably was appealing or easily identifiable across Canada or the US at the time being down and out on your luck financially. I mean, who has not been able to identify with that? So to me it was a pretty great song. This was up there more. 0:59:27 - Speaker 5Well, I trickle down my notes. I wrote half on a paper, half on my phone. Again, guitar tone. I remember one of my first guitar teachers had a Mesa Boogie triple rectifier stack and this guy was obsessed with tone and just very similar like early 90s, late 80s, sort of hair bandy, but just that tone, just there. that's there in that song And this reminded me of like when I was listening to that song I pictured Patrick Swayze. do you know the line in Roadhouse when he goes always be nice till it's time not to be nice. I feel like like I just like I just got that vibe dude, This is a banger, Love it This takes. I feel like the last couple of songs dipped down a little bit for the record. It's a bit of a, of a valley, so to speak, And then it's like man, put your, put your boots on, man, we're going back uphill And this song takes me right back there. 1:00:38 - Speaker 4And I loved it. Love it Same. 1:00:40 - Speaker 2Loved it. 1:00:41 - Speaker 1Yeah. So now that we're uphill and our boots are on, we get. we get what could be. I'm going to tip my hand here and I'm sorry to tip my hand before you guys get to weigh in The 11th track. the last track on this record is on my top 10. Okay, But I don't think it should have been the last track on the record. I think the last track on the record should be another midnight. 1:01:09 - Speaker 4Okay, So I'm going to tip my hand here and I'm sorry to tip my hand before you guys get to weigh in. Okay, So I'm going to tip my hand here and I'm sorry to tip my hand before you guys get to weigh in. So I'm going to tip my hand here and I'm sorry to tip my hand before you guys get to weigh in. I think this was the last track on the record. And the mountains stand high. When the mountains stand high, Can't let us run wild For another midnight, For just another midnight. Perhaps we'll run our election day Pumping hands and kissing all the babies. Ain't no time for a shout of doubt. So maybe is there another way? Or where a storming catalach Racing for a roadblock in the distance, Flashin' by a lifetime in an instance. Can we take it back? Am I is dying? Am I is dying? And the river don't sleep? When the water runs cold And the calender burns And the story unfolds, And the mountains stand high. When the mountains stand high, Can't let us run wild For another midnight. Can we take it back? Can we take it back? Can we take it back? Can we take it back? And the mountains stand high. When the mountains stand high, Can't let us run wild For another midnight, For just another midnight, For just another midnight, For another midnight. 1:05:01 - Speaker 3I'm down. I think opiate it is a. it's just. It left me either wanting to take a break from the hip for a bit and listen to something else Or, like just it was, I was a little stumped. 1:05:14 - Speaker 1Too dark for you, I guess. Well, let's focus on, let's focus on another midnight first then. So where do you, where do you stand on that track? 1:05:27 - Speaker 3I overall yeah, I overall liked it. I don't have a whole lot of notes about it Overall liked it. You know, I thought it fit well in there. There was, as I kind of said about Every time you go, there was a better mix between verse and chorus. you know, with song structure, I love the one lighter that we're all, or we're a stolen Cadillac, Like you know. I'm going to use that. I love that. That just makes me feel the pain of, you know, escape or trying to be better, do better, I don't know. I thought it was a pretty solid track. 1:06:05 - Speaker 5It's funny that line stood out to you. I mean, I noticed it. I love this song, man. I actually would have put this song at the end to close the record too, And I'll give you my thoughts on opiated. but the line that stuck out to me the most was Burning like a cigarette long season. And then the chorus, the core. I don't know if you'd call it the chorus, You'd call it maybe the pre-chorus, because Oh My, He's Dying is the chorus, more or less. I don't know, I don't write songs, I'm not a musician and I don't play one on television. But and the river don't sleep when the rottar one runs cold, That entire stanza, if you will. I don't know if we're going to call it. is it's fucking dude? I mean, that's Grammy. shit, man, That's. Grammy shit, It comes together with the music. so well, I'm like man, that's one of the things that when I listen to this record, I'm like, yeah, why did that band not fucking peak in the US and all over the world? Because that's so good, It's so good. 1:07:19 - Speaker 3I mean, this could have been like a track three. It was just a great song, good momentum, and it just had the makeup for it. 1:07:30 - Speaker 1for me, Yeah, I would have made it a single, for sure. 1:07:33 - Speaker 5Yeah, totally. 1:07:35 - Speaker 1It's a little long 356, but you could probably trim it up a bit, But I wouldn't because it's perfect. But yeah, I think it's a great, I think it's fucking great And it's just making me think. Tim's reaction to this album as a whole at this point is making me come back to the fact that these guys at this point are like 23, 24 years old. This is some dark shit for young men to be documenting And it makes me wonder if that's a reflection of. you know they've been advanced since 84 in Canada. At this point they have a manager. you know they're booking things. They're not just, you know, driving around willy-nilly touring, They're doing full on tours that are planned out and they spent a fuck of a lot of time on the road, And in Canada that's that means driving all night, like to get from city to city. you know you're driving hours you're driving. you know it's like the last song we listen to, Like another midnight, like. I know it's not couched in that way in the song, but you could take it that way because to me, What I'm getting at here is this is a road record, This is a. this is their first record. This is, you know, the EP is almost like those first four Beatles records where they're playing cover songs. They're still doing their garage act, but this is this is it. This is life on the road and all the shit that comes with it. 1:09:20 - Speaker 3So mr Leiden, like that to me, says you know a lot about the songwriting style, But I'm wondering what you think of the songwriting so, yeah, I briefly, you know, looked into Gord songwriting, how he did it, and so much of it led me to believe that he was, or they were, meeting Band, meeting people on the road and hearing these you know tough stories and you know, just Putting those into song, Yeah, that's the only thing I could come up with. he wasn't sitting around To me Making up these stories like they were influenced by something, and that's how a lot of great writers and poets are. like David Berman, I think a lot of what he wrote was about people he connected with at bars, sitting around on a barstool, you know. 1:10:11 - Speaker 1Interesting. Yeah, I'm not sure. What are you thinking there, Pete? 1:10:17 - Speaker 5To be honest with you, I feel What you said, JD, about. you know the darkness for these people, this young, and you know I often think about. you. know the way and Tim can relate to this. JD, You cannot, because, just by virtue of where you were born, you know A lot of the way we view Canada is, you know, and to put it in just the most beautiful terms, It's Snow, it's bears, It's manitoba, It's maple syrup, It's mounted police, everything's jolly, you guys have health care and Everything's grand north of the border, on the roof of the US. you know, in the most simplest terms now, When I look at and in JD this, you and I have talked about funny things like, You know, the show trailer park boys, right, and yes, I'm making a big Canadian reference there, Right, as funny as that show is, Tim, I don't know if you've ever watched it It's not very plenty plenty. Well, you know, as funny as that show is and I love it to my boat, to the core of my bones That reality in Some parts of Canada, you know, we don't view parts of Canada as being like, You know, some really dark, dreary parts of Portland, where you're at, or me being from LA, or Long Beach to me, To be more specific, There are some dark ass parts of Long Beach and it's, you know, That has I don't know what Kingston's like, I don't know where these guys grew up, but I'd have to imagine, you know, being on the road and seeing, being exposed to different, different things had influenced their, their lyrical content to this, to make them go to this really dark place. and Maybe that's why, again, they didn't, they didn't break through to the States. But I think it's all for the better, because I think the art would have suffered had they, had they done so, You know, are they not? Yeah? 1:12:28 - Speaker 1Yeah, Yeah, I'm, I'm interested in that. I mean, definitely the specter of Milhaven lives large for a Kingston er growing up in the 70s, I have to imagine, But I don't know. but I like the idea of the amalgam of their you know roots Combined with all this time on the road, Accounting for that sort of songwriting style. you know what I'm saying. 1:13:00 - Speaker 3It's gotta be why they had a good following in Detroit, you know, Cleveland, New York, All that whole region, because that's like some tough living around there and I in this, this Band, I think resonates with so much of that, so much of that. 1:13:22 - Speaker 1Yeah Well, fellas, That's up to here. There's only one thing left to do in this episode, and And that is for you to pick your playlist song, your MVP of the album, if you will, And let us know what that is. so I don't know. I'm gonna close my eyes and point. 1:13:54 - Speaker 5What are you doing this to me, man? 1:13:56 - Speaker 3I'm just gonna go. yeah, I'll go blow it. I do. I is, that's, you know, like you said, Pete, a sister banger. it got me right, right at the right, at the opening of the gate. 1:14:07 - Speaker 1I wonder if that's where your your view of the album as a whole comes from then as well, or it's influenced by The idea that you know your favorite track is the first track. You know it should get better than that, right, like again, We're talking about song Structure here, not structure Sequencing. you know, like blow it oh is like the perfect song to Open a concert or open an album, but It's also tough to get bigger than that. 1:14:44 - Speaker 3True, I think it we start to with trickle down, or every time you go, definitely every time you go, it just has a A more singable single, you know, on the radio aspect to it. I think I'm just trying to, you know, find What resonates most with me with this band and where I'm gonna see them Stay at, I guess sort of thematically, and how they evolve, you know, and and how I wanted them I maybe subconsciously to evolve, especially on the production side of things that for some did it Gotcha. 1:15:23 - Speaker 1All right cool. How about you Pete? 1:15:27 - Speaker 5It's a tough draw. I mean blow at the high-doh or 30 years old. I mean flip a coin. 1:15:36 - Speaker 1Won't do it. I won't do it, No no, no, it's fine. 1:15:38 - Speaker 5Okay, so I'd say the first track to it, Just it. just. there's the thing that the reason why I'm saying that over 30 years old because I remember listening the first time 30 years old be like And I don't want this the person Who's listening this playlist to start listening and be like You know, I want them to like, just fucking love you, right, You know me, I want them So Holy. but yeah, blow at the high-doh. 1:16:11 - Speaker 1All right. Well, thanks so much for doing this again, fellas. We'll talk again soon, and and We'll keep on getting hip to the hip, Looking forward to it. Thanks, JD pick up your shit. 1:16:34 - Speaker 2Thanks for listening to getting hip to the hip. Please subscribe, share, rate and review the show at getting hip to the hipcom. Find us on Twitter and Instagram at getting hip pot and Join our Facebook group at Facebookcom slash groups slash fully and completely. Questions or concerns email us at JD. at getting hip to the hipcom. We'd love to hear from you podcast, some such. Support this podcast at — https://redcircle.com/gettinghiptothehip/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Alright, let's cut to the chase.  I don't think we're going to learn Spanish but I can guarantee we're going to make a mess.  Michael gets into his flow state and that means we're talking tears.  Riding bikes and earning likes, the most uphill battle.  New money, old problems, big bellies.  We're going for money now.  Dirty, hairy, sweaty money.  Let's buy a sports team.  If you're tuning in for discussions on aeronautics, you've come to the right place.  Welcome to the doctor zone, we're smart now and we're explaining air travel on a cellular level.  Malcom in the Middle?  More like Frankie in the driver's seat (he's a racecar driver now).  Art is dead, money is king, deplete the ozone.   See Rock City, waste your day."We're giving too much credence to what I think is just a stress response"Patreon: https://www.patreon.com/intheminivanFollow us on instagram: @intheminivanpodFollow us on twitter: @intheminivanFollow us on TikTok: @intheminivanpodcastWe're on YouTube: https://www.youtube.com/channel/UCTxCtwpkBssIljyG6tdJbWQGet in the Discord: https://discord.gg/YWgaD6xFN3Episode Playlist: https://open.spotify.com/playlist/6vrgTBmFWC8B6hp3PioZtD?si=4e2ac52b1bf141ecTHE MASTER PLAYLIST: https://open.spotify.com/playlist/2saxemA3MOXcjIWdwHGwCZ?si=ee3444c085714c46Support the show

I talked with my friend Sarah Osment about "Governors on Sominex," a poem by David Berman. In addition to being a poet, Berman was the frontman and lyricist of the band Silver Jews.Sarah works in the Writing Program at the University of Chicago, where she teaches courses in Media Aesthetics. She has devoted her intellectual energy to more public-facing projects since earning her PhD in English from Brown University in 2016: she is the co-founder of Hyped on Melancholy, an online magazine devoted to smart words about sad songs and the reasons we cleave to them. Sarah's own essay for Hyped—on Wilson Phillips's "Hold On" and much else besides—is here. She is also co-editor, along with David Hering, of a recent cluster of essays on the poetry and music of David Berman published at Post45.Please follow, rate. and review the podcast if you like what you hear, and share an episode with a friend. And subscribe to my Substack, where you'll get a newsletter to go with each episode.

Read by Terry Casburn Production and Sound Design by Kevin Seaman

Released exactly at the autumnal equinox on September 22, 2020, 'Shore' - the ambitious release by Robin Pecknold under the guise of his Seattle band Fleet Foxes - is a sonically adventurous journey through the musical heroes and influences that shaped him. This week's guest Tom Lawery guides us in unpacking this brightly dense album that “celebrates life in the face of death” Music featured in this episode: Sunblind (Solstice Version) - Fleet Foxes; St Petersburg - Supergrass; Your Protector - Fleet Foxes; Broke - Modest Mouse; Third Of May, Wading In Waist-High Water, Sunblind - Fleet Foxes; Broken Finger Blues - Richard Swift; The Kiss - Judee Sill; All My Happiness Is Gone - Purple Mountains; Can I Believe You, Jara - Fleet Foxes; Hockets For Two Voices IV - Meara O'Reilly; The Scientist - Coldplay; Featherweight - Fleet Foxes; I Want To Make It With You - Bread; A Long Way Past The Past - Fleet Foxes; the 1 - Taylor Swift; For A Week Or Two, Maestranza - Fleet Foxes; Living In Another World - Talk Talk; Young Man's Game - Fleet Foxes; Go Your Own Way - Fleetwood Mac; I'm Not My Season, Quiet Air-Gioia - Fleet Foxes; Down To The Sea - The Fathoms; Going To The Sun Road - Fleet Foxes; Delta Rain Dream - Jon Hassel and Brian Eno; Thymia, Cradling Mother, Cradling Woman - Fleet Foxes; Koyaanisqatsi (Resource Scene) - Philip Glass; Shore, Under Control (Strokes cover featuring Uwade Akhere; Live Queens, NY 8.13.22) - Fleet Foxes

Ian Grant and Evan Laffer discuss their excellent Jokermen podcast, which explores the work of people like Bob Dylan, the Velvet Underground, and the Fall among others, David Berman and Silver Jews, Dub Thompson, Ought, and American Football, music journalism today, the podcaster plight, and the pervasiveness of podcasts, their Never Ending Stories show, community-building, future plans, and much more. Supported by you on Patreon, Blackbyrd Myoozik, Pizza Trokadero, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S. and Black Women United YEG. Follow vish online.Support this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

On today's episode of OTN, I'm joined by Mark Bucci, the frontman for the indie-psych and alt. country band from New Jersey, Brewster!Their new single, Me and my Someraults is a  "twangy, alt-country landscape swirling around the swinging, booming rhythm section reminiscent of recent artists like MJ Lenderman, Friendship, Trace Mountains, and Wild Pink-- and classic artists like Tom Petty and Bruce Springsteen." We got to discuss their forthcoming album, 'Honey Shake Me', Mark's writing process, touring all over the country, our mutual love for David Berman, and so much more!@brewstertunes@onthatnote_podcast@parkerwierlingLike & Subscribe to spread the looooooooove!

Austin Leonard Jones is a singing storyteller, spinning narratives based in fact and fiction with a penchant for writing country-flavored tunes that feel familiar from the get-go.  Born and raised in Texas, he currently calls Ojai, CA his home.  In the past year he's released four albums on cassette tape: a live record, a collection of new songs called “Dead Calm,” and a ten-year retrospective in two volumes, called “The Wonder Years of Austin Leonard Jones” on Perpetual Doom records.  He's the guy who helped to facilitate my season one interview with Bobby Frank Brown, one of the most popular episodes I've put out to date, and since then I've discovered Austin's albums and I literally cannot stop listening and singing along.  I rank him along side my favorite American songwriters, right up there with Kris Kristofferson and David Berman.  You might have heard his live performance and interview from the Scherler Sundays 2022 concert series, if not, you might wanna check that out after this is over to get a double dose of goodies from this guy.  Today we're talking tour stories, wholesome activities in Mexico, veggie burgers, the Beach Boys, being a strict band leader, and riding around in the pickup with his best friend Shenandoah.The illustration for this episode is by Lani Morrison.Low Profile is supported by you at patreon.com/lowprofileFind all episodes archived at lowprofilepodcast.comThanks to Olympia WA in-kind supporters Schwartz's Deli, San Francisco Street Bakery, Old School Pizzeria, Rainy Day Records and Scherler Easy Premium Shitty American Lager from Three Magnets Brewing Company.

What is "accessibility" in learning? Why is it important to design learning for everyone? What are one or two things you might want to be doing differently with your design, today? David Berman has worked in the field a long time, and has some answers.

David Berman, Co-Founder & CEO of Berman McAleer. David established Berman Financial Group in 1999 and realized his professional dream of partnering with his best friend in 2002 to form Berman McAleer. As CEO, he set the company's strategic direction and chairs the executive committee. Here are some key moments from our conversation: Brief introduction of yourself and your company. (00:41) How does your unusual incentive structure provide better service to clients? (04:33) Value system that creates more fulfillment for employees and clients. (11:58) Three core values of the organization (13:07) How do you work with clients to help them get clear about what money really means to them? (18:43) How would you describe your true north as a leader? (24:53) How long have you been working with a coach and what benefits have you experienced? (33:24) What is it that will make you happy if it's not just achievements or accomplishments? (38:59) What do you do to recharge and rejuvenate? (40:46) One key piece of advice you want to leave to the listeners. (41:49)

Please support our Patreon.  For early and ad-free episodes, members-only content, and more.Colin Dodds is a writer with several books to his name, including Ms. Never and Windfall. He grew up in Massachusetts and lived in California briefly, before finishing his education in New York City. Since then, he's made his living as a journalist, editor, copywriter, and video producer. His work has appeared in Gothamist, The Washington Post, and more than three hundred other publications, and has been praised by luminaries such as David Berman and Norman Mailer. Colin's short films have been selected by festivals around the world and he once built a twelve-foot-high pyramid out of PVC pipe, plywood, and zip ties. Forget This Good Thing I Just Said, a first-of-its-kind literary and philosophical experience (the book was named a finalist for the Big Other Book Award for Nonfiction) is now available as an app for the iPhone. He lives in New York City, with his wife and children. You can find his work here.We talk about the culture of art and writing, writing post-production of novels, the limitations of the publishing market, his most recent novel, and more. An Essay about how Colin wrote Pharoni.A pair of excerpts from the novel: Harry and the Hidden City, and an Excerpt from Pharoni Support the show

MJ Lenderman is a singer songwriter from Asheville North Carolina. In addition to his prolific solo work he is also a member of Wednesday. MJ joins Dwyer to share what it's like to be critically acclaimed, the splendor of Harry Cruz and David Berman, his approach to songwriting and how one needs to keep things simple. Opening Song Toontown from MJ Lenderman's album Boat SongsMJ Lenderman BandcampWednesday BandcampMJ Lenderman Instagram Donate to the Climate Emergency FundGet a website from Kelly R. DwyerThe Matt Dwyer Dot ComThis episode is dedicated to the memory of the best dog that ever lived Charlie aka Charlie Bear. See acast.com/privacy for privacy and opt-out information.

The Jokermen remember David Berman and his monumental last record as Purple Mountains RIP DCB