Podcast appearances and mentions of Don Smith

Thank you for listening to this weeks Father's Day sermon from Don Smith!Join us in person at our 9am or 11am services!Have a great week!

Thank you for listening to this weeks sermon by Don Smith.Join us in person next Sunday at our 9am or 11am service!Have a great week!

Today I'm chatting with Don Smith - well known to many of you for his role as the Chief Consulting Officer of Brierley which is now a Capillary Services Company.Don shares his expertise around optimising some of the common KPI's for loyalty professionals, the importance of the “mental mantle” of loyalty, as well as some of the big nuggets he learned from the recent Capillary Captivate Conference in Mumbai.As one of the loyalty industry's most respected brands, I'm thrilled to bring you some of Brierley's unique frameworks and perspectives that can help us all build better programs. We also discuss Capillary's most recent news as they acquire Kognitiv Corporation, to enhance both their client portfolio and their position in the US market. Please enjoy our conversation.This episode is sponsored by Capillary Technologies. Show notes:1) Don Smith2) Brierley3) Capillary Captivate Conference4) An Economic Theory of Democracy (Book)

Don Smith leads the CTU Threat Research group at Secureworks. His career starting with the creation of dns in 2005, and which was acquired by SecureWorks in 2009. He has extensive knowledge in cybersecurity and is seen as a world-leader in the field. Don is also the industry co-chair of the Strategic Cyber Industry Group in the National Cybercrime Unit at the UK National Crime Agency and a member of the UK National Cyber Advisory Board. He is also the co-chair of the Cyber League at the NCSC.

Easter Sunday - Resurrection Day! Don Smith delivered his sermon titled He Is Risen on 4-20-2025

In this live episode from Transact 360, we talk with Don Smith, General Manager of Integrated Payments at Transact, about the rapid evolution of student payments. Don shares insights on how unified payment systems improve the student experience, the growing demand for financial flexibility, and how institutions can remove friction from the payment process. We also explore AI, embedded finance, and the future of digital wallets on campus.Guest Name: Don Smith - General Manager of Payments at TransactGuest Social: LinkedInGuest Bio: With over 15 years of experience driving innovation in software and financial services, Don is a seasoned product leader specializing in building high-performing teams. Skilled in talent development and cross-functional collaboration, Don creates cultures of excellence in both startups and established corporations across diverse industries, including education, financial services, nonprofits, and commercial real estate.Don came to Transact + CBORD after serving as the Chief Product Officer at MountainSeed for three years. He excels at translating stakeholder insights into strategic product visions and actionable roadmaps, consistently delivering revenue growth and disciplined cost control. Passionate about leveraging technology to solve real-world challenges, Don thrives in fast-paced environments that push the boundaries of innovation. - - - -Connect With Our Host:Dustin Ramsdellhttps://www.linkedin.com/in/dustinramsdell/About The Enrollify Podcast Network:The Higher Ed Geek is a part of the Enrollify Podcast Network. If you like this podcast, chances are you'll like other Enrollify shows too!Enrollify is made possible by Element451 — the next-generation AI student engagement platform helping institutions create meaningful and personalized interactions with students. Learn more at element451.com.Attend the 2025 Engage Summit! The Engage Summit is the premier conference for forward-thinking leaders and practitioners dedicated to exploring the transformative power of AI in education. Explore the strategies and tools to step into the next generation of student engagement, supercharged by AI. You'll leave ready to deliver the most personalized digital engagement experience every step of the way.Register now to secure your spot in Charlotte, NC, on June 24-25, 2025! Early bird registration ends February 1st -- https://engage.element451.com/register

Send us a textIn this edition of Loyalty360's Executive Spotlight, we speak with Don Smith, Chief Consulting Officer at Capillary Technologies. With nearly two decades of experience at Brierley, now part of Capillary, Don offers unique insight into the evolving loyalty landscape — from program design and advanced analytics to the role of AI-driven personalization and member-controlled experiences. During this conversation with Mark Johnson, Loyalty360 CEO, Don shares his perspective on the future of customer loyalty, the importance of building programs around customer choice, and how loyalty strategies must evolve to address shifting customer expectations. He also discusses the challenges and opportunities of coalition loyalty in the U.S., the potential for innovation in the automotive sector, and the critical importance of listening to customers and acting on that feedback to build authentic, data-driven relationships. For loyalty professionals, brand leaders, and those shaping customer engagement strategies, this episode offers valuable insights and actionable takeaways to apply in your own programs. 

State Treasurer Larry Pack, plus some folks from Ireland making a visit to BridgeValley and it's Cannabis Day at the Legislature. We will talk to cannabis proponent Don Smith about it, plus your calls and texts.

Send us a textLoyalty programs have evolved far beyond simple points and rewards. In an era where consumers expect hyper-personalized experiences and seamless omnichannel interactions, brands must rethink how they engage and retain customers. From leveraging AI to recalibrating business models, staying ahead requires both innovation and strategic execution. In this episode of Industry Voices, Mark Johnson of Loyalty360 sits down with Don Smith, Chief Consulting Officer at Capillary, to unpack the latest trends in customer loyalty. They discuss what predictions for 2024 held true, where the industry fell short, and what key strategies will define success in 2025. With insights on AI, partnerships, financial engineering, and program design, this conversation is a must-read for any loyalty professional looking to refine their approach. 

Don Smith, President of the RIDC calls in to talk about Neighborhood 91.

On this episode, we'll explore key questions about the Defense Information School (DINFOS): Who are we, what courses do we offer, and why is our work here essential? To help answer these questions, we're joined by Mr. Don Smith, Director of Training at DINFOS since 2019. Mr. Smith oversees a team of more than 200 instructors, including joint-service military members, Department of Defense (DoD) civilians, and contractors. Together, they provide education and professional development to over 1,500 students annually in public affairs and visual information, including military members, DoD and interagency civilians, and international students.

Don Smith, president of Regional Industrial Development Corp., on the need for a "Mon Valley Action Plan"

Don Smith, President and CEO of the RIDC in the Mon valley joins Larry to circle back to the Nippon Steel issue.

RIDC president Don Smith gives unfiltered reaction to the Nippon Steel Blocking

Don Smith was preaching what turned into an extended Worship and Testimony. Worship service was lead by Joy Schwarz. 

This week Don Smith delivers his sermon titled The Christmas Story.

Don Smith, President, Regional Industrial Development Corporation (RIDC), calls in to talk about their plans post election.

Tempest Minerals Ltd (ASX:TEM) managing director Don Smith speaks with Proactive's Stephen Gunnion about the company's latest updates at Resourcing Tomorrow 2024. Smith highlighted the company's progress, particularly drilling results from the Remorse target, part of the company's flagship Yalgoo Project in Western Australia. Initially explored for base metals, the site revealed an economic iron ore deposit of approximately 100 million tonnes at 32% iron. This discovery marks a significant milestone for Tempest Minerals. Smith explained the next steps involve further drilling and advancing studies, including metallurgy and approvals, to upgrade the deposit to a resource classification. He also discussed ongoing fieldwork at other projects, such as the Five Wheels base metal exploration. Sustainability remains central to Tempest's exploration activities. Smith pointed to upcoming drilling, resource announcements, and exploration updates as key milestones for investors. For more insights and updates from industry leaders, visit Proactive's YouTube channel. Don't forget to like the video, subscribe, and turn on notifications for the latest content. #TempestMinerals #IronOreDiscovery #EnergyTransition #MiningExploration #BaseMetals #Copper #Sustainability #Investing #MiningIndustry #ProactiveInvestors #invest #investing #investment #investor #stockmarket #stocks #stock #stockmarketnews

This episode is a cross post from Hill By The River podcast of the Community Presbyterian Church of Ben Avon.In this episode, Judy and Don Smith talk with the new pastor of Community Presbyterian Church of Ben Avon.  Pastor Heather Schoenewolf has an interesting background and brings a wealth of experience to our church.  We are so happy that she has answered the call to our congregation.Church Website:http://cpcba.squarespace.com/Facebookhttps://www.facebook.com/benavonpres?

Paul Langlois, guitarist of Canadian rock legends The Tragically Hip, reflects on the band's journey from their early days recording their debut record in Memphis, to working with legendary producers like Don Smith and Bob Rock. He shares insights into the newly released Up to Here commemorative box set, packed with unreleased tracks, liner notes and a restored live show from 1990. With 9 #1 albums, 17 Juno Awards and a place in the Canadian Music Hall of Fame, The Tragically Hip remain a defining force in Canadian music. Paul offers fascinating stories about the band's live energy, their unique songwriting process and the cultural impact of Gord Downie's lyrics. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sesión de novedades de aquí, de allá y del más allá que comienza con las últimas entregas de Melanie, emblemática artista del folk rock de finales de los 60 fallecida a comienzos de 2024. Se reedita el disco “La Folie” de The Stranglers, suena Bowie en directo en 1999 y presentamos a la neoyorquina Julie Beth Napolin.(Foto por Don Smith; Melanie en 1971)Playlist;(sintonía) HERMANOS GUTIÉRREZ “El fantasma” (Sonido cósmico)MELANIE “Rock’n’Roll heart” (The clearwater Florida sessions 1987-1994)MELANIE “Purple haze” (The clearwater Florida sessions 1987-1994)MELANIE and THE ADVERTS “I will walk you home” (Second hand smoke)TV SMITH “Runaway train driver” (Acoustic sessions vol.2)JULIE BETH NAPOLIN “Only the void stands between us” (Only the void stands between us)MAGIC FIG “Goodbye Suzy” (ST)THE STRANGLERS “La Folie” (La folie)PETER PERRETT “Less than nothing” (The cleansing)THE PEAWEES “One ride” (One ride)PRIMAL SCREAM “Heal yourself” (Come ahead)BOWIE “Survive” (Live From The Manhattan Centre '99)DEAN WAREHAM “Cashing in” (I have nothing to say to the Mayor of L.A.)Escuchar audio

Don Smith preached on a life with God, Sunday, November 17th, 2024.

This sermon, God Instructs Sinners took place on November 3rd, 2024.  Don Smith speaks at the beginning after returning to RVFM Lighthouse. 

Our guest today is the playwright and author Don Smith. Don Ray Smith is a Published humorist, writer and storyteller. Don Ray Smith is the author of the theatrical production Growing Up White on Wilson Ave. He Has converted some of his best short-humor pieces to 5-15-minute performance pieces. Some accompanied by bongos. Don Ray smith has composed humor, features and profiles for many regional publications, including the Louisville Courier-Journal, Louisville Magazine, Kentucky Living Magazine, African American Journal, The Lane Report, LEO, The Cincinnati Enquirer and Louisville Business First newspaper. Don Ray is a member of the Kentucky Storytelling Association and composer of the novel Racebook, or How He Found His Nubian Princess.

Cranford's TV-35 has been broadcasting for over three and a half decades. Don Smith is coming up on his one-year anniversary as the station's manager and he joins me on this week's podcast to talk about the changes that have happened at TV-35 during the past year.TV-35 today is available in far more ways that it once was. A live stream makes it available to viewers around the world. Previous shows can be viewed on demand via a YouTube channel and Verizon FiOS subscribers can watch the channel in HD on channel 2147. 

A common pushback that practitioners of alternative grading get is that students "don't know how they are doing". In this episode, Sharona and Bosley take a hard look at progress tracking and communicating progress to students. We include a variety of examples of progress trackers provided by several different alternative graders and talk about the ways in which progress tracking is important, regardless of the grading system in use.LinksPlease note - any books linked here are likely Amazon Associates links. Clicking on them and purchasing through them helps support the show. Thanks for your support!Progress TrackersTracking Mastery Worksheet Math 1090Example of MTH 210 Grade Record sheet W23Example of 85-310 grades checklist - spring 2024, by Abigail NoyceEGI Grade Check_Zeccola AP Lang, by Joe Zeccola and Robert BosleyExample CS 120 Learner progress tracker, by Dave LargentSample Grade Sheet - by Abby NobleOther Resources Mentioned in the Episode TED Talk: The Beauty of Data Visualization, David McCandlessGetting Started Part 5: How to Determine When a Student has Completed a Learning Outcome and How to Roll it All Up Into a Final GradeEpisode 48 – Implementation Challenges and Opportunities: A Conversation with Becky Peppler and Don Smith on Working with K-12 School Districts to implement Alternative GradingHow to make and use grade trackers, Grading for Growth Blog, by David ClarkResourcesThe Grading Conference - an annual, online conference exploring Alternative Grading in Higher Education & K-12.Some great resources to educate yourself about Alternative Grading:The Grading for Growth BlogThe Grading Conference

Metro Atlanta is experiencing a heat wave. Rose talks with Don Smith, a meteorologist from the National Weather Service, about the temperatures that neared 100 degrees in the Atlanta area. Plus, the Center for Public Integrity, Mother Jones, and the show ,“Reveal”, recently launched their series, “40 Acres and a Lie.” The investigation aims to shed light on how a government program gave land to formerly enslaved people following the Civil War and how that land was rescinded following the assassination of President Lincoln. Rose talks with Alexia Fernández Campbell, a lead reporter of the investigation, and Mila Rios, a descendant whose ancestor was given land in Savannah. Lastly, summer fun has begun for kids in Georgia. Dr. Priyanka Vakati with the Food Allergy Institute discusses what parents should know about protecting their children from food allergens as they head to summer camp. Dr. Vakati also discusses the correlation between food allergies and how food is produced in the U.S.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode we talk with Becky Peppler and Don Smith from First Educational Resources, a 501(c)3 nonprofit dedicated to providing K-12 school districts in North America with affordable options for professional learning to support social emotional learning, instructional coaching, professional learning communities, and grading reform efforts. We discuss their experiences with supporting grading reform efforts in thousands of districts across North America, the challenges, the opportunities, and where we go from here. We also talk about the STAGR center and conference. STAGR stands for "Standards, Targets, Assessment, Grading, and Reporting". The STAGR conference, a 1-day virtual event held twice a year, provides a platform for K-12 educators to come together to understand the landscape of grading reform, identify strategies that reduce complexity and enhance understanding of reform efforts, and work to implement effective changes to grading systems. LinksPlease note - any books linked here are likely Amazon Associates links. Clicking on them and purchasing through them helps support the show. Thanks for your support!The STAGR ConferenceExtinguishing the Fires within Assessment and Grading Reform, Garth Larson, Becky Peppler, Don Smith, and Matt TownsleyFair Isn't Always Equal: Assessment and Grading in the Differentiated Classroom, Rick WormeliLearning by Doing: A Handbook for Professional Learning Communities at Work (An Actionable Guide to Implementing the PLC Process and Effective Teaching Methods), Richard DuFourCollege BridgeRepair Kit for Grading: (3rd Edition) 15 Fixes for Broken Grades with Discussion and Repair Guide, Ken O'Connor and Rick WormeliResourcesThe Grading Conference - an annual, online conference exploring Alternative Grading in Higher Education & K-12.Some great resources to educate yourself about Alternative Grading:The Grading for Growth BlogThe Grading ConferenceThe Intentional Academia BlogRecommended Books on Alternative Grading (Please note - any books linked here are likely Amazon Associates links. Purchasing through them helps support the show. Thanks for your support!):Grading for Growth, by Robert Talbert and David Clark

Capillary Technologies is a managed SaaS solution powering 500+ loyalty programs with its best-in-class loyalty technology platform and expert services. Founded in 2012, Capillary has a strong global presence across the United States, Asia, Europe, and the Middle East, working with 400+ brands like Tata, PUMA, Shell, Petron, Domino's, Kanmo Group, and Marks & Spencer. The platform's suite of products—Loyalty+, Engage+, Rewards+, Insights+—are all AI-powered and sit on top of a powerful consumer data platform that has touched more than a billion end customers.As part of the Loyalty Expo Speaker Preview Series, Loyalty360 interviews presenters who will lead dynamic sessions at this year's Loyalty Expo in Orlando, Florida, from June 4–6.  Mark Johnson, CEO of Loyalty360, spoke with Don Smith, Chief Consulting Officer at Capillary, about the upcoming session he will lead in June. The session will address the mechanics of customer loyalty programs and what metrics to tap into when measuring customer loyalty efforts. Read the article here:  https://loyalty360.org/content-gallery/daily-news/capillary-s-2024-loyalty-expo-session-understanding-the-mechanics-of-customer-loyalty-programs-and

Capillary Technologies is a managed SaaS solution powering 500+ loyalty programs with its best-in-class loyalty technology platform and expert services. Founded in 2012, Capillary has a strong global presence across the United States, Asia, Europe, and the Middle East, working with 400+ brands like Tata, PUMA, Shell, Petron, Domino's, Kanmo Group, and Marks & Spencer. The platform's suite of products—Loyalty+, Engage+, Rewards+, Insights+—are all AI-powered and sit on top of a powerful consumer data platform that has touched more than a billion end customers.As part of the Loyalty Expo Speaker Preview Series, Loyalty360 interviews presenters who will lead dynamic sessions at this year's Loyalty Expo in Orlando, Florida, from June 4–6.  Mark Johnson, CEO of Loyalty360, spoke with Don Smith, Chief Consulting Officer at Capillary, about the upcoming session he will lead in June. The session will address the mechanics of customer loyalty programs and what metrics to tap into when measuring customer loyalty efforts. Read the article here: https://loyalty360.org/content-gallery/daily-news/capillary-s-2024-loyalty-expo-session-understanding-the-mechanics-of-customer-loyalty-programs-and

Bo and the crew talk about how MSU hoops can win on the road, the best prizes in a giveaway and playing against Jimmy Johnson in the third hour of the show live in the BankPlus Studio. The guys talk about Mississippi State heading on the road to Alabama and what it will take for the Bulldogs to pull off the upset. Bo spins the Tito's Prize Wheel and gives away some of the best prizes this side of the Mississippi. NFL insider and former college football player Charles Davis joins the show on the Farm Bureau guest line talking about his career as a player and broadcaster live in the BankPlus Studio. Bo tells Charles he remembers his first time in Neyland Stadium in Knoxville and Charles talks about the game MSU running back Don Smith had against them. Charles talks about what it was like beating Miami and Jimmy Johnson in the Sugar Bowl and the talent the team from South Beach had that year. Charles tells about how Miami was able to score to Michael Irvin then the Tennessee defense shut them down the rest of the game. Bo asks Charles about how Tennessee technically won the SEC for the first time in 16 years and what happened for them to go to the Sugar Bowl. Charles called the legendary upset between Appalachian State and Michigan and he talks about his memories from that day. Charles talks about how App State was losing the turnover battle but was still wining the game which doesn't normally happen with underdogs. Bo asks Charles about his involvement with the CSpire Conerly trophy and he talks about his long connection with the award. Charles mentions all of the Mississippi legends he heard of growing up and says he would always keep up with who won the Conerly trophy. Charles is now a member of the committee and he talks about this year's winner. Out of Bounds is sponsored by BetterHelp. Visit BetterHelp.com/BOUNDS today to get 10% off your first month Learn more about your ad choices. Visit megaphone.fm/adchoices

Mark Johnson, CEO of Loyalty360, spoke with Don Smith, EVP, Chief Consulting Officer at Brierley, about defining and measuring success, trends Brierley notes for 2024, and what generative AI means for brands. 

NFL insider and former college football player Charles Davis joins the show on the Farm Bureau guest line talking about his career as a player and broadcaster live in the BankPlus Studio. Bo tells Charles he remembers his first time in Neyland Stadium in Knoxville and Charles talks about the game MSU running back Don Smith had against them. Charles talks about what it was like beating Miami and Jimmy Johnson in the Sugar Bowl and the talent the team from South Beach had that year. Charles tells about how Miami was able to score to Michael Irvin then the Tennessee defense shut them down the rest of the game. Bo asks Charles about how Tennessee technically won the SEC for the first time in 16 years and what happened for them to go to the Sugar Bowl. Charles called the legendary upset between Appalachian State and Michigan and he talks about his memories from that day. Charles talks about how App State was losing the turnover battle but was still wining the game which doesn't normally happen with underdogs. Bo asks Charles about his involvement with the CSpire Conerly trophy and he talks about his long connection with the award. Charles mentions all of the Mississippi legends he heard of growing up and says he would always keep up with who won the Conerly trophy. Charles is now a member of the committee and he talks about this year's winner. Out of Bounds is sponsored by BetterHelp. Visit BetterHelp.com/BOUNDS today to get 10% off your first month Learn more about your ad choices. Visit megaphone.fm/adchoices

NFL insider and former college football player Charles Davis joins the show on the Farm Bureau guest line talking about his career as a player and broadcaster live in the BankPlus Studio. Bo tells Charles he remembers his first time in Neyland Stadium in Knoxville and Charles talks about the game MSU running back Don Smith had against them. Charles talks about what it was like beating Miami and Jimmy Johnson in the Sugar Bowl and the talent the team from South Beach had that year. Charles tells about how Miami was able to score to Michael Irvin then the Tennessee defense shut them down the rest of the game. Out of Bounds is sponsored by BetterHelp. Visit BetterHelp.com/BOUNDS today to get 10% off your first month Learn more about your ad choices. Visit megaphone.fm/adchoices

jD, Dan from London, Pete and Tim are joined by a very special guest on this episode that is dedicated to the new reissue of Phantom Power for its 25th anniversary.And make sure to listen to the VERY END!Transcript:[0:05] On August 31st, 2023, The Tragically Hip dropped the first track from the Phantom.[0:12] Power 25th Anniversary box set, a song called Bumblebee.I will always remember this day because my friends Dan from London, Pete and Tim were in Toronto for our big live finale and the four of us were off to Kingston to visit the Bad Houseand sightsee the tragically hip scenes in Kingston.The first thing we did inside the car was fire up Bumblebee.It was so odd to hear something so familiar but so new to my ears.I hadn't heard this melody or these bending guitar licks before and I wanted more.[0:53] Lucky for us there are several other tracks included on this box set.Songs we either hadn't heard, or maybe we've heard snips and pieces of in live performances, or maybe on a bootleg.And of course there are complete song ideas that wound up on Gord's first solo record, Coke Machine Glow.There is also a fantastic live show from Pittsburgh, demos, and alternate versions of songs that did make the final cut.In essence, this is an exciting time to be a hip fan.Although we are all collectively gutted that we'll never see our boys on stage again, as long as I've been a hip fan, I've clamored for these songs that somehow wound up on the cuttingroom floor.And I'm sure you have too.[1:41] Today we'll get a sense of what Dan, Pete, and Tim think of the Reissue and we'll speak with a very special guest about the making of this spectacular box set and so much more.So sit back, relax, and let's start getting hip to the hip.Track 4:[2:23] Hey, it's Shadeen here and welcome back to Getting Hip to the Hip.This is an out-of-sequence bonus, episode for everyone.We are going to be talking today about the box set of Phantom Power, and I am joined as always by my friends Pete and Tim, and today's special guest again, Dan from London. How's itgoing, everybody?Well, Dan got his ears lowered, looks like Dan got his ears lowered.Yeah, I lost some hair over the course of the last thing, yeah.He was shorn. Maybe it was his younger brother stepping in. Yeah.[3:07] So fellas, when we last left off and we talked about Phantom Power, I recall the conversation really revolving around fireworks.You guys both really loved that song.Something On was a little underwhelming for you.You got into Poets, you thought that was a good kickoff and here we are just like six months after, not even six months, like four months after releasing that episode and The TragicallyHip goes out and releases a 25th anniversary box set of Phantom Power.So we thought it would be cool to get the band back together and talk about that for a little bit.And we'll be joined by a very special guest who we won't reveal quite yet.Is there anything that in particular, Pete or Tim, you remember about your experience with the record, thinking back, and Dan, for you following one of them, what was your experiencewith the record in general?[4:24] Um, it's funny because I went back and I found my notes from the original and it's it's just crazy to look at.It's like it's a it's a time it's a time capsule because, yeah, there were certain songs that was like, this is good.And like and now I look at, like, some of the songs that I was.[4:44] You know, Gugu and Gaga over and I love fireworks, but I mean, by by and far, you know, Bob Cajun is probably one of the most just, I mean, it's on loop in my home.So many, so many days. She also listens to it as well, right?Oh, yeah, she absolutely loves that song. We're listening to the live version today, we went for a hike.[5:07] And Cherrigan Falls. Poets is like, I think didn't, didn't, goodness, 50 Mission, didn't they?They came out with Poets when they played the live event.That song just, I had like one line written for that song. And this is the line, this is how sad it is. Dig it.Verse phrasing is key to the song. Lines go to the next measure.Layers and guitars. Nice. Now I'm just like, I hear that song.And I just fucking stop what I'm doing. And I just like, I fucking love that song.It's crazy how this album grew on me like a fucking virus. It's amazing.Timmy? Great. Yeah. Great, great question, JD, for sure.I mean, there's still a few on it that I'm not a super fan of, just to start off being negative here.Like, the rules to me is still a yawner, you know, but like, I kind of dig Chagrin Falls more than I did last time.I don't think I was anti, but in Emperor Penguin, I've read so many times across platforms that people love Emperor Penguin, and that song's slowly growing on me too. It's one of myfaves.There's still some really good ones in there.[6:31] Thompson Girl I could still live without. That's another one that grew on me, Timmy. I feel you, but I grew on it.With the new songs, and this is a question for a few minutes ahead, but somebody asked with the new songs, are any of those potential replacements for what's on the original?Oof. So yeah, that got me thinking a little bit.Tim, why do you always have to embroil things in controversy?I mean, that just is a controversial question.I mean, probably because of aliens, I guess. Oh, stop it.[7:15] Dan, what did you think of Phantom Power? I mean, Phantom Power is an absolute solid album.It's just a kicker, isn't it? I mean, I always love something on, I think it was the first track I got into off the album and I still absolutely love it. I think that song kicks ass.Something about the bass drum and the bass just driving it and the timing is just fantastic.Obviously, yeah, Bob Cajun.That always used to come on at a certain point on my commute when I was arriving at a certain station and I now still have overwhelming feelings when I pull into that station.[8:02] I can't believe how big a song can be, how overwhelmingly amazing a song can be.But yeah, I mean, the other stuff, I mean, Escape is at hand, I think, is just my favorite track on the album.You know, again, it's a whole other different story and different sentiment that it carries.And I don't know, I think that is a Bob Cajun and Escape is at hand, I think that just works a genius.And I can't say much more than that.Yeah. You know, the loss related with Escape Is At Hand is so relatable for me. And probably everybody.But I tend to live with you, Dan.I think Escape At Hand is... There's something about that song that just hits home, I think, probably for most people.[8:58] Maybe not sociopaths. I don't know. Maybe not.I think, Dan, you hit on the point. It's crazy how songs, even if you listen to them and enjoy them, it's like they get to a point where you've listened to them so many times, and perhaps thesame situation, like you said, pulling into that particular tube station or whatever it is, that maybe you don't hear it for a while, but then you hear it again, And, and just like a flood ofmemories and images come back.Just weird how the human brain works, man. I mean, this summer, we were go, go ahead.I mean, I just, I was just gonna say also in terms of that as well, it's the same station that I come into, I used to come into every time Fiddler's Green came on as well.So there's a time in all the albums where some of this stuff happens.[9:49] That's cool. That's cool. So have any of you guys had a chance to listen to the bonus tracks or the outtakes or the live show or any of it?And if you haven't, that's cool.All of it. All of it? Yeah. Yeah.I'm just happy to have more live music from these guys.For the obvious reason. It's a nice sounding show. So I read some kind of critique, so it's not the best sounding live show they played. I mean, who cares?I'm just happy to have more live music. That's an easy go-to wherever I am, in the car, on a plane, whatever.So as far as the new songs go? Yeah, back to your question.Yeah, I dig most of them. What's the best of the bunch? Eh, I don't know, I'm not there yet, I wouldn't say I'm there yet, I kinda like them all for different reasons.[10:52] Vegas Strip may be the least, but I like all these songs. I haven't gotten to it yet.It's my least favorite, but I still really like it.Yeah, like Songwriters Cabal isn't my favorite, but I love that song.Mystery, just lastly. Mystery is kind of a phenomenal ending to this group of songs.It's just this somber kind of tearjerker.Yeah, that was that was a happy listen. Joy meant either you fellas dabble.[11:31] I dabbled today and a couple of days last week, not yesterday, but I think Thursday and Friday in the fly stuff, which I concur with Timmy, I just love the live shit and I don't give afuck If it was a, you know, if it was a tape recorder jammed behind a, you know, bathroom stall and you got it picked it up in the background.It's just cool to hear this band live, but I loved it. Um, of the new tunes.I agree. I'm not there yet, but I, I got, um, I did hear bumblebee a lot when that came out, cause that dropped first, if I'm not mistaken, right. It dropped the day we went to Kingston.Kingston.So we got to it on the way to Kingston. That was fun. That's right.But I would say of the new tracks, I think the strongest one is Insomniacs. Me too.I just think it's very brawling, fucking harking back, just cool, fucking, just has that cool, easy, fucking hip, early shit to it.Early feels to it. Yeah, you know, has the road apples feel to it or something.Yeah, yeah, yeah, yeah, I agree with that. I like that too. I could be swayed.[12:50] Okay. Dan? Yeah, and I mean for me, I've listened to the extra tracks.I mean, I still love Bumblebee.[13:04] There's something about that with the guitar bends, that like, I mean, I think we next sort of hear those kind of guitar bends on my music at work.Something very similar happens towards the end of that, doesn't it?But in terms of the live stuff, there's a few little things going on in there.I mean, obviously, when you get down to 100th Meridian, there's a kind of improvised extract of Bumblebee in there, which is fantastic.And also, in the Chagrin Falls live version, he breaks into Born Free, but in the alternate version of Chagrin Falls, he's singing Chagrin Falls with a Born Free kind of lilt to it.So there's these kind of little parallels between some of the stuff that's been chosen, I think.Yeah, so maybe that's the reasons for some of those selections.Yeah. To you for choosing this live this light those like cuts you mean I Think so. Yeah.Yeah. Yeah, there's definitely some some thread woven throughout.Yeah Too bad. We don't have anybody to ask We might get some insight from our special guest Yeah, we should kick to him right now.We'll go to a song and then we'll come in with our special guest Johnny fucking thing.Track 6:[17:35] Hello, hello, hello, hello, I hear you guys now. There we go. Oh good. Am I good?Am I good? Yeah Hello Hi johnny Good doing well Sorry about that Hi, that's my fault. Not yours.I'll take full credit for that We're just waiting for one more to join Okay, he's uh in the waiting room now.Oh, there he is amazing how everything just Clicked and then johnny came on because we were having some severe problems, Dan, can you hear us? Yeah, absolutely. Awesome. Can youhear me? Yeah. Grant.[18:18] How you doing technically there, Danny? Good. Can you hear me?I can hear you. I can see you.Perfect. So then are you done? Are you done taking the McDonald's in London?London? London. Yeah. Yeah. My dad, my dad's hometown. He's from Woolwich.Woolwich, really? Yes. Oh yeah. South of the river. And we got to Canada and some friends would say, are you from London, Ontario or London, England?And my dad would just shoot back, he'd go, there's only one, London.Ooh. Although they have a Thames where the Canadian one. Ooh. Anyway.[18:59] That's beautiful. Isn't there in London, Missouri or something, too? There's a London... Oh, they're all over the place.Yeah. What's the deal with that? What's the deal?I think there's one in India also. You can't throw a shoe without hitting a London, is basically what you're saying. Yeah.All right. Well, let's get things on the road here.Johnny, just a brief introduction. We've ran a podcast from May 2, 4 to Labor Day this summer, where I took my friends that have never heard of the hit before. One is in Spain, Malaga.One is in Portland, Oregon. That's Tim and that's Pete, who is from Spain.And then Dan is from London.And we took them through a record a week, starting with the Baby Blue record and working up to Man-Machine Poem and just.[19:54] Inculcated them into the world of Tragically Hip.We ended up with a big party at the end downtown at the Rec Room.We raised like almost four grand for Donnie Wenjack.Oh that's amazing. Incredible.Yeah, so that's our story. I'm sorry I had to get the The music stuffed down your throat like that.[20:19] Can you imagine doing it, Johnny, like of a band that you've never heard of, right?And I've heard of you guys, but like never heard of you guys. I mean, I never heard it.But it's crazy how we did get it literally shoved down our throats.And now we were going back today talking about Band and Power, about what our first reactions were for it.And even compared to now, how much everything's just grown on us.It's just like, and we're diehard fans now, but go back a year from today, we didn't know. That's incredible.Wow. It's crazy, man. Thanks for sticking with it. It's not always easy.My Spotify algorithm is still totally convoluted, but a lot of a lot of hit playing in there.So Johnny, let's start at the start and get to know a little bit about you as the drummer of The Tragically Hap.And youngest member of The Tragically Hap. That's right, that's right. It's a dig.[21:27] It's Gord Sinclair's birthday today, right? It is indeed.Yes. Yes. I had dinner with him and Paul the other night in Toronto, and we had a nice evening.And, you know, we're 40 years young next year.I was in high school when we started, and I guess here we are.Wow. Wow. Who, before you got into the band and as you guys were forming, um, you know, your sound and your, you know, cadence, who were your big influences?I've, I know Stuart Copeland came up at one point. Oh, without a doubt.Yeah. I've heard a story about an exam or something like that, that you missed.That's correct. Yeah, that's correct. Uh, and we later ended up working with Hugh Padgham, the great British producer. and Synchronously was coming out and it came out on the daybefore my.[22:29] My math exam for Mrs.Griffordy and Lynn got this record and I listened to it.I'd heard Every Breath You Take on the radio, but then when I heard Synchronicity II and just the blistering drumming of Stuart, I just had to drink it all in.I remember making the decision. I was like, I can listen to this record, I can study for the exam.If I don't study for the exam, I'm going to summer school, which I did.And then I took one day off to go see them at the Olympic Stadium in Montreal, but it was worth it because that was, that was really my education was living, eating and breathing.And if you were a drummer in the eighties, who, uh, the guy, he was instantly identifiable by a snare drum.Um, just the hit one snare drum, there was Stuart Copeland.So, And this was an era of drum machines, don't forget, this was Len drums and sequencers, and I loved all that stuff too, absolutely did, but to be on the radio, and Stuart was it, he was,and I'm still finding things out about him, that he held the drumstick between two fingers, he didn't hold it, he held it up here.[23:48] Instead of the two fingers, which is the traditional way to hold the drumsticks.But he invented a way to play and invented a kit, which was a sound, you know.And he really, I can't say enough things about Stuart Copeland.Yeah, he's amazing. But I'll also listen to Alan White of Yes, who was fantastic. and of course, you know, Neil Peart, Bob Rush.That's a pretty good pedigree.Well, you try and take a little bit from each guy, you know, you don't want to be a lab rat. You don't want to copy them.You want to just take all the little things you like the right hand from this guy, this snare drum from that guy, the bass drum.And of course, the great I saw him the other day, the Manu Katché, Peter Gabriel's drummer, who is the Picasso on the drums. He has hands down, Art Picasso on drums.High praise. Dan?Yeah, so yeah, those are your sort of past influences. But who do you enjoy listening to now? Who does it for you now?Well, it's really funny because what's on my turntable right now is Heavy Weather by.[25:12] Weather Report and I'm listening to Jaco Pastorius.I'm trying to get as much of him into me because he was the guy really, you know. You hear Geddy Lee talk about him, you hear.So I'm listening to a lot of bass players these days and loving it.So that's what's going on.[25:36] I gotta I gotta ask you, just because you mentioned synchronicity, this is just a this is just a note.And if you didn't know it, then I think we brought it up with Paul.But do you know that that record had 33 different covers?[25:53] I did, yes I did. I didn't know that I thought it had.I thought it had. Well, I guess it would because each guy was sort of on one of the strips and it changed.But I didn't know there were 33. 32 or 33. But yeah, it was when I found and some some versions are rarer than others. But that record is.And that song Mother is just nuts. And isn't Stewart Copeland singing that song?No, that song is Andy Summers, and I heard a story, they did part of it in the Moran Heights in Montreal and the engineer asked Hugh if he could bump himself off a cassette in the day.In those days there was no internet so it was cool. The engineers usually got to be able to do that.Here's a record I'm working on, just happens to be with the police.And he asked Hugh Padgham if he could leave that song off.A lot of people hated it. It's a hard song to listen to if you're not into the record. You know, what went into the trash bin was I Burned For You, that was slated to go on that record.And think about how that would have, you know, from Sting's soundtrack work, would have changed that record. Totally.[27:22] I'm a little curious of then and now also, when you first started playing drums, I raised a drummer.I have a 21 year old who plays drums.Awesome. Actually, yeah, the past year or so he's been out of the country and he's been more focused on DJing, techno of all things.But he's, you know, can hear kind of a drummer influence. But anyways, you know, we got him on hand drums early and drum lessons early.And I lived through, you know, a drum set in the basement.Just anywhere you went in my house, you had to go outside or take a call.It was just, you know, what was it like for you in your early years playing drums? Like what pushed you over to the drum set or being interested in it? And...Conversely, do you still play now? Do you still have access to a drum set or a drum set at home?[28:13] Great questions. Number one, my brothers had a friend who had a drum set and they said to me, they went and got the snare drum and they said, we'll get you the snare drum.And after a year, if you're still playing, we'll go get the rest of the drum kit.And I'm still playing. And so they Then I had an eye injury, which for three weeks I had both eyes sort of closed off with cotton batting.And it was a really weird, weird accident.I still, when I'm explaining it to people, my dad was on the phone.He was a pediatric cardiologist and he was talking to the hospital and we were at a friend's house.And it had this jar of erasers and pens and pencils and elastics and he was talking and I remember he had his hand on my head like that and I grabbed an elastic band and a pen, and I shotthe pen into my eye and yeah it was very bizarre I thought it was shooting at the other end so it went right in and I remember my dad saying to my mom don't touch it leave it leave it andshe was trying to pull it out and so I went in and my sense of hearing was heightened.[29:33] I could hear my dad walk down the hall after he had his morning rounds.I could hear the cadence of his footstep and so you know for that three weeks where I was unable to see, it just kicked that.At about seven years old into a different gear for me. I started hearing rhythm everywhere.As you do with your indicator of your car, to industrial sounds, trucks backing up. I can put a rhythm into it.Like your son, his, like you're saying about drumming, and now he's DJing, his internal clock is always going as a drummer because that's where it started. Absolutely.Yeah. So it's the same. Drummers are that way. You just pick those things up.And then second question. No, I'm not playing. I'm kind of doing what your son is doing with drum machines.But I have two drummers in the house, two nine-year-old boys.[30:29] And one is a lefty. And I would set a kit up for him and then my other son, Finn, and then I would forget about Willie.And then, so I just said, well, I'm going to set it up on the left for you because he has a great acoustic kit, a set of Gretsch 1960s.And now I play left because I'm not the drummer that I'm not, you know, I'm not that drummer anymore. So now I'm discovering all kinds of new things about playing on the left side, andleft-handed drummers I find are way more creative.It's funny you mentioned that because we often notice when I've gone to shows with my son, we'll just say immediately that guy's left-handed.You just see it like that. That's very cool.Ringo was left-handed, they say, and that's why no one could ever duplicate the way he got around the kit.Yeah. His left hand pushed his right hand, I think.Phil Collins, Ian Pace, they're not good drummers.They're incredible drummers. Those two guys for me, Ian Pace and Phil Collins.Phil Collins, the stuff that I listened to today, and I'm like, how is he doing that?How is he doing that? He was incredible.He really was. He is incredible.[31:48] Johnny, you've been hard at work on the Phantom Power reissue, the box set, the amazing box set.I got it last week, and it was so fun to open and just touch the vinyl, and the book that's inside is really wonderful.I'm just, I'm so curious what a project like that.[32:17] Entails like from a from a time perspective. And I know you guys are hard at work on another one for next year.Like, when does that begin? And what does that process even look like?Like, is it just climbing Everest or what?It's really fun. It's really great therapy for us.You know, we get to talk about the past and if one guy doesn't remember it, someone else will.We have weekly calls and it's fun.We didn't do any therapy after Gord passed away and we really should have.We have just all kind of dealt with things and I think really right now that this is our therapy.I'm in Toronto, so that's where the tapes are. I'm very happy to do it and we're digitizing things and Phantom Power was a different one because it was in different formats.It was on D88, little digital tapes.[33:11] DAT machines were around and kicking at that time.We also had our 2-inch machine and then Pro Tools, the dreaded Pro Tools was coming in.Well, you didn't have to make a decision and you could have a hundred tracks on something and and I was like the you know There was such economy when we were going to tape andAnd I really liked that.So, you know, if you look at the early records, we're still I, Think there's the most that we used was 18 tracks You know Don Smith would consolidate things and that was really a goldenperiod So, it's not as daunting as you think, it's been fun, it's been fun, it's been a discovery.[34:00] You know, to listen to some of those tracks and hear Gord Downie speaking in between takes is really these beautiful moments.So yeah, it's been a lot of fun.Robbie is in charge of the box set, putting it all together.So he's doing all of that stuff.And you know, Gord and Paul are very involved in it. But they have solo careers too.So, um, you know, uh, but we are, we're all together on this.Uh, it's not me, uh, just doing, um, the tape stuff there. They're involved in it too. Very cool.Yeah. I mean, I was going to ask in terms of the project from the offset, uh, you know, when you're going through the tapes and covering all of these tracks and these, these different takesof the tracks that you have, what, what shape, you know, with those tracks in, did they require a lot of work to get them up to spec, or was there anything that was kind of left off that was,you regard as pretty good, but it was still a bit too rough around the edges to include?[35:04] Well, if we did any editing back in the day, if it was tape, we would do chunk editing.We would take the ending of one, with the hip, we would play a tune, it'd be great, be great and we would get close to the end and then we'd anticipate the ending and I'd make the otherguy speed up so we get to it and then our producer would say well the ending of this one's good so let's take the last four bars so there we go there's the track.So they were in pretty good shape you know the tape that we got was really forgiving.The crazy thing is I heard about the Rolling Stones going back and doing stuff that they did in the early 60s.And the early 60s tape actually lasted better than the stuff they made in the 80s.They had to do very little to get them back into shape, which is cool.You got to bake them in what essentially is an easy bake oven for tapes at a low temperature and it just sucks all the humidity out.And so record companies are obviously very well prepared to do all that sort of stuff and then it's just digitizing them.But when you first have a go through the tape after it's been baked and it's coming off the head and going through a board at the studio, it never sounds better.You know and they shoot it over to Pro Tools and they say now we have it We've have it and I always say well it sounded better a few minutes ago when it was going through the machineand so, Yeah Tape is king.We lived in the Golden Age. We really did in the in the 80s and 90s When you when you still were spinning tape.[40:59] So I imagined with coming across tapes, you guys did so much work, you know, in the recording process that I imagined it was just so fun to go through. It has been.It was, you know, but, you know, talk about Bob Cajun being an example.We only really have two versions of that.[41:23] And Gord Sinclair and I had a conference and we were like, well, we can play that again and we can play it better. And we were like, yeah, let's do it.And so the version you hear is the demo version, really.It's just we said we would go back and address it later. I think we went on tour and then it was Steve Berlin listening to it, which was really cool because he he recognized you can't beatyour demo.And that's what bands try and do.And he was so smart with it. And he said, I'll let you play it again.But you're not going to beat this. It's just there's a vibe there.And Gordon and I were like, we're going to beat it. We're going to do it. And we never did.And so I always loved that, that he did that because as a producer, I wouldn't have done that.And I would have screwed it up if I was producing that record.And he had the brainpower and the knowledge and he'd made so many great records before that he just, he let us play it, but we never beat it.It's our biggest song, too. Well, we were talking before, I absolutely love that song.That song is the soundtrack of this past summer for my wife and I.You jammed it down her throat. Oh, yeah. She drank the Kool-Aid, man.Let me tell you. She sure did.I've tried. We're getting there.[42:46] That's the pocket of that song, in my opinion, and this is my opinion, and if Robbie was here, I'd maybe change it just to be sweet to him, but it's you and Gord.It's just that the pocket's so tight with that.But you said something earlier about tape, and I want to just touch on it real quick because you were talking about how they have Pro Tools and this and that, and how you would havemade a different decision with Bob Cajun.But we cut a record in this last March, our band, we did our second record.And the engineer was using Cubase, which is just another version of Pro Tools or whatever.You've got a million, you can do a million tracks. But like he was like, no, you're going to do this many. And I'm like, no, I don't like that.He's like, nope, that's it.Yeah, because you get to a point to where you could just you just go crazy.And you could do 25, 30 tracks, you know, on one take or 25, 30 takes.And it's just it's stupid at that point.You've got to appreciate the moment that it is, you know, whether it's, you know, you're never better than your demo, like you said. You know? Yeah.And and I don't know, I guess.[44:01] There was, and not to get off the topic of, of, of, of Phantom Power, but for me, and I know we all had this, this reaction.We felt like I felt like In Between Evolution was the Johnny Faye record.[44:17] Really? Yeah, and there's... I don't remember that record, really.Well, yeah, there's a specific thing. That's crazy because there there's at the end of certain songs, there's little, you know, hi-hat touch, there's a rimshot, there's just little sprinkles of youthat is the last sound you hear on multiple tracks and or, or the beginning of a track.And I'm like, I wonder if there's something to this, but they must have just been the take that you guys did and it's taking up, maybe so.That was confusing record.Well, it's interesting about the tape to dress the tape thing.Yeah. And you have limitations. You got to make decisions.Uh, and you know, and I didn't say that I read Keith Richard's book and he was like, give me eight tracks and I'll write you a hit.And, you know, when they went to 16, he was like, man, okay, but I can still do it. Nay. And it's true.Um, you know, that, that the a hundred guitar tracks or whatever, the layering and, and, uh, it's just, you know, it goes, just lets up on records, John Bonham.I worked with a guy named Terry Manning and he had, John Bonham got very upset with him because Terry Manning said to me, I was the guy who put the third microphone on thedrums, he didn't like that, he only wanted two.[45:36] Only wanted two. So yeah, Inbetween Evolution was, we worked with Adam Casper, he was fantastic, obviously he's a guy who worked with Pearl Jam and we were very chuffedabout working for him, with him.And we seemed to move around studios a lot.For me that was a little bit confusing, so I never knew what we really had in the can.And it was in Seattle, where I love. I absolutely love Seattle.And so that was cool to be there. But yeah, I don't sort of...It's just a record that's easy to associate with you.And I think at that time too, we were looking at videos. I remember talking about this video I saw of you.You were so in the friggin zone playing live.You broke a cymbal and somebody just came like middle of the song.You just kept going along, replace cymbal.That would be Mike Cormier. He was my drum check and he was amazing.He could tell when they were broken. He sort of mid-song and he'd say, should I wait for the end of the song? I was like, no, just get rid of it.[46:44] Yeah, you know, we're going through something now where we're going back even further and with Up To Here.And a question was asked earlier about is there some songs that were left off?And there was a song that was left off, Up To Here, and it's called Wait So Long. and it was a really, really special song.Our producer and his manager and some people at the record company really thought that that was the lead track.[47:15] It ended up being Blow It High Dough, I believe.Or New Orleans is sinking. But Wait So Long is a great track, and that will come out next year.Oh, that's exciting. We have a mix of it and everything from Don Smith, so that's fully intact.So when we looked through the tapes and thought, oh, what do we need to remix?There was that one, you know, the lettering. It was like, okay, we got that one.So that'll be great to get out.You know, hear what people think about that. So one of our go ahead, Judy.So I have an ammo system set up at home. So I've been listening to the mix and Dolby Atmos.And I'm just curious about how that works when you're when you're doing a mix of that because there are instrumentations and sounds that I've never heard in those songs before.And now all of a sudden, they're they're shooting over my head.And it's, it's really fucking tremendous. It's a great way to experience music.But I just wonder what it's like.Do you have a mixer that just takes care of that?Because I noticed there was there's three writing credits for mixers on the Yeah, on the album.So I'm just curious if one is just for Dolby Atmos, sir.Yeah, well, we had a guy in the first couple, I think he did Road Apples.[48:43] And his name is Rich Chicky, and you might know him because he's done all the Rush stuff.He's like the Rush in-house guy for Atmos.Since then, we've had our key engineer, Mark Braykin, has been doing the Atmos stuff because he built an Atmos room.[49:00] You're right on this one. Phantom Power has a lot of stuff. I was sitting in the back of the room when they were mixing that and it's like there's some backwards guitars and somestuff that just goes out and it makes sense.I'm not gonna lie, I'm not the hugest fan of, I get it, you know, let's send the hi-hat into outer space, changes the groove, changes the groove for a five-piece band, we're not gonna lie.[49:29] On an album like Road Apples, which Rich did, and he did a great job.I just don't get it. On Phantom Power, which would be the closest thing that we would ever have to Dark Side of the Moon, I get it.You sit in the back of the room and hear the backwards guitar or stuff swirling around. It's cool.But I know people want this in their headphones, but I guess I'm a little bit like Monomix guy.I don't mind that either. I love it. I love that. Yeah.Dan? I'm with you, Joni.[50:04] Coming back to the other aspect of the box set, which is the live recordings, I mean, what criteria do you sort of use for selecting the live recording?I mean, out of the three that have been, you know, re-released.[50:18] Obviously one was the Horseshoe, but the other two have been from, like, American venues.Would you perhaps, like, choose the American gigs because they might be lesser known to a predominant Canadian audience?Or, I don't know, how do you choose? We pick a gig that has fewer clams in it and less mistakes.We just kind of really, we really do.We did a live record called Live Between, it was way back in the day, and we argued about this.We had really sort of a good old fashioned fight about it.And Gord Downie wanted one from this place called the 40 Walk Club, which we'd listened to and it was a great, great version.It was a great night.And it's where REM, I think, got their start.And so we were sort of between that and another couple.[51:12] And then we ended up picking Detroit because it sounded good.Um, I think that's kind of what we go on when we're, we're picking these, um, these live, uh, albums and Gord Sinclair's son, um, is the one who really goes through them and says, there'ssomething here.He knows the hip really well. And so he really kind of directs us.So there's so many tapes out there. Um, and so he, he sort of says this one, um, from, uh, Chicago second night, a house of blues.This, this one's got something there. And so Colin Sinclair is really in charge of that.I don't think any other guy in the hip can take credit for it.[51:52] Can I just ask as well then, so what percentage of hip shows do you think were actually recorded, you know, documented?[52:00] It would depend on the period. One tour we went out with D88 machines, other eras we let people tape, like Fish Show or Grapevold Head, we would set up a little area where theycould get stuff off the board.That was cool. And there were some remote stuff, not a ton of 24-track, tape stuff. We would do stuff for Westwood One.Most of this stuff is going to be in-house, or a record company generated through a live truck, Usually in LA or New York, we have one coming up from a show we did in the States forRecord Day next year.Not a ton. There's not a ton. Two scoops in this session. That's great.That are coming out?[53:05] You mentioned Zeppelin too. I was going to ask you about Hedley Grange, but I forgot what I was going to say. You know where Bonham did that thing with the, for, for, um.[53:16] When the levee breaks, you know, yeah, they put the mics up on the stairs. God, that's so cool.But, but no, that was Jimmy. That was Jimmy Page. That was Jimmy Page doing that.He engineered page based on that. That's that's such a it's such a I mean, never in in history. Can anybody recreate that sound? I mean, it's just so cool.No, the sound of like a double bass almost, but people people don't understand that there's the economy of it.If you worked with one of These older guys, I always say that Don Smith was like Rudy Van Gelder, he got it.He knew, he kept on coming into the studio, back in the control room.He would make the live room, the studio sound, the control room sound like the live room. And he was constantly tweaking like that.[54:02] The guitar, if you listen to the Zeppelin, it's all the stuff that's implied in the chords I think.The drums are what everything is hanging off of. The guitars are really quite small, you know, you know, there's these these bands that came out in the 80s that were trying to be likeZeppelin, use 24 microphones on the drums.It sounded horrible, you know, and for John Bonham, it was just the way he played. He was really good.Incredible jazz sensibilities, an incredible groove. And he was able to move, you know, all four of those guys were spectacular.We went on the road with them. We went on the road with them, Paige and Plant, through the States, and it was incredible.[54:49] Yeah. Never a nicer, never a nicer guy than Robert Plant. He was so, so nice.Oh, yeah. That's that's, that's, that's amazing.Yeah, I'm a huge, I'm a huge Zep fan. But I just got to ask you real quick about the song Fireworks.Is there, there's got to be some Rush influence in that. I just hear so much like spirit of the radio in that tune.It's just such a, I think that when that song, when we heard that song on this record, Tim and I both, I was like, that was for our first favorite song on this record. Oh, that's sweet.[55:26] Don Smith's mix on the box set is really interesting.Because for Phantom Power, where we mixed it three different times.Yeah, I mean, Neil, I got to meet him a couple of times.He was obviously a huge influence and I would say, yeah, yeah.I went trick or treating as him one year. I crank called him.[55:50] Oh my gosh, amazing. Love Rush, man, love Rush.J.D. be mindful of the of the clock too on the thing. You're on mute.Yeah, we can't hear you, J.D.Oh, sorry about that, guys. I was just going to say we've got a minute 45 left of this session before it cancels out.So, Tim, if you've got a quick one and then we'll bid adieu.Well, I just had one of our pod listeners asked about Bumblebee and basically was like, why didn't this make the album?You know, this it could fit in there so well. So just a quick comment on that.And yeah, yeah, that was one that was that was on on the list.And I think it just, we just sort of Gord Sinclair was putting the sequences together for that.And it just for us, there was just something maybe missing. It's really great.[56:46] And I love the line when the moon's a water balloon.It just is so great. That's so Gord. You know, yeah.And I look at every time I look up at a supermoon and it looks like a water balloon. I think it's very cool.Well, it made the box set. So that's, yeah, that's important.Yeah. Well, Johnny, we really want to thank you so much for your time.It means a lot. And thank you gents for, for all your promotion to the hip. Our pleasure.Keep ramming, keep ramming it.Hopefully not your family. They love it too. It happens.Track 1:[57:29] Thanks for listening to Getting Hip to the Hip. Please subscribe, share, rate and review the show at gettinghiptothehip.com.Find us on Twitter and Instagram at gettinghippod.And join our Facebook group at facebook.com slash groups slash fully and completely.Questions or concerns? Email us at JD at getting hip to the hip.com.We'd love to hear from you.Track 6:[58:25] I can't wait for the music at work box set as well, just so you know, just so you know, we're dying for that one. Oh yes, please, please.I'll tell you, I'll tell you the one that I was listening to last night and the demos are really great and and I'm really pushing for this one is in violet light.Oh yes. Yeah. In violet light. The demos were just incredible.Support this podcast at — https://redcircle.com/gettinghiptothehip/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Capillary Technologies, has made waves in the loyalty industry, thanks to its recent acquisitions of two prominent companies: Brierley and Tenerity's Digital Connect Assets. Since its inception in 2012, Capillary has served companies worldwide with its customer data platform. Through the utilization of its AI-powered loyalty management platform, Capillary can enhance a brand's loyalty program to improve the customer experience and enhance program strategies.In an exclusive interview with Loyalty360, Don Smith, the Global Consulting Officer and Chief Marketing Officer (CMO) at Brierley – Capillary, gave an inside look at Capillary's recent acquisitions. Smith also delved into the concept of generative loyalty and the potential impacts the latest technology will have on the future of the loyalty industry.

jD, Pete, and Tim are back and this week they're discussing the EP Saskadelphia. TracksMontreal - Studio outtake Ouch - Studio versionCrack my Spine (Like a Whip) - Live from Halifax 1991Reformed Baptist Blues - Studio versionTranscriptTrack 1:[0:00] If you're a fan of the Tragically Hip, this is your hip fest. Getting Hip to the Hip, September 1st at The Rec Room. Celebrate the music of the hip with a live tribute act, the finale of a hip-based podcast, and a silent auction with amazing hip prizes, with all proceeds going to support the Gord Downieand Chani Wenjack Fund. If you're a fan of the hip, you need to be there. Tickets available now at gettinghiptothehip.com. Track 2:[0:28] The first, and to date, only posthumous release by the tragically hip is 2021's marvelous EP, Saskadelphia. [0:37] Borrowing its title from the original name of Road Apples, this record packs a punch in under 20 minutes of non-stop rock. Even the chilling theme of the song Montreal moves mountains with its haunting chorus. I remember downloading Saskadelphia on the mail-on weekend in 2021 and I was immediately transported back to 1991. [0:59] In some cases, we're even invited into this studio with banter between Gord and someone named Bruce. It was a total trip hearing these songs from a bygone era with a pair of ears from the 21st century. In some cases it was familiar, as I own bootlegs of Crack My Spine Like a Whip and Just as Well, but these new versions were bursting at the seams with nuance that only a studiorecording can offer. I felt nostalgic and sad listening, but by the end I was grinning ear to ear. This was a fantastic hip experience, and it's one I hope we get to enjoy with the upcoming re-release of Phantom Power, and I'm calling it here first, but I think we see an Up to Here boxset celebrating 35 years sometime in 2024. But don't quote me on that, unless I'm right of course. At any rate, I'm nervous about giving this one to Pete and Tim. Although they both enjoyed Road Apples initially, will they appreciate the significance of this EP? Will nostalgia be a factor for a pair of people who only first heard the band in November of 2022? [2:08] What kind of impact will this have? We'll have to wait and see on this episode of Getting Hip to the Hip. Track 5:[2:40] All right hey hey it's JD here and we are back again for another uh well let's call it the penultimate episode of getting hip to the hip i'm here as always with my friends Pete and Timto discuss Seminole Canadian rock band The Tragically Hip we're going through every album and we find ourselves at the last album. An EP as it were, Saskadelphia. It was released for the May long weekend in 2021 and it's a it's it's a trip back to the road Apple days. Before we get too deep into that discussion though, how the fuck are you guys doing? Well you know I'm a little a little of a Climbed a little tongue-tied. I don't know. I told my kid, Sage, this morning, I was like, this is sort of one of the last recordings. It's about 20 minutes of music. [3:41] And he was very encouraging on moving on to more pod stuff, because he knows I've totally loved doing this. But at the same time, I'm like, do we have to do this today, guys? Can we postpone it? Pause right here and do it later. Because it's like the last bunch of songs, really. The problem is, in a week, you'll be here. It's true. It's true. You'll be here, and we'll be doing the For Real last episode. Hope to see you there at Getting Hip to the Hip, an evening for the Donnie Wenjack Fund. Tickets are $40. You can get them on gettinghiptothehip.com. [4:20] Slash click the ticket button. Do that. It'll be good. Pete, how are you, man? I'm good. Um, your cadence threw me off there at the beginning, JD, because when you said I'm here with my good friends, Pete and Tim to discuss, and I thought you were going to,you're going to say two disgusting fucking individuals, but just to discuss. And then you were like the penultimate record. So, no, I'm good. Everybody knows that by now. Yeah. Yeah. Yeah. Kidding me with our link or that way. We fucking two sailors, three sailors here. That's right. With your captain Pete who we've gotten, I think we've gotten, uh, we've gotten a couple of emails from people saying, do you haveto use the F-word so much? You swear like sailors, ahoy motherfuckers. Yeah. Yeah. I'm, I'm, I'm still looking forward to the, to the, uh, to the live event. I cannot wait. It's going to be so much fun. I'm I just I just hope I hope people are that show up want to that want to just talk about the hip. And I'm like, I'm wondering what other people say because I only know you guys. [5:37] Like, I've only I only really well my friend Barb too, but like, like, yeah, I don't talk about the hip, but I'm gonna be surrounded with a shit ton of people who fucking love the hip. It's going to be cool, man. Has Barb, has Barb confirmed? Barb's not confirmed, but Barb's on the fence. She's, she's, I think she just, we need to, we need to push Barb over the edge. How do we do that? We're pushing her right now. Barb, if you're listening. It's a, it's a love push, Barb. Barb. We're just giving you, we're just giving you a little, little bump you need. You need to be there, Barb. Careful, one person's love push is another person's incarceration, so you want to be careful with that. Well, I said bump, I meant like a little tiny, you know. Was that a Burning Bush reference? Is that a Bible reference? I missed it, went over my head. I'm out of swords today, gentlemen. [6:37] Are we gonna tackle this record? Well, let's talk about where you guys listened to this record for the first time. Where did listen to it, give me the environment, give me the background, give me the details, and then we'll go song by song. For me, no, my car is not a Yugo with the premium audiosound system. Surely it is not. Surely it is not. They're out of business. No, I listen to it in the car a lot, listen to it on my computer a lot. I've been doing a lot of work at the desk and was really surprised with this record, really surprised. kind of. [7:18] Yeah, I'll save all that, but yeah, listen mainly at the computer and in the car. All right. How about you, Tim? I'm the same. Same exact. Yeah. Sitting down. Sitting down. And it's a quick one, right? It's like 20 minutes and you're through. Yeah, 20 minutes. Right. Yeah. It's a tupper. When they first released it, they called it an album. I'm pretty sure they said it was an album. And a lot of people bitched. A lot of people were like, this isn't an album, it's an EP. It's six songs. Who called it that? I believe they did centrally, but even on the wiki page now, it's listed as an EP. So I don't know if it's been officially changed or what, but I'm calling it an EP. And it's a nice bookend. You get the EP at the beginning and you get the EP at the end, you know, in terms of bookends. Unless there's other music out there. But this came out after Gord's passing. This did. Yes. Yeah. 21. Yeah. 2021. People are bitching after the fact. Way to go hit fans. What a show. How about you? How about you, JD? JD, where, what was your experience when this came out? Oh boy. [8:25] Uh, did you grab it? Yeah. Um, I bought the 35th or the 30th it's yeah. The 30th anniversary of road apples, a box set. And it came in that box set and it came with live camp. It was a great box set because it came with a remastered road apples. It came with Saskadelphia. It came with Live at the Roxy and I want to say another record so it was chock full of cool cool shit for me it was just it was just a trip because it was like the last we heard of this band. [9:03] Was Man-Machine-Poem and it's very different from Road Apples, very different from Road Apples. And all of a sudden I was listening to brand new hip that was 35 years old, you know? So it was like, it was really, it hurt my brain a little bit, my brain was doing spirals, you know? Like it was like, this doesn't make sense, this is new, but this is really old. So I don't quite understand what this is all about, you know. But very much enjoyed it. A little disappointed that the version of Montreal is a live version, but I like the live version. It's good, you know. There's a reason. Yeah, there's a reason. And we'll get into that as we go. Should we start with Ouch? [9:54] Well, let's do a little more backstory. Yeah, go. Because in my experience of this EP, I went really quickly to YouTube and ended up watching some of the mini episodes that featureJohnny Faye in the Universal Warehouse finding the tapes. That's crazy. And all that stuff. And it was really interesting to go through those and hear him talk about Universal claiming the fire they had in the warehouse that was, I think he said they found out about it, the NewYork Times article. Yeah. Yeah, that's all I remember. And it listed all these bands whose tapes burned, and they were on the list. And so... [10:42] Johnny, I think. I forget who else. Johnny and somebody else immediately, it sounds like, really quickly went down to hunt down the tapes and they didn't burn. And he even had a comment, or most of them anyways, he even had a comment about how universal they thought. Actually, this was Baker in a different interview, because I watched a bunch with him too. Baker said that they thought that maybe the fire and the tapes were this multi-mega cash-in on getting assets destroyed that weren't really destroyed. But ultimately, they've said that they found 45-ish of 60-ish tapes and there's still potentially more out there. [11:29] So, there's some great interviews on this stuff. I probably watched, I don't know, six interviews. Oh, wow. Yeah. Yeah, I was kind of laid up one day and just had some time to kill and watch them, watch them interview. So yeah, so it's, maybe there is more out there. I mean, they pulled together, what is this, five songs? Well, six with Montreal, but yeah. Six. Yeah, six. And, you know, if there's, if we get six more eventually, that would be awesome. Yeah, because they are, I mean, there is talk of Phantom Power being reissued. They announced that last year that Phantom Power would be reissued this year. The 25th anniversary has passed, but I suspect it'll be a Christmas release, you know, but I don't know anything beyond that. [12:16] No, the cover of Phantom Power was actually done by Rob Baker. Really? That's a fact. Oh, wow. Rob Baker studied graphic design, I believe. Graphic design. Oh, yeah. University of Queensland? Queens, Queens University, yeah. Queens. Yeah. near the Bronx. Yeah, right now the Bronx just a hop, skipping the jump away. I'm skipping a jump. I had not, I had not heard or watched and heard interviews with him really yet. And man, I want to hang out with that guy. He is so. Baker? I don't know. He had so many. He had, yeah, he had so many fun, not fun. It's somebody wise one-liners just in the course of conversation with interviewers. Like he's just fucking Zen dude. So chill. Sorry. Some of it was during COVID and he was talking about like during COVID, how his son moved back home and they were, they had set times during the week where theywere jamming together and ah, man, it just. That's very cool. It's just a rad sounding dude. Yeah. Yeah. Well, get in line, Tim, because. [13:26] I'll be behind you. Yeah. Yeah. Rob Baker and I, we go back. We're gonna, I'm in Kingston. We got a we got a couple of beer dates Talk gear. I think it was I think it was ouch That Johnny Fay one of the YouTube video the one of these little mini episode things that Johnny Fay He's listening. There's a video of him listening to ouch. I believe it was out and And it gets to the end, and it stops. And he's so elated and excited. And he said something like, it even has an end. So stoked to find a complete song. Before we jump into the record, did you guys see the, Tim, I didn't watch all the interviews, but what's his name? Craig Rogers sent that email with the videos from the Cineplex event they did. Right, yeah. They did an event at the bathhouse. I didn't see that. Oh, dude, it's fucking cool. I mean, the only videos that he could find were... Or Bob Cajun, Escape is at Hand, Country Day and Coffee Girl, but they did this live event at the bathhouse. [14:44] During Bob Cajun, Rob Baker's just playing guitar. I don't think anybody else is in the video if I remember correctly, and Gord Downie's just shooting pool and singing this songwhile he's shooting pool. It's the coolest fucking thing. Oh my God, I got to see this. It's so cool, man. It's one of the coolest fucking, he's just like, he's, and it's a weird, like, I mean, don't get me wrong. I'm not, when, you know, when we go to the bath house and eventually record there one day, I'm not going to piss and moan to the guys about the pool table. I hope it's a bar size table, but I noticed that the balls in Canada, they weren't like, you know, the color balls like we have in the U S or like red balls. And then maybe a different color. Were they playing snooker maybe? Maybe it was like a snooker table but yeah. Yes they are. They are. They're playing snooker. I just pulled it up. I did this. Sorry Craig. I didn't I didn't I didn't go through. I saw it Craig. Thanks. I'm sorry I haven't had a chance to respond. I've been busy working this week. Yeah I haven't. [15:51] Sorry Craig. Very cool. Yeah. Got something new to check out. That's great let's dive in ouch ouch ouch. [19:12] Go ahead, Timmy. Take it. Well, this one kind of brought me back to Born in the Water. And back then, when we were talking about Road Apples, if I recall correctly, I had some comments about it being bluesy, and George Thurgood, whatever. I had some comments like, why are these guys? They're a rock and roll band, but they're in different buckets of genres within rock and roll. And not many bands can do that and do it successfully. A lot of them try, and I think don't do as good of a job. And so listening to Ouch made me realize, it just brought me kind of full circle on The Hip's abilities and their skills and their talents and brought me to this kind of new level of fandomof thinking about that. [20:18] And like I imagine I have some friends from back in the day who are big time music guys and I imagine that what they would would think about listening to different types of songsby The Hip and how some who are not Hip fans might think it's kooky or why they're doing this. Or it's kind of out of a comfort zone. But listening to Ouch and going back to Road Apples and Born in the Water and songs like that, like it just, it brought me kind of, It completed the circle of thinking. [20:49] These guys are really talented they can do whatever they want to do they're they got the they got their driver's licenses they got the keys you know it's it's just like god what couldwhat can they not do at this point you know and the the song is we could talk about the song and all the aspects of it and gourd's growly singing and you know all the things but this onejust kind of it just kind of hit me full circle with the band and it made me think like at one point i was like thinking about you know in the u.s, raiders fans or fans of certain teams or youknow i bleed whatever i don't know it's all these stupid things of these allegiances to to cultural items and how, or genres or arts and how some people can be like, just so narrow within acategory of something that they really love and how, like, I don't know this. If you opened up your mind a little bit and accept things a little more, why are you hiring now? [22:04] Have more enjoyment. No, no, you can have more enjoyment. No, seriously, I had a moment with this song. Wow. Really fucking solidified why I like The Hip and why I could argue to the end of all day is about how they're fucking better than youtwo. How's that? Yeah. You know? Yeah. So there. That's what happened to me with this song. [22:29] That's far out. Probably led to so many video watchings because I was like, Like just give me more at a personal level of these guys. It's 9.53 in the morning for fuck's sake. It's not even 10. Can I wait till 10 to get high? 20 somewhere, baby. That's right. What about you, Pete? [22:52] Um, I, I dug this song. The only thing I, you know, can kind of gather that, you know. [23:00] I, I agree with Tim on, um, not that I disagree with him on what else he was saying. But you know, just kind of one of the points that he made was that this kind of brought it full circle. Like, I think when we started out with road apples, Tim and I were both kind of like,where are we going with this? And then even when we talked to Paul Ling Wah the other day, how he was, you know, we were talking about, you know, everybody has a different entry point to the hip, you know, westarted from the, from the very beginning. You know so maybe that wasn't our destined entry point, but it was the entry point nonetheless. And we kind of came back full circle because now we got this similar sound of what road apples was without and My only comments on the song itself, which I loved It just painted apicture And I'll read it to you It's 11 15 p.m, The bar is dirty and it's dingy the happy hour crowd has gone home drunk already The band's starting to get into its back catalog and angrytunes. And the close the bar down crowd has just showed up, you know. The guy with the pull cue in the fucking case, a couple of bar room hustlers, a couple of hot chicks that um... [24:29] That frequent the bar. Everybody showed up. Barkeep's getting surly. Barkeep is getting surly. [24:39] Everything about this band, this song, gave me the vibe like they're just up on stage playing and they don't give a fuck. They don't care. They've done it so many times, It's just, it's like muscle memory to them. And they're just, rock and roll is just fucking in their veins. And it's on display for everybody who's probably taking it for granted at the bar. It seems that way. Yeah. Yeah. Because Lord knows, I mean, I took Road Apples and that shit for granted. Did you guys go back to it? Like, after listening to this record, did you go back to Road Apples? To Road Apples, yeah. Yeah, yeah, yeah, like to try and see what like to me I did the same thing and it was like it was to try and see where these songs would have fit in because like asmuch as it's new material we all have to understand too it's material that they felt wasn't up to snuff to make the actual record, right? Yeah, which is weird to me like but maybe it was just a time thing. Yeah, yeah. Because I thought the majority of these songs on this record were great. [25:51] Yeah. Yeah, I tend to agree with you. I enjoy it. It's not long enough to be offensive. Even if it was offensive, you know? You're in and you're out, and it's done. Yeah. What it did for me, I mean, I went back to Road Apples, but I also, again, went. [26:12] To video stuff like i hung out on youtube more with this one and pete it's funny you mentioned kind of a bar scene because the video for this song it's kind of all about a bar sceneit's it's a fun it's a really i didn't know there was the videos for a few yeah there's videos for a few of these yeah jay baruchel's in that video right ouch ouch is it yeah yeah ouch is a hootit's got like all these hidden nuggets through the video with references to other songs or albums. Yeah I think there was like 20 of them. It's a really good video. Yeah, yeah. It's a really, really good video. I watched it a couple times. Super interesting. Yeah, a lot of fun. So check that out. All right, let's move to Not Necessary. Not necessary. [27:01] Um, again, this is just like, I thought this song would have fucking cooked live. I mean, like, like most of the songs on this EP, just like pictured sweat just fucking pouring off of everybody's foreheads. And just, yeah, it was just a good time record, man. A good time tune. Chorus was super hooky, just like, had a great, like it did sound, the chorus sounded like it was, you know, crafted in that time. Like if you saw a TNC Surf t-shirt, somebody was wearing it walking down the street, you'd know what like year that kind of came from. I don't know if anybody remembers TNC Surf.Do you remember that company? Well, yeah. Yeah. Anyway, um, TNC Serpent Skate it was called. But yeah, it's just like, yeah, that would be, you'd know what era it was from. And definitely this song was a bit of just, they were justhaving such a fucking good time. It was kind of a window into their youth. Yeah, yeah, that's good call. Life on the road in the van, you can almost smell the inside of the van, stinky and, you know, sweaty and lived in. Yeah. How about you, Tim? [28:25] I agree with Pete on all that. I don't have much more on the song. I dug the song. I really no qualms about it. [28:37] This one I went faster to video. I hate to say that I just watched videos on all this shit, but I watched a lot of videos. And this one's cool. It's like bank robbery gone wrong. It's got a total plot, to it that somehow ties into the song. I haven't seen the video for this one. It's a really... Oh man, it's killer. Check that out. It's got a cliffhanger at the end. It's a fun video and I just... It really... I don't know, just after listening to so much music by these guys with cans and not having much visually other than some live stuff, like it was fun to find videos from this EP. So, definitely watch Ouch and watch Not Necessary. Great song. Right, we move next to the very solemn song about the École Polytechnique massacre that happened in the late 80s in Montreal, where a young man brutally murdered 14students and the Tragically Hip wrote a response to that it's very loosely based in that although it's bang on at the same time like there are lyrics in it that give you chills, you know? [30:05] But what did you think of Montreal, Tim? [30:11] It's a heavy one. I think I read that 27 people were shot, 14 died. You know, it's one of these songs that you could throw in a bucket by the hip that aren't something I reach for just because of the subject material. You know, it's like one of those heavy things that's Marked history and something uncomfortable and something that we we still deal with Every day, you know like the like a few othertheir songs in this this whole Tragedy, I don't know it's it's a It's you know our Mind may be privileged to listen to it and feel unsettled and move on and put it in a drawer You know,because it's fucking tough history and a tough topic and all the things. And yeah, it's also like, I commend The Hip for and Gord for writing it and them playing it live. Like it's this song is brave, it takes courage and I don't know, I just I don't have a lot of music, just actual tune. Sure. Comments about it, just because it's like, you know? [31:40] Because, I mean, just also being in the USA, I mean, we deal with this stuff all the time. So it's just like, you know, it's probably a song that everybody should hear and play. [31:55] Let me just tell a quick little anecdote before we come to you Pete. I remember my friend Jeff who was older than me and he drove to Toronto for a show, a hip show at the old Ontario Place Forum and I remember him coming back and saying there's thissong called Montreal I think it's going to be on the next record like it was so great like and I got to hear it again And this is back in the day when you just couldn't hear it again. That was it. He heard it and that was his memory of it. And that's the end. He didn't get to hear it again until years later. You hear traces of it on Live Between Us during Courage, I believe. They start singing the tail end of Montreal. Pete, what did you think of this live version? I really liked it. I did. I thought it was very haunting. Those little, you know, cool guitar licks. Those little, you know, I think they're arpeggios or something. And then when the chorus just switches over to a major, it's like a, you know, beautiful. [33:12] What's the way it kind of puts into a happier space, but then it just gets dark again. It was just a bit of a seesaw feeling, this song, but it's definitely something that I, again, I mean, I don't know if it was because of it was a live version, but, you know, I would probably, if Iheard the studio version of this tune, I would want to hear it live too, because it was really a really pretty song, but it was, Because of the six songs on this record. [33:45] I would say it was, you know, I would say it was not my favorite, but I really liked it. I think just because it starts off so heavy. Yeah. Record, you know? Yeah. So. All right. No. JD, if you checked out JD, I guess there's a DVD of that show at the Metropolis. Oh really? That's available, yeah, there's a DVD that's available for free, like via the Hip Fans webpage. I haven't gone back to checking that. Yeah, you might. Check that out, because that sounds pretty awesome. There's some fan... They don't tend to give things away very often. There's some fan footage that... Yeah, yeah, yeah. Well, there's some fan footage that somebody produced a DVD. Oh, wow. Okay. Well if you're interested in the 7-inch of Montreal, we have an autographed copy of the 7-inch of Montreal and it'll be at the silent auction of the event so that's kind offun. That's a fun one. Yeah, and I should note it's auctioned by the four living members of the band. Like it's not a complete, you know, Gord is not on there. But you get all the living members of the band and that's pretty fucking cool. You get Pete, Tim and JD to sign it too. That's right. That was a joke because it'll be devalued if that happens. [35:14] So we flip the record over and we get the fucking electric, crack my spine like a whip. [38:30] This song fucking melts, doesn't it? Yeah, yeah. [38:35] You know, this is the one, this is the one that Johnny Faye was like, it has an ending too. This was the one he was so psyched about. This is over here in my notes, I'm finally getting on that. And this is the song that led me to ask Paul about he and Baker's guitar playing and he noted how they're who was it Dan Smith Don Smith who also makes this yeah how he channeledthem yeah how he channeled them and put one in the left and one of the right and the hard pan yeah so this song made me yeah the hard pan this song made me realize I don't know it wasit It was a complete picture in my brain of what these guys were doing on guitar. And I even said to Paul, I tried to get into it a little bit, but I would love to talk to him in person about it. But this song, Paul on guitar, he's just got the, just reminds me of 80s power guitar chords, just like Ramones and 80s bad religion. And he's just going through it. It's like he's the fucking locomotive of this song, which also ties in with Pete so many times, how you've said how Paul and Johnny are like a unit unlike any other, cause it's usually drumsand the bass player, you know? [40:02] But these guys have such an interesting compositional makeup within each other, you know? This song to me, like, it kind of personified their abilities And, you know, they're I don't know, just this this song is killer. I just loved it. I listened to it so many times, so many times. It's just killer. Good one. Good song. Yeah. Thanks. Thank you, Don Smith. I mean, you you nailed it with these guys not being rhythm and lead or lead and rhythm. You nailed it with these guys being guitarists. So just let it ride. [40:39] Well, I thought this song it fucking cooked. I mean, I don't have much to say about it, other than the fact that, um, I, you know, to your point, Tim, to add on to it, I think it was more than just Paul and Johnny, I think, Paul, Johnny,Gord, and Rob Baker, are all like, on stage in a fucking musical orgy. And strangely enough, I feel like Gord is in background of the song. He's not a I mean he's there but I wouldn't call him the star of the show for this song. That fucking band like just stepped in front. Gord's like you know in the back like, you know, Maybe changing Johnny's fucking crash cymbal because he broke it so many times duringthe song. He's there and it's good and not trying to take away from Gord's vocals, but the band just fucking destroys this song. You could tell they were having a blast when they recorded it. Hands down. They just take over, you know? Yeah. So yeah, good song. [41:56] One of the YouTube videos on this, I just went back to it. They're called the Saskadelphia Minutes. And there's like five or six episodes, but not all of them are posted. But there is a one minute, they're all short, there is a one minute version of our video for this song just as well. And it's got some fun live footage of the guys. is one thing I think Baker was talking about in a video is how a lot of these songs they did play live and he didn't really have many answersor questions about like why didn't they make it or where did they go or what happened you know he was just like we had a lot of songs and he one cool takeaway of these songs inparticular and just as well was that they didn't rehearse much He spoke at length about how they didn't rehearse much and they road-tested new songs. He said often they'd come out and whatever new song they were working on, they'd play first. Like that was their warm-up, was road-testing a song. And like bands don't do that. Like nobody does that. You know what I mean? It's like you play first base for whatever. [43:16] And coach is like, hey, you're going out, move to left field. And it's like, OK, I'll play left field. I think I can do this. And it's just gnarly what these guys were capable of. It's pretty awesome. And just to back up to our last pod, it's about the absolute opposite of what Mr. Bob Rock these guys do one. You know? It really is. It's like if they could go out and road test a song, first show, the first song of the night. Yeah. Phew. you, Yeah, rather than work on something for a couple ofmonths. It's I think road testing was the way to go. That's the unique gift there to us as listeners and fans. You got to just see your favorite band jam. [44:09] And sometimes they'd come up with something, and you're just like, wow, what is that? I got to hear that. Like my friend with Montreal. Yeah. You know? And then when. Yeah. Yeah, Baker said, you know, we played 200 plus shows a year. We knew each other. We know each other. We're all best friends. We could do it. We could just sit down and figure something out. And if we liked it, we'd go do it. Goddamn. What a gift those guys had. So you merged into Just As Well there, Tim. We were talking about Crack My Spine Like a Whip, and you've brought it into Just as Well, so should we stick with Just as Well for Pete? Or do you have more to say about Just as Well? [44:55] I mean only about picking scabs. All right. Yeah. Because that's the line in Just as Well. For the love of Pete. It's going to keep getting infected. It's going to keep getting infected if you keep picking at it. Oh, Pete, they knew. Yeah, right, right. Sure they did. I love the ready Bruce right at the beginning. That was fun. [45:23] Hmm. This was one I genuinely was like, what the fuck? Why is why was this not on the record? Oh, wow. This was. Hmm. Hundred percent. Hundo. This was probably my favorite tune on the record. Got a lot of Stones vibes. Yeah. I mean, super big. Everything from the guitar tone to just the song itself, just rolling stones. Yeah. And I don't know, man, the more it ebbs and flows because, excuse me, the longer I listen to this band, the more I just understand each and every member, because specifically thissong, Gord Sinclair's bass stands out so much because it follows, I think, Rob Baker's guitar licks. And it just, yeah, what a talented fucking band, man. At this stage in the game they were. [46:31] You know, yeah, what do you, I mean, what a fucking jam. What do you want me to say about the song just cooks dude you know the hook turn around it's just it's so good it's a pop tune, rock pop tune fucking formulaic yeah it is a good one it is agood formula right like it's like original coca-cola it's like it's a formula but it's it works it's it's yeah but there's a lot there's a lot of coke out there there's a lot of soda there's rc there's youknow there's shasta There's that store-bought shit, but this is original fucking recipe, man. This is, maybe even a little savour original. [47:13] Listen to that rolling R's. You like that? Yeah. So, the next one is... [50:44] I just thought, let's go get in the car and go for a drive, you know. It's just reminded me of like my teenage years as a Catholic youth and having a driver's license. I literally had a time in my life and it was like with that summer where I was to go to church and I would just pick up my buddy Dave and we'd drive around for an hour and smokecigarettes and go back home. How was church? It was great. That's what this reminded me of. [51:13] But again, it made me think about the band and the various aspects of rock and roll they could go after, which, you know, we have in our time, you know, we had The Stones whocould do that. We had Zeppelin who could do that. Maybe Queen. Definitely The Beatles. You know, there aren't many bands who can go after kind of different aspects of rock and roll and do it really well and still remain respected and still keep, you know, selling out stadiumsacross Canada or whatever. But this song, it's huge. It hits the two-minute mark and it felt like it could kind of be done or not, and it just keeps going and that's awesome, you know. [51:53] Yeah, I just, it's got like a 15-second fade out. That works for you, doesn't it? And it's cool. Oh my God. I mean, this is this is a killer song. It's the live versions of this song are amazing. This song live is yeah, that's what I'm saying to you. It's alive. It's it's a cooker. It's out there live. I don't know, man. I mean, yeah, I mean, I'm sure I have no doubt that the song cooks live, but you cannot debate that the song does not cook on the fucking studioversion. Because Because it's, it's, I mean, dude, it, it's, this song, if it was like, it's a, it's another bar brawl. Yes. Yeah. Yeah. I mean, everything is so filthy, dirty, the guitars, gourds, gourds, who's, you know, Cheers. [52:46] There used to be this bar, nobody knows where this town is, it's in Cedar County, Missouri, near Stockton, it's about 70 miles from, Jesus, where would you fly, what's the gamblingtown where they got the riverboat? It's a shithole town, apologies if you're from there. Oh, God, Branson, it's about 75 miles from Branson, yeah. [53:16] And Cedar County, a town called Jericho Springs, I can't remember the name of it, but everybody called it the Purple Unicorn, because there was a purple unicorn out front. And this was a bar where like you would, 90% of the jukebox would be Merle Haggard and Waylon Jennings, and Willie Nelson, and that's it. Nothing else. You wouldn't you would not find anything else on there. And this band would like maybe, you know, be staying in town and play a show there. And it would just the place would erupt in a ballroom, ballroom brawl, cops, which cop cars blackand whites all over. Fucking people getting fucking taken out of their Bottles getting broken over people's fucking heads. Then them just fucking smoking a cigarette. The only way I would want to hear this song live would be with at least a fifth of Jim Beam in me or some shitty whiskey. Not even Jack Daniels, just some shit whiskey. I do like this song. [54:27] It's a barroom brawler too. That's awesome. Yeah. And that's how the record ends. That's, you know, as far as we know, that's all the hip we're gonna get. And that puts us in a position to pick our last song for our playlists. You guys each get to pick a song and it'll be the last song in your playlist and you'll debut your playlists at the last episode. So in the proper order that they belong in and everybody will get to see your playlists. What are you choosing? Well, I know I said before that Just As Well was probably my favorite tune, but then I'm taking that back because I just painted that picture in my head so well. I would say Reformed Baptist Blues, man. Oh, wow. That's gonna be it. Yeah, 100%, dude. That song is fuckin'. [55:32] You know like where they get the guy and they throw the guy on the bar and they fucking they shovel him down the bar and he slides and he breaks a bunch of glasses and his headgoes into the jukebox like that's this song and the band's still playing they're still finishing the song because if they stop playing they don't get paid exactly exactly Cool cues gettingbroken over people's fucking heads. What about you Tim? What's your track? I love that song. Yeah, I love that song as well, but I'm going with Crack My Spine. I love the guitar. Yeah, I love the guitars in that one. They're rhythmical like a whip. That song did it for me. Well, your lists are now complete. I will send them to you so you guys can sequence them and maybe you do that on the plane ride over. Who knows? You'll listen to it to see if it works. [56:31] But that's what I've got for you. I want to thank you as always for doing all the heavy fucking lifting and listening to the music, having to describe it, answering my stupid assquestions, all that shit. Guys are fucking gold to me and I can't wait to see you next week and uh, and share you with the world so there's that peace out guys peace out see you in canada pick up your thanks Itwas... It was... You stepped on my fucking line. Fuuuck you Tim how could you? Pick up your shit! Support this podcast at — https://redcircle.com/gettinghiptothehip/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Don Smith is the Vice President of Threat Research at Secureworks. In this episode, he joins host Steve Morgan to discuss CISOs and the boardroom, including what organizations need to know. Secureworks is a leader in cybersecurity providing best-in-class solutions and threat intelligence that reduces risk, optimizes IT and security investments, and fills security team talent gaps. To learn more about our sponsor, visit https://secureworks.com

jD, Pete, and Tim welcome Paul Langlois to the show to talk about his new record Guess What.TracksWill to FightDesperation Calling638 MainGuess WhatTranscriptTrack 1:[0:03] Well, I would see him working away in Timothee's from time to time, like I would walk past Timothee's and there would be Gord Downie sitting there on a laptop and, you know,my reaction as a super fan is like, I got to go in and say hi. And then, and then as the same super fan, I'm like, what if he's writing? Well, what if he's writing the next fucking great song? And I'm the asshole who interrupts that, right? Track 6:[0:28] Well, he would have been writing something, but he kind of put the songs together after. Track 1:[0:35] Oh, gotcha. Okay. Okay, gotcha. Track 6:[0:38] So, how is my signal? Because I can hotspot. It could be better. Track 1:[0:41] No, this is good. You're coming through great. Track 4:[0:43] It's great. Track 5:[0:44] Okay. Track 1:[0:44] It looks like a nice day. Are you outside? Track 6:[0:47] I'm outside. Track 1:[0:49] That's great. Track 6:[0:49] These are my little sister's paintings. Yeah, I sort of had a thing built where I can live outside and just be Oh, man Shelter shelter up there, you know, yeah So I spend a lot of time outhere. So I'm in downtown Kingston ish like about five blocks from the center of downtown and Cool. Yeah, so I like it here. We've been here like five years ever since the kids left Nice, nice. Track 5:[1:23] Just the two you have? Sorry. Track 6:[1:26] Two girls, yeah. And they're both kind of making their way in Toronto, 27 and 23, and in their separate career paths. Track 5:[1:34] Okay. Track 6:[1:36] So they're kind of, you know. Fairly entry-level and where they're working, but Sure. All right, and we just thought we Give them a break and they pay us far less rent than they would have to pay. Track 5:[1:49] Yeah. Track 6:[1:49] No, that's good I said and we've actually used the place because I have to be in Toronto More than I ever thought I thought I was retired and now I have to be in Toronto all the timeand So we stay there every time Cool. Ah. Toronto hotels these days, you're saving 600 bucks every time. Track 1:[2:07] Toronto hotels are insane right now. They're totally insane. So the premise of this podcast was, I found these two friends of mine that are from different parts of the world, but they both grew up in Southern California, and they had not heard ofThe Hip. So this is getting hip to The Hip, where we're taking them from not having heard them, and We go through the discography and sort of get their reactions as to what they're hearing. Because you know, you guys are a cultural phenomenon and it's strange sometimes when you meet people who aren't aware of this thing that is like 11 million people watched the lastconcert. You know, that's staggering when people don't know. Track 6:[2:51] I've got to say, great concept for a podcast. I did notice the title and I didn't really catch, like I didn't really know what it meant. Yeah, I love it. I love it. Track 5:[3:03] We're of the we're of the same generation pretty much here And you know Pete and I grew up with Southern, California radio you know, that's what got us into music and You know80s 90s. Track 4:[3:15] Yeah the radio. Track 5:[3:16] Yeah, I was making mixtapes off the radio and Middle school and yeah, you know, we didn't we didn't have the the hit playing on 91x in San Diego No, not a lot of radio play inCalifornia. Track 6:[3:28] There's a San Francisco station, uh, K-Fog? I forget the name of it. That's not K-Fog. There was a San Francisco station that played us, which is why we were able to, you know, eventually play the film or, you know, a couple,couple of days in a row kind of thing and sell that out. But that, I think it's K-Fog, something like that. Track 1:[3:50] It sounds very San Francisco. Yeah. There you go, actually. Track 6:[3:55] Our radio play was random. Dallas, we got played in the early days, and Chicago, we got played. So all the non-border towns, like, you know, Buffalo, they have Canadian radio. So we're always, we ended up in arenas there. Seattle, not as much, but then it was just random. You know, we'd get play in some American cities and no play whatsoever in others. So it takes so much longer by word of mouth than it does if you've got a song on the radio. Track 4:[4:29] Sure, you know, so so so Paul, this is something that I are you guys recording, by the way? Track 1:[4:35] Sorry, recording? Yeah, it's right. Track 6:[4:37] Yeah, I just wanted to make sure you're not losing all the all the goal. Track 5:[4:42] Okay, so we pretty much hit go and do no, no. Track 4:[4:45] Um, because we're talking about this too. And this has come up a number of times on the podcast, right? And obviously, you just were talking about some radio stations, you got random and play in certain cities, this and that. And Tim and I grew up at a time prior to streaming. We saw that switch. So essentially, whatever we were listening to, unless you were in some like super niche underground group with the cool kids and shit, you were listening to what wasbeing played on the three main stations, right? And we saw all the takeover with Clear Channel. We saw all that shit happen. Yeah, us too. The thing that I noticed, and I'm not trying to blow smoke up your ass here, Paul, but I'm going to maybe do a little bit, so clench if you got to. [5:39] I thought about a lot over the nine months we've been recording this podcast, is that good music is good music, and there's probably so much shit that falls through the cracks. Here you got Tim and I, who never heard of the hit before. We both have a lot of similar bands in common that we like, but J.D. Put us on this mainline IV drip of the Tragically Hip since we started this, and at first it was a slow burn, but But now it's like, I cannot imagine my life without your guys' band. And again, I'm sorry to blow smoke at you. No, that's not. I'm not trying to do that. No, I love it. I love it. But it's just like, good music is good music. And I had a deep dive into Guess What too, and we'll talk about that, I'm sure. Yeah, just it's if you're not exposed to it, man, then you're not exposed to it. Track 6:[6:43] You know, I really appreciate that like it's it's like and And the slow burn part as well. Like I think It was a slow burn for many people just because I Don't think it was that obvious like, you know, the early days were kind of like Oh, it's kind of like more a barroom bumpkind of you know know, um, really kind of not boring, but, you know, simple. [7:15] And so, but I know that when we were writing and recording, When we were writing and recording, we meant to do that. For these songs, the songs that we chose for each record, we believe that they would stand the test of time, that you'd probably have to listen to it four, five, six times before you start to,before it starts to grow on you, as you said, slow burn. And I think that's better. I mean, there are certainly songs I love that immediately it's kind of like, wow, okay, that's a hit. But a lot of times there's, even back then, you know, in the 80s and 90s, sometimes it's kind of spoon-fed stuff. I mean, it smells like Team Spirit right away. I loved it. That's not spoon-fed. We're just doing this thing. They're doing their thing. But there's many more examples of where it's more spoon-fed, where it lasts about nine or 10 listens, and then it's like, okay, I've had enough of this. Track 4:[8:18] Moving on, when I do when I when I press play on in violet light, I remember and I told JD and Tim this I was like, dude, I'm not I this is not gonna work. This is gonna be a shittytwo weeks. We're listening. And then like it ends up like, I just it just starts. It's like a cicada man. It just burrowed its way into my head. And then, like, at some point a week and a half into it, I'm rolling down the highway here in Spain, just like fucking windows down just like what? Where have you been all my life? Track 6:[8:50] That starts with Use It Up, right? Oh yeah, Use It Up. Track 1:[8:54] Oh yeah, yeah. Track 4:[8:56] Oh dude, Use It Up. Oh fuck. Track 1:[8:57] That was the song he picked. Yeah. Because every album I make them pick a song and Use It Up was for that record. Track 6:[9:05] It's so funny because I didn't like that song at first. I was like... You didn't? Yeah. Now what? We're reaching here, it's no good. And then it grew on me as we were sort of all learning our parts and playing it together. It was like, oh, I get it now. Use it up. Yeah, this is the best thingfor later. But at first, I was just like, this is going to be a horrible record. Track 4:[9:31] Oh, dear. Track 5:[9:32] Well, I even said to my kid, I have a 21-year-old, I have 21 and 18-year-old sons, and my 21-year-old plays drums and an amazing drummer and he's getting into other stuff too. But I played him some of the, you know, I don't remember which album, but he looked at me and he's like, are you sure you can do this? What is this band? And the guy, does he sing weird? What are you doing? And I'm like, I hope so, bro. Let's see what happens. But no, since then, I've played in bits here and there. And my whole family, of course, has been subject to the hip. Yeah, same here. And they're now recognizing the hip when they come on. I haven't forced them to sit down and hear an album, but that'll happen eventually, I'm sure. But yeah, the slow burn has been awesome. And for you guys to accomplish that, I mean, you were in high school, right? When you... Shortly after high school? Track 6:[10:34] Just after, yep. So there's a university here, Queen's, so three of the guys were at Queen's. Johnny was still in high school, drummer. Okay, that's right. He was in grade 13, which they don't have grade 13 anymore, but... Yeah, so it was kind of Yeah, a long long time Yeah, I mean for that to happen. Track 5:[10:55] It's like you know I have a My brother-in-law told me at one point like what are you gonna? Do bro? You know you're 19 You're not doing anything is like I'm gonna be a pro skateboarder And I'm like dude you got a one and what 40 million shot to be a pro skater Yeah, come on.I mean, but you guys you guys were young and you kept at it, and you didn't go after careers I don't think I mean, I'm sure some of you held like part-time jobs or something But you guysjust kept going at it. Track 6:[11:24] We all had parents that were kind of like very supportive but at the same time everyone was in University and You know, what's the backup plan my dad said all the time and I'mlike no backup plan dad These guys because I joined a bit later like a year and a half in they were covered in And I love them and Gord Downer is my best friend and he asked me to joinbasically because I was Leaving. I mean I didn't think of it as a threat, but he thought it was a threat that I was just gonna go down Try my luck as a songwriter and He was like he didn't like that at all. And so that's the other And when I joined, my dad was like, yeah, but, um, you're going to go back to school and you'll have a backup plan. I'm like, I don't need one. Track 1:[12:20] And so I'm just going to ask you what's the moment, what the moment was where you knew you didn't need a backup plan. You knew that early on, like that it was like you guyshad lightning in a bottle. Track 6:[12:31] I knew when I joined, I went to all their gigs and, um, but whenever I could, like I I was driving cab, but Gord would always have me on the list. And they were just like small in-town gigs, either at the university or at a biker bar or whatever, a few bars that they were playing. And... I knew, like, and it wasn't just Gork. I knew that Robbie and Johnny and Sinclair, like, that they were just doing something different. Now, mostly they were playing covers, but they had songs that never made it even to our first baby record. Great songs, Heart Attack Love and Baby Blue Blood and, you know, all these songs were Reformed Baptist Blues, which was on Thaskadelphia, but surprising. [13:21] But it was just like, God, they know how to write songs. Gord is unbelievable. Nothing like the friend I had. Like as soon as he got up on stage, it was just kind of like, wow. And so I just felt like, you know, they have it. And word of mouth already just in Kingston. You know, they say you can't, if you're in a band and you can't draw a crowd in your hometown, then chances aren't great. [13:53] But if you can, you can take that. And so we just would just gradually take it to the next town over, Belleville or, you know, Brockville, then Cornwall and, you know, Oshawa, justsort of like just took it up and down the 401, which is a highway around here. And just, we relied on word of mouth. And then we started booking things that way. Let's do three nights. So we'll play Thursday, Friday, Saturday, and by Saturday we'll have it full because everyone's gonna be going home saying, okay, the singer's crazy and the band isheavy and tight. And so we built it up that way. I'm not sure if you could do it these days. I mean, there's still venues. So I think you actually could still do it our way. It was the only way we knew how to do it, but we always felt like, we were always like. We all had a couple of hundred bucks in general, you know, so it wasn't like, um, we were, we weren't, uh, not making money, you know, we were able to, and our parents weresupportive, you know, Gord's parents got us a van and et cetera. It just kind of, um, we knew very early on that we could just keep doing it. Let's just keep doing it until it goes south. And it never did. Track 1:[15:10] I guess not. Track 4:[15:11] Holy shit. Track 1:[15:11] Amazing. Track 4:[15:13] It's an understatement. Track 1:[15:14] Yeah. Track 4:[15:17] So I want to, I don't know if it's cool fellas, but I want to dig into the to guess what a little bit. Track 1:[15:23] Yeah, let's do it. Yeah, yeah, yeah. Track 4:[15:27] So first off, you guys recorded the bathhouse. Yeah, we talked to we talked to Gord. What was it like three months ago? We talked to Gord. Track 1:[15:35] Oh, yeah. Yeah. Track 5:[15:37] Let's go. Yeah. Track 1:[15:39] When his record dropped, he came on. Track 6:[15:41] Pardon me? Track 1:[15:41] When his record dropped, he came on. Track 6:[15:44] I really love that record. I've told him many times. He's so funny. You know, he's just like... He's such a sweet dude. Yeah, he is. And he's, you know, we complain mutually about having to be the singer and, you know, and just all the complications. But I love his record. I've told him all the time. It's just like, it's classic him. just such variety. But we're not talking about his record, I guess. Sorry. Track 4:[16:15] No, no. No, he kind of said some of the same stuff, but your vocals on, I love the vocals on it. And then I was kind of reading about what you did with the, in terms of choosing the band and what's his name? His name is, oh, Billy Anglin. That dude is a, he's a freak on the drums, man. Track 6:[16:45] Desperation calling oh yeah yeah when he does that yeah like what the hell is that he's a giant in real life I don't know if you knew that's crazy he's like I don't know I think he's sixfive Oh he's easily 250 must be I don't know how much away but well hey he's a giant and he was a kid that we heard about Johnny mentioned him to me. I remember back when we first started, Johnny was like, there's a kid over at Elsie, which was another high school. We were at Casey and they were at Elsie and there's a kid, Billy Anglin, and he's like five years younger than us. He's like, they had the same drum teacher and he's like, that kid's really good. And he played into his 20s and then he started a construction company and hadn't played for 20 some years. And another The other guy in the band, Joe Carscallon, is kind of like a family friend of his. And he was like, you know, Bill Anglin would do it if he asked and I'm like, seriously? And anyway, he is great. We just played a show just out of town. There's a little quaint little town, Guananacue. I'm not sure if you've been there, JD, but it's a beautiful little summer town, Thousand Islands. Track 1:[18:00] Okay. Track 6:[18:01] And we played a gig on Saturday night. And I was just like, for some reason, I was just kind of really focused on Bill and the stuff he was doing. I'm very lucky. And the same with everyone else in the band, of course. Oh yeah. He just hits them so hard and he's so big. And he has a huge drum kit too, like huge. Where it's like, oh my God. We pull into a little club a couple of weeks ago just to have a warmup show. Track 4:[18:32] And the club owner's like, You know, the drums basically took up the whole, it's like, is this a Russian, is this a Russian cover band? Is Neil Curtin? Yeah. Track 6:[18:43] Anyway, I'm going to tell Bill you mentioned him because he's amazing. Track 1:[18:49] The big toms at the beginning of Will to Fight as well. Track 6:[18:52] Right. That's what I thought. That's what I thought Pete was going to say. Track 1:[18:55] Those big toms right off the start, it's like, oh fuck, this song has a bone to pick with me. It's like, it's challenging me right now, this song, it's. Track 6:[19:09] We've been opening with that one. Oh yeah. And Bill loves it, you know, he's had a setlist. Track 5:[19:14] Cool. Track 6:[19:16] Oriented and I always put Will to fight first and he's quite happy with it, he loves starting. Like he is not short on confident. For a guy who hasn't played, he's played on his own but who hasn't played with anybody for 20 years, It's pretty amazing. Track 4:[19:31] That's crazy, man. You know, you, well, it's because we're talking about drums. This is something that's that came that came up a couple times in the podcast. I don't know what record it was that we're talking about. But I had mentioned and I said it and I said it exactly like this. I was like, Paul Langlois is a fucking drummer. Track 1:[19:52] Yes. Yeah. I remember you remember that? Track 4:[19:55] Yeah. And and I said that because I don't remember what song and what record it really hit me like a Like a freight train, man. Track 1:[20:02] It was in between evolution is what you said it. Was it? Track 4:[20:06] Was it in between evolution? Track 1:[20:07] Yeah. Track 4:[20:07] Yeah. Just your, the tone of that, bless Paul, and just the chunk, chunk, chunk that was, I can't remember the song that it was on where it hit me and I was like, dude, I don't knowwho's drumming here. Is it Paul or is it Johnny? Because I'm getting, because I've done that. I've done that thing where you listen to each member of a band individually. Like, I don't know if you've ever done that, like next time you, next time you want to have a good time listening to your, if you like Rush, I mean, I like Rush. Who doesn't? Track 6:[20:40] I love Rush. I love Rush. Track 4:[20:42] Take it, take a Rush tune or watch maybe a live, live recording and focus on one. Watch it three times and focus on one musician each time. And you'll just see something new every time. Track 6:[20:54] I love that idea. Yeah. I love that idea. And thanks for that. On my first solo record, because I always thought... I got a drum kit when I was 30 as a birthday present, and it was Johnny's kit. Well, he set it up. And so my wife got it for me, Joanne. And then, so I was just drumming secretly in the basement, just because I always wanted to try it. And so my very first record, Fix His Head, which was like, I don't know, 15 years ago or something. Track 1:[21:27] 2010, yeah. Track 6:[21:30] Yeah, so 13 years ago and... I was just on my own. It was just me. And really, I was in there, in our studio, just with the engineer. Like, it's quite awkward, really. Because it's just the two of us, you know? I'm like, Aaron, you go outside or go do what you're going to do. Just give me the song on a loop. And I'm just going to play the song. And if I get a good one, I'll run into into the control room and push the space bar and stop it. And so that's how I drummed, really, because I just didn't like him kind of just being bored in there, probably on his phone. Yeah. Track 5:[22:10] Hovering. Track 6:[22:11] So anyway, I did all the drumming on Fix His Head. And it's not stellar drumming, but I was happy enough with it that it passed. I mean, it would have been way, if Johnny or Billy Anglin was playing, obviously, it would have been way, way better. But I wanted it to be a private record. I didn't really want to put it out. Track 1:[22:33] That's crazy. That's so crazy. But it's interesting you say that. I have a question for you that's been bothering me since your new record came out. Your new record is called Guess What, and it's the Paul Langlois band. But I go back into my old records that I have. I have them in Apple, so they're digital. And they say, like, fix this head, says Paul Langelois band now on it. But wasn't it just Paul Langelois before? Track 6:[23:02] Yes. Track 1:[23:03] Oh, so I'm not going crazy. Track 6:[23:06] Yeah, no, you're not crazy. You're not going crazy. I mean, it drives me a bit crazy, really, the thought. And Joanne hates, hates Paul Langlois Band, hates that there's no the. Oh, really? Track 1:[23:19] She's like, Jake. Track 6:[23:22] Yeah, the hips are my manager. My manager is also the hips manager, Jake Gould. He does a great job, but he was kind of, he was very in favor of just Paul Langlois Band. And I'mlike, okay, that's awkward, though. Wouldn't you say the Paul Langlois band? Track 1:[23:39] Yeah. Track 6:[23:40] Two guys in the band, Greg Ball especially, was like, no, Paul Langlois. Don't say Paul Langlois band, your first two records were Paul Langlois, so just Paul Langlois. And through the agents and all the people booking and stuff, it's like, well, the Paul Langlois band would probably be more appealing as an act to book, because I was trying to playfestivals this summer. And so I was like, okay. And then it's like, oh, by the way, we gotta go back. And it's all because of Spotify. Everything's because of Spotify these days. Track 1:[24:15] Oh, God. Track 6:[24:17] You gotta go back and call your first two records Paul Langlois banned because if someone searches, I don't understand it, but the algorithm, whatever it is, if someone searches,guess what, Paul Langlois banned, my first two records aren't gonna come up. And so that convinced me. I'm like, I want my first workers to come up. Track 5:[24:36] It happens. Track 4:[24:37] But that's the same thing with Malcolmus and the Jicks. Do you guys, I don't know if you guys know that. He has the same, that's a weird thing on Spotify. They want it to come up. They wanted to come up the other records so everybody can access all the music. And I get it because you also want people to listen to your, you know, your other records. But it's also like that. Track 6:[24:59] Yeah, I would like that. But I get it. But I hate it. You know, it's, it's, it's silly. It's silly. Track 4:[25:04] Me too. Track 6:[25:05] Paul Langlois would come up. Just if I call this the Paul Langlois band, which is- Change the algorithm, man. Track 4:[25:13] Change the search bar. Like make them both come up. Track 1:[25:16] Jesus Christ. Track 5:[25:18] That's funny you mention that Paul, at one point during our discography review of you guys I said, yeah, I love this whole process but the hip has totally fucked up my algorithm inSpotify. Like every time I play something now it's like something associated with the hip. It's like all these other bands but I have discovered some other bands. Track 1:[25:39] We were talking one day, Tim and I were talking, I was out for a walk and he's like, you're going to get a kick out of this, Paul, cause he's like, who is April wine? Oh, really? And I was like, April wine is like a seminal Canadian. Track 5:[25:52] Absolutely. Many, many hits. Track 6:[25:53] Big band. Good hits. Good. Yeah. Track 5:[25:59] Yeah, they're, they're fucking cool. Like I would, that was a fun surprise for me. That was, you know, thanks to the algorithm. So, but that, but that was, that was one of those things, you know, So 10 years, 10 years between Not Guilty and Guess What? Track 1:[26:18] Yeah. Not Guilty was 2013. Obviously that was a fucking giant 10 years in your life. What changed singer-songwriter wise? What did you take from that 10 years of experience and put onto this record? Is there anything you can lay down for us? Track 6:[26:47] You know, I think I got the… Lyrics are my toughest. That's the toughest. It's like finishing the bathrooms, you run out of money. And so, oh yeah, let's go for the vinyl shower. And so that's what I would do with lyrics. I'd kind of almost get, I get somewhere, but then I just stop and I didn't know where to go. So I think time passing more than anything. Gord, Gord passing. Track 1:[27:18] Yeah, yeah, of course. Track 6:[27:19] Time passing, the way the tour was so special, such an achievement on all our parts, but especially for Gord. Of course. The achievement on his part was unbelievable. It was unbelievable to watch, like from the inside, just how hard he worked and how driven he was. Was, like he didn't stop. And so I think that kind of affected, that helped me just with lyrics. Time passing, the girls moving out, my daughters, you know. And you know, now it's like in my 50s. And it's kind of like, I think that sort of just came through in the songs, Will to Fight, you know, just anything, just kind of like. So there was that. I didn't think I would ever, like I just was not interested in songwriting until I got offered a gig. And it was a few months away. And Joanne said, well, you've got to do it. And I'm like, well, I've got to put a band together. I'm not fucking into that. Who would I get? [28:34] Anyway, so then I thought of they're all buddies, Kingston buddies, and musicians, but they all have other jobs. And, um... Yeah, and then we started rehearsing and playing and and It was fun and so I decided I had a couple of songs Okay, maybe I'll finish those and we'll have a couple of You know new recordsongs. I was just playing my first two records kind of thing and then that was the end of August last year and and I booked the studio for November 7th, I think or 8th and And so then I had adeadline, so in September and October, I just kept throwing songs at them and I kept writing. And so it was the first time I'd written anything in 10 years. Like I just, I hadn't written anything. And then it was like, oh, wow, this is fun. These guys are good. And so the whole record is live. I mean, I play guitar and at the same time, I didn't do anything except one scratchy vocal. I redid one vocal, but we're playing live and there were very little fixes and very little overdub. Joe overdubbed a couple of solos. [29:54] So it was just kind of exactly how I wanted it to be and it was very reminiscent of how the hit recorded. You know, we like to not make mistakes, go into the control room and be like, yeah, this is a one. Of course, we'd leave it mostly up to Johnny, because the drums have to be right. He would always pick the ones that we wanted, without even talking about it. Okay, we like take number three. That was a very similar process to recording in the hip or in the bathhouse, so it was all very inspiring. So I'm a new person, honestly. I really thought I was done. Gord died, I just thought, well, we had a good run. It's sad. Yeah. But it was like 32 naturally years actively together. It's been longer now, but you know, all of us together playing and it wasn't like a five-year run, you know? And so I just thought, okay, that's good. But you know, yeah, we did it. And I'm just going to move on and come up with other things. Track 4:[31:07] I just didn't come up with anything else. No, but 638 Main says, like, I got a window into the song where you were at with this record and what kind of the question that JD asked. Like that I was like, okay, I see kind of where Paul's Brain was at with this record and like that's fucking cool, man. I'm so happy for you, dude I don't know. I had the same shit too before we recorded like before I Jumped in with this band that I'm in man. I was just kind of like, all right, I'm done playing music and then you fall in and then you get a band together and then you're like Like, oh, this is fucking, this is fun, man. This is rightwhere it should be. Track 6:[31:52] Yeah, you forget how fun it is. I did. And it's funny you mentioned 638 Maine. Not many people, but I have a couple of quirky friends that are like 638 Maine, man. I love that one. Whereas most of my friends, I'm sure they've never mentioned that song. I don't think it's necessarily a skipper, but it's an odd one. Track 4:[32:14] And basically- That's what's cool about it. Track 6:[32:17] Yeah, it's, you know, to me, it's cool, because I made it up on the spot. I didn't have anything written down. And I just pictured myself. Track 1:[32:26] What? Track 6:[32:26] Like I'm talking about what it's like to be in a studio. And we were in there eight days. And Greg and I, those guys were going, like there's a firefighter, construction, a factory shiftworker. Greg's a waiter, so he took the eight days off. And I don't have another job, so I did too. So Greg and I were out there the whole time. And a couple of nights, it was late. They were all latenights. And I was just sitting there, just like, oh, it'd be good if I could set myself in a bar to describe what it's like being in a studio. I didn't know if it was Monday or Tuesday. It was kind of like, you're lost in the music. You're lost in the recording. So I thought, and we only had nine songs, or nine that I liked. And so I was like, I want to try this one. And I just made it up. I just like set myself on fire. And then I'm kind of chasing the song. You know, it's all turning out like it should or whatever the words are. Track 4:[33:29] But it paints the picture, man. There was a hip song like that too. Do you remember, Tim, the apartment where Gord was describing the apartment? You know what I'm talking about? Track 1:[33:40] Apartment song. Track 4:[33:40] But that 638, man, it paints the picture, man. Track 6:[33:44] Oh, well, thanks. Thanks. Yeah. I was, I was very, uh, very happy with that. And Greg and Joe were asleep on the couch in the control room. So it was just, I just laid it down on acoustic and then, um, and saying it. And... And Bill and Matt, drums and bass, they played. And Joe and Greg were kind of pissed off because I missed it. So I allowed them to add a guitar and backup vocal. Track 4:[34:23] So anyway, I'm glad you mentioned that. It's cool, man. It's a deep cut. Deep cut. Yeah, we're going to Kingston. And for the finale we're doing is September 1st, but I think the day before or the day after we're going to Kingston. Yeah, August 31st. Track 1:[34:41] We're doing it. They're flying in August 30th. And uh, we're doing a road trip to Kingston. Track 6:[34:48] You're kidding. Track 1:[34:50] No. Oh, yeah, we're gonna do it. Yeah. I've got it right. Track 4:[34:54] Like I mean, yeah, I'm gonna be so dragon ass, man. Track 5:[34:59] It's all part of this process. Track 6:[35:00] That's what are you? Are you kind of Just doing it for fun. I'll meet up with you either way whether you're recording something or not That would be amazing to buy you a beer yeah, yeah, that would be absolutely amazing Yeah, we check the redhouse. Just get in touch with me. Track 4:[35:19] All right Let's do it, man. Let's do it. Track 5:[35:22] Let's do it Yeah, we're flying into town and we have an event at the rec room in Toronto on September 1st. So that's that's like our Our grand finale of the pod is we're meeting up and there's a tribute band, 50 Mission, playing at the Rec Room and we're doing this fundraiser for the DanielWinsor Fund. Track 6:[35:45] Oh cool. And so are you going to be, is it an event where you're not sort of talking together or are you guys going to get up and sing? Track 1:[35:54] We're going to record the final episode of the podcast at this event. Track 6:[35:58] Oh cool. Track 1:[35:59] So they'll finally reveal whether or not they're hip bands, which they've done a poor job concealing it. It's so funny at the beginning, they would be like, Pete would be like, oh, yeah, there's this lick that the rhythm guitarist plays. And you know, then later on, it's like, Paul Langlois, am I saying his name right? And then later on, it's just Paul. You know what I mean? Track 4:[36:21] I had no concept of your existence, man. I mean, I was like, what's this guy's, who's this guy's name? Now it's like, everything's off the tongue, man, but I, by the way, I gotta ask you, and I know they're for different things, but what do you prefer about it? Do you like your telly or do you like the Les Paul? What's the, what's the one that you're, that you, if you die with the guitar in your hands, the one you want in the hands? Track 6:[36:45] I mean, it would kind of, it would have to be to tell you, I'm playing the telly on the solo band shows. Okay. So, I've gone back to the telly. I don't regret playing a Les Paul. I started Les Paul day for night on. And that was a black one, Black Beauty. But then I switched to a Sunburst, which I love that guitar. That's my second favorite. That's my second favorite. But the Tele for sure. That was the first electric I bought, like officially bought to play in the band. And I'm using it now. And yeah, it would be the Tele for sure. Track 4:[37:28] I never played a telly ever until about six months ago when I visit my family in California. I walked into a guitar center and I went into the expensive room that you're not supposedto go in. I sat and there was nobody there. It was just a ghost town. I sat with a telly for like an hour and I was like, jeez, man. I got it because I always played a Strat. I got a Jazzmaster, and an SG, but I never, and I've never played, I mean, I played a Les Paul once, twice, but I never owned a Les Paul. That's thenext on the list. But a Tele was, I liked it. Track 6:[38:05] Yeah, well, see, it's funny, because I find a Strat the most different guitar, and because Robbie played it already, and he was like, he had 15 years of experience on me, because Ididn't start playing until I was 19, and he started playing, he was small. And he was playing a Strat. And so I was like, I mean, I started out playing acoustic and after a while I was like, fuck this, I can't fucking hear. And I had a big train ramp and it was just like, it was impossible to, I'd turn it up to, and I got electrocuted all the time because it was a old shit. Well, I finally said, I'm playing electrocute It's a lot of telly and because I figured that telly is kind of the opposite of a strat almost and I've never really ever tried to play a strat, like Ireally honestly never have. Les Paul's and Telly's I find are way more similar. The Strat to me is a different one. It's super cool, but it's just not my thing. Track 4:[39:13] I just like the pickups, man, like that Steve Miller tone, that Buddy Holly, those 57s and those 59s, those pickups are just so tinny and, you know. I don't know, I like that. Yeah, no, it's amazing. Track 5:[39:31] So, when we were just getting into Saskadelphia, right, and I'm listening to Crack My Spine the other day with my headphones on, you know, because I want to hear everything, andyour guitar on that was just like, it kind of just sounded like, it reminded me of the Ramones, like you were just kind of playing some power chords through there. It just reminded me of like 80s kind of punk rock, you know, and I just, I just loved that about it and it's been such an interesting thing hearing you guys playing guitar because, you know,most bands you got bass and drums kind of linked up as the backbone and you might have a lead guitarist but you might not or a rhythm guitarist but you guys were just like playing guitardoing your thing and it works and I think that's just such a cool rare thing about a band that you guys pulled off. And then it's been so fun to then go on and listen to your solo stuff and hear your evolution too, because we don't get this opportunity with bands very often in general. Like how many bands are still around or guys still around? Well, that's so cool to hear. Track 6:[40:43] You know, what I would credit that the most, or whom I would credit, is Don Smith, who produced Up to Here and Road Apples, because he handled us, he hard panned us, left andright, Robbie and I. So listen, I listen to ACDC, and sorry, but Malcolm Young isn't loud enough. Like, it's like the guitars are like this. Track 5:[41:12] It's true. Track 6:[41:14] So Don panned us. And so then every producer after that, and our guy, Mark Breakin, who actually helped us produce our only record we did without a producer was Trouble at theHen House. And Mark Breakin still mixes, you know, he mixed Saskatoon, he's been our sound man and our live sound man for the whole time. Although he did leave to bigger and better things for a good chunk of 15 years or so, but he's back with us and he pans them too. So he, so you can hear one in one ear, one in the other. I'm deaf in my right ear, So I have to listen to it twice just to. You know, hear what Robbie's doing, the odd time I'm interested. [42:03] But I credit Don because Don did that and he was super cool and we were so, he was unbelievable and we couldn't believe we were working with him. He'd done Traveling Wilburys and he did everything and he was Mr. Cool and he was just like, you guys just do your thing. And this is when we were young, impressionable, you know, we wanted to do our thing, but we figured, you know, people are going to tell us, you know, you should be a bit more countryand people did, you know, a bit more country, maybe or something. Don was just like, just do your thing. And he panned the guitars. So basically, he, he, I credit him with my job. Because people can hear me if they want, you know, if they're taking a closer listen, and like you guys do, it's kind of like all my parts are just naked on one side. At one point though, I made a list, and it's an ongoing list of songs where I'm in the right speaker if you're looking at it. I'm always on the left, and Robbie's always on the right. Except more and more, I'll check it, and I have like a list of about 12 songs where I'm on the right and Robbie's on the left. My producer decided to switch it. Track 1:[43:20] Oh, funny. Track 6:[43:23] Which is curious to me. Because when I put on headphones, so I can only hear out of this ear, 100% deaf in this one. Wow. I always put the left ear, because that's me. Oh, shit. Track 4:[43:37] And then you go. Track 6:[43:39] And then the odd hit song I'll run into, and it's kind of like, that's not me. That's Robbie. Track 4:[43:44] Who's this shitty guitar player? Track 6:[43:46] We didn't listen to each other at all, by the way, not at all. Track 4:[43:53] It's funny, dude. Paul, when you guys did Trouble, man, and that was a record, I think Tim and I, I don't know, I'm speaking for Tim here, but for me, that was the record where I was like, it finally openedfor me. And I got everything prior to that too, but that record was like, okay, this band doesn't give a shit about what anybody thinks, man. Just gonna do their own thing. And that's where I was like, you guys grew into this just animal that nobody knew existed. I don't know, man, that was a that was a break. That was the record that JD when JD flew to Malaga for primavera sound last year, he brought a vinyl and this is me still not knowinganything about you guys. And he brought me trouble at the house. And I was like, Yeah, I do you remember? Track 1:[44:48] Do you remember I mailed you trouble at the hen house on CD. And you're like, I don't have a CD player. I was like, who doesn't have a CD player? Track 4:[44:56] We moved here and I and then yeah, because we moved from the state. Anyway. Yeah, yeah. Track 6:[45:07] It's it's funny. Just to add something, because I thought of it earlier, very early on this chat, you were saying something, Pete, that I thought of, and I'm like, oh, fuck, I thought ofsomething good to say, and I forgot, but now I remember. So there was this band, there's this, I don't know that they're a band anymore, they're from Philly, and they're called Marah, M-A-R-A-H. [45:36] And they're a couple of brothers. And anyway, out of the blue, the day after our last show, the singer writes Robbie a letter. And he's like, and he describes, the letter makes me cry. me cry like it he describes his life and you know they got signed to, Maybe Steve Earle had a label, someone like that. Oh, nice. Nashville person. So they had some success, but they just ruined everything all the time. That was just their nature. You have brothers, and any time things started to go well,they would kind of blow it up. And then he described, he goes on to describe, he was out in the country on a TV at a cabin he doesn't use, but he happened to throw on the TV, and the CBC covered that show live, youknow, so it was live on the air, and he describes, you know, watching the show and what's about to happen, and what was my point? Well, there's this thing in the doc that Robbie quotes him, like, what's going to happen here? You know, are they gonna all bands either explode on the way up or on the way down everything? [47:01] Burn out nothing works out and What are you telling me? These guys are gonna pull the he compared it to a You know an air balloon, whatever they're called parachute No, like a balloon, you know, oh, yeah hot air balloon what they're all gonnapull it down and and land safely, like win rock and roll or something. It's just kind of like, anyway, it was just an amazing letter years ago. And I've always had the intention to kind of reach out to him and say, fuck your letter, man. Cause he, it's way more than that. Another thing he said is he would try, cause this is quite like this podcast that you're doing JD. He would, he learned not to play the hip to people, to his friends, to anyone, various girlfriends. He was like, I'd never do it. If he found a real hip fan, he said, like because they're touring, right, in New York or London or wherever, as soon as he realized it's a real hip fan, they'd be at the back of the bar. He'd take them to the back of the bar, and they'd have pints, and they'd talk about all things hip. [48:18] And anyway, so he said, if someone came over to my house, and I trusted them enough to play the hip, And they started talking over the music. That's it. Christmas lights off. Everyone's going home. [48:34] He's an amazing writer. Track 4:[48:38] It's so true. I said that to JD a couple of weeks ago when I was in California this last time in May. We were driving to Joshua Tree. And I fucking hate when people put on music and they're like, listen to this band. You're going to love this band. And it's like, you build it up, right? I didn't do that. I grabbed my buddy's phone, we're driving down, I don't know, 64 or whatever it is, down in Joshua Tree, 29 Palms, and I just grabbed his phone and I put on Trouble atthe Inn House. Yeah. And he's like, who the fuck is this? Track 6:[49:10] That's how to do it. Yeah. Track 4:[49:12] That's all I did. I played a couple tunes and he's like, who's this band? I was like, oh, it's... And then, you know, cause you don't set the expectations. Yeah. Track 6:[49:23] Yeah, no, exactly. That's how to do it. That's the downy way, actually. Did Gord and all his brothers. You surprise somebody. If you give people warning, it's not the same, you know? Yeah. It's just like, no, no. Track 1:[49:38] Expectations. Track 6:[49:39] Yeah, and when Gord was sick. Track 5:[49:41] It's true, it's true. Track 6:[49:42] His brother was looking after him mainly, and I was mainly there to help Pat. Someone would be, I wanna come over and see Gord, you know, because there was no tour in the future. Like, we all just thought this is it. And I was like, oh, this guy wants to come by. And Pat's like, well, just don't tell Gord about it. Tell them to come but we won't tell them about it. It'll just get surprised. That's how the Downies do it. It's like, oh we're here. Track 5:[50:10] That's cool. Track 1:[50:15] Paul, I know we said 45 minutes and we're over so I'm sorry for taking more of your time than we should have. No problem. Track 6:[50:20] I still got seven minutes before the next one. Track 1:[50:26] Oh wow, you're on junket mode, eh? Track 6:[50:28] Yeah, three today. Track 1:[50:32] Oh wow. Well, any chance we'll see you on the road in the fall? Or is it just take it as it comes? Track 6:[50:43] Take it as it comes, yeah. Sort of trying to stick to festivals, but obviously they start disappearing when the fall comes. So, unknown. So, I've got two more gigs in August and like one in Windsor-ish, Kingsville, and one in Bath, where our studio is, and those are both in August. Track 1:[51:08] It's been great talking to you. So great. Track 6:[51:10] Yeah, great talking to you guys. It's nice to meet you too, as well. Track 4:[51:13] Nice to meet you, Paul. Thanks for your time, man. Track 6:[51:17] Hey, we'll talk again. Track 5:[51:18] Yeah. Track 6:[51:18] Good luck with everything. Track 5:[51:19] For sure. Track 4:[51:20] Take care. Track 5:[51:20] Thanks. Track 6:[51:21] OK. See you guys. Track 5:[51:22] All right. Cheers! Support this podcast at — https://redcircle.com/gettinghiptothehip/exclusive-contentAdvertising Inquiries: 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Regional Industrial Development Corporation (RIDC) President and CEO Don Smith stops by TechVibe Radio this Sunday (7/16) to detail its commitment to transforming industrial spaces into thriving centers for innovation and sustainable development. Smith overviews RIDC's approach to how revitalizing large, unused properties benefits not only the companies that occupy them, but also the communities in which they are located. By bringing these spaces back to life in unique ways, RIDC promotes economic vitality and supports sustainable growth. RIDC boasts an impressive portfolio of properties designed specifically for tech companies and the innovation economy. Get updates on Mill 19 and the new Carrie Furnace project that broke ground earlier this year. Join us on TechVibe Radio to hear the story of how RIDC plays a vital role in supporting economic vitality in the Pittsburgh region.

Get ready for a deep dive into the Tragically Hip's iconic 1992 album Fully Completely with hosts JD, Pete, and Tim as we explore the evolution of the band's sound, the polished production, and how it aimed for mainstream success. Share in our personal listening experiences and how this album resonated with us in different ways, from car rides to gym sessions.Join our lively conversation as we analyze standout tracks and Gord Downie's lyrical brilliance, including the catchy chorus of "Courage for Hugh MacLennan" and the various definitions of courage presented throughout the song. Discover the numerous Canadian references sprinkled across the album that give it a distinct cultural flavour, as well as discussing the impact of these songs on a personal level.Whether you're a longtime fan of the Tragically Hip or just discovering their music, this engaging and insightful episode is a must-listen. Don't miss our in-depth discussion of Fully Completely, as we explore the band's attempt to make their sound more mainstream, the slick production of the album, and the car and computer time that really made this album come alive. Tune in now and become a part of our musical journey!Transcript0:00:01 - Speaker 1When I think back to the fall of 92, everything was coming up JD. I was dating a real-life girl who also liked the hip. I was elected class president with my friend Tim under the efficiently executed two is better than one campaign, and I got a new hip record. While I love student government, the main thing the election provided me was an office in the high school for the student council, which acted as my locker and my rehearsal space for jamming the new hip album with my buddies Kirby and Dean. There was rarely a day that passed that someone wouldn't stop by for a version of pigeon camera locked in the trunk of a car, or courage. It was great fun and an experience I'll definitely never forget. Fully completely is what I call the last record of the early era, where the hip sound is more or less matured and they're writing an embarrassing number of stone-cold classics. The idea that the production keeps getting tighter and more precise sounding is worth noting as well. Working with the late Chris Tegeritas, the boys locked in on the task at hand, even if it wasn't their favorite recording experience, and they delivered MCA, an album brimming with singles and sing-along courses. This was a band that knew its groove and walked with a comfortable stride inside of it. Simply put, fully, completely is a rock and roll record at its finest Bar none. I'm actually feeling really excited for Pete Tim on this one. Their first experience outside of this project would have likely involved listening to this record as some kind of jumping off point, but that's not how we chose to do this. This is one album and episode, one chance to make an impression. Will this record stand up to the scrutiny that our protagonist will most certainly have for anything this anticipated? Let's find out. On this episode of Getting Hip to the Hip. Long-sliced brewery presents Getting Hip to the Hip. Hey, it's Jay Dee here, and welcome to Getting Hip to the Hip, a weekly podcast about the tragically hip and getting to hear their music for the first time through the ears of my friends, pete and Tim, who are here with me as always Pete from Malaga, making his way to us via LA this week, and, of course, Tim from Portland. Being from Portland, as it were, i'm excited, frankly, from a logistics standpoint, that we only had to deal with two time zones this week. That makes my job a lot easier, but I'm curious how are you fuckers doing? 0:02:51 - Speaker 3Doing great, doing good. It's well. It's, you know, december in Portland and we have a freeze happening, so we're hunkered down. It's a good day to be podcasting. 0:03:03 - Speaker 1Sounds good. 0:03:05 - Speaker 4It's snowing there, i take it. 0:03:06 - Speaker 3Almost. 0:03:07 - Speaker 4Okay. 0:03:08 - Speaker 3Almost. 0:03:09 - Speaker 4I'm dragging ass, man. I woke up around quarter to four this morning. I've gotten about four hours of sleep in the last. I want to say 36 hours. Yeah, so the jet lags hit me hard. Nine hour time difference sucks, but it is what it is for the hip anything. 0:03:33 - Speaker 1Holiday travel, man Everything. 0:03:36 - Speaker 4Fully and completely for the hip. 0:03:38 - Speaker 1Well, that's what we're talking about today. We're talking about the October 6th 1992 release produced by Chris Sanjiris. It's a 46 minute long CD at this point because that's where still around but it was a CD. It included singles, six singles, and it was rated 4.5 out of 5 by all music. So that's a great score and there's some good background information there. But I'm curious if you want to just get right into it and tell me how you experience the album. 0:04:14 - Speaker 3I like the evolution. This really helped me with where the albums have gone thus far, just having fully, completely be be where it's at in our, in our process, definitely. 0:04:31 - Speaker 4I mean, i agree with Tim the evolution I love. I clearly see this going somewhere. It's strange. I think I don't want to put the car before the horse but you do it, don't? 0:04:44 - Speaker 1you put that car as a horse. 0:04:45 - Speaker 4No, but I feel like this record may be the dark horse If we're going to stick with the equestrian analogies in that of the four records was the fourth one. We've fourth one. Yeah, i feel like this is my least favorite, although I do have some great notes on it. But there's so many album songs, artists over the years I've disliked at first and they end up being my favorites Interesting. Oh. Yeah, i've talked with you about a few things like that before, jd, but yeah, i feel like this might be the one. This might be the one. So, we'll see. 0:05:28 - Speaker 3You know, conversely, for me this one, like right out the gate, was the winner of what we've listened to so far And I went into the mindset of okay 1992, what was happening in my life when I got a new album and it usually was going straight in the car, you know, straight from the record store in the car. So I just had this one mostly in the car all week. I listened to it at the gym a little bit, but it was mostly car time didn't take notes until recently on any of it and just kind of jammed out to it. There's, you know, as expected, there's definitely some I like more than others, but of course I was, i was digging it. 0:06:11 - Speaker 1This to me was the band really trying to go over the top in terms of landing mainstream appeal. To me, that's what this record is always This record is. This record is that sound that they've been working on the last two records, that that bar sound. You know that that really tight and nifty blues, bass guitar sound, and this is just a really well produced version of that really slick. It's a slick sounding album and they haven't sounded slick up until this point. So to me, i've always thought of it as a record that was was trying to shoot for them, shoot for the moon. So I'm real surprised to hear you know Pete's analysis off the bat. Did you listen to in your car? because I do know that you have a premium audio sound system. 0:07:10 - Speaker 4I mentioned that and you've experienced it. I did listen to in my car and there were, there were tracks that really stood out that I really did like I don't want to say I didn't like this record, but there were tracks that really stood out and, like I said, i'm really glad I didn't listen to it on the plane, because associating this record with you know, a 12-hour flight after you've been at the airport for seven hours because they delayed your flight, would have, just you know, i probably just wouldn't have shown up today. I would have just texted you guys and said you're on your own, you know. So yeah, but it's. I mean computer time and car time was what was, what did it for me, this one. 0:07:52 - Speaker 1Alright. Well, do we want to get into the songs? Let's do it Alright. The first song is called Courage for Hugh MacLennan. 0:07:58 - Speaker 4I am Okay, bring up notes. So obviously I'm. I'm doing research on Hugh MacLennan and who he was because I want to know what the history of that is. The chorus is just catchy as fuck. It is just it, just it, just I don't know. It feels like there's a change of tempo, but it's not. But the lyrics just make it so sweet. The squeaky backup vocals that you said were going to eventually make their way in there. It would be the staple of, i believe, the bass player. 0:08:38 - Speaker 1The rhythm guitarist, rhythm guitar player. Yeah, all along. 0:08:42 - Speaker 4Those are all over this record. And then, kind of looking at the lyrics, which I did a lot more lyrical analysis for this record than others His Gord's definition of courage as opposed to MacLennan's definition was something that I really haven't pieced together yet, but I dug it. I yeah, i'll talk about more because I think this record is thematic in that sense because there's just a lot of Canadian references. Obviously There are, oh a ton. What about you, tim? 0:09:16 - Speaker 3Yeah, I was excited right out of the gate. Playing this song in the car I thought, okay, song number one for this album. If you know I'm a fan, starting at the beginning of this band or just really even coming into this album. This first song is a great first track of an album. The tempo is good, you know it's, it's singable parts. you know it's just a good, simple rocking tune and just as far as. Yeah, i had no idea who Hugh McLennan is or was. You know that looked him up and definitely feel like I need to read at least one of his books. So probably get a suggestion from you, mr JD. But you know it's this song about consequences and facing the light or the dark. You know it's just, it's a great, a great kickoff for the album. I loved it. 0:10:13 - Speaker 1This to me has one of Gord Downey's absolute best turns of turns of phrase or lyrical works of art. You know, it's a feat of strength, almost what he does with the text of McLennan's work. It shouldn't be as effective as it is, but it is. It works so well and all he does is read the lyric into the melody. The lyrics are there's no simple explanation for anything important any of us do. And, yeah, the human tragedy consists in the necessity of living with the consequence under pressure, under pressure. But the way he phrases it and the way he the music in the background is building up, it's so powerful and so such a great bridge. And then, you're right, it goes up up against that banger of a chorus to outro the song. Really fucking strong, strong work. This is a karaoke staple of mine as well, so perfect, yeah you mentioned the phrasing. 0:11:22 - Speaker 4It's funny because I thought the same thing and I think I put in. It's ironic. I'm showing this. People can at home can't see it, but this is just sitting on a thing and I'm thinking about it because of amazing it's a copy of Life magazine with Sinatra on the front yeah, sorry, sinatra. So I think people like Sinatra, i definitely think other musicians from the 90s, but this puts him, this record put him lyrically in that category for great phrasing. Not many people. People can put lyrics to songs and it sounds cool and they can sing harmonies and melodies. But when you can phrase a song like you just said so well, it just makes the song so fucking cool, brings out the lyrics in the melody so much better yeah, i agree. 0:12:12 - Speaker 1so next up we go to a real interesting song. this is something that Gord would carry with him, especially in his later years, and that is like the crisis in Canada's north crisis with our Indigenous people, and this song takes a look at that. It's called Looking for a Place to Happen. 0:12:38 - Speaker 3I thought this one started off running, you know, felt really catchy, without knowing what the lyrics were or background or anything. It just starts off really well. But eventually I realized, okay, this is something about taking away or taking what's not yours. You know I hear guilt and sorrow in here. It's just full of emotion. So as I looked into it I realized what it was basically about It. Even I don't know it got me when I got to the end of the song I heard Gord kind of singing through the outro Like it doesn't it carries on into me. That resembled like something around the fact that the invasion just is continuing on. You know, the taking away is continuing on, the pain isn't going to end. You know this, this and I think he he harkens that so well in this song for what the content is It? just it kind of it kind of floored me. It felt like a lot. And you know their songs I'm experiencing over the course of this catalog is you know some of them? I feel like, oh, this must be fun in a bar. You know people buy. I love the song and some songs are like fuck me. You know this is heavy stuff that we all still need to deal with and think about and realize, and just such a, such an impactful band. 0:14:20 - Speaker 1Yeah, and as they got bigger, they, you know, they, they took that to heart. you know that they had that, they carried some clout and they used that, and you know to, to a really good degree. 0:14:33 - Speaker 3Well, even even some of their. You know, some of the lyrics and some of the storytelling is just very North American based. It's, you know, often very much Canada for sure, specifically. But it did, and also, you know, at times made me again think about what the fuck? why didn't they resonate more in the USA? because I identify with a ton of it. There's so much there, i think that crosses over. 0:14:58 - Speaker 1Yeah, borders. How did you feel about looking for a place to have a beat? 0:15:02 - Speaker 4It's funny because the the what I said before about this record being thematic and and very, very Canada, kind of picking up where Tim left off. In my research of the first song and my research of who Hugh MacLennan was, I remember his wife saying to him, because I think his first couple of books were like flops, like you need to write about what you know, write about Canada. And that book, the third book or whatever book, the his book that he finally wrote about Canada and what he knew, ended up being really, really successful. And I feel like the hip kind of played around with that. This first, their first few times out, their first two or three records, but this one is just all Canada And it's just it's Canada threw up on this record, And in a good way, Jacques Cartier is mentioned. Jacques Cartier is mentioned in there. So, yeah, i think it's. It's cool because for and Tim, maybe you can speak to this because as Americans, we get a, we get. We have this polite maple syrup, like I said, but LeBat blue version of who Canadians are and what Canada is free healthcare, marijuana, everything's great north of the border on the roof of the US. But I think only probably in the last six or seven years has it really entered the American consciousness of the plight of indigenous folks. And in Canada, in the north, i don't think it's something that, tim. Maybe I'm wrong, maybe I'm just ignorant, but I feel like it's not something that's been talked about, at least in the mainstream for Americans until recently. 0:17:00 - Speaker 3I think you're right. I think you're right. We've we've definitely have talked about it more USA, regionally specific. 0:17:06 - Speaker 4But, but to know it was that this was being. 0:17:09 - Speaker 3This was in mainstream rock music in 1992 is cool, right, exactly, yeah, yeah, we weren't necessarily singing about that in 1992. 0:17:20 - Speaker 1Yeah, No, certainly we weren't here either other than other than through this. Yeah, and a lot of people. you know, for everybody that does like dive deep into the lyrics and and and wants to analyze you know what it all means that there is an equally large or maybe bigger cohort that is just wants to fucking dance to some music. you know, like they just want to rock out And they get to do that with our next song at the hundredth meridian, where the great planes begin. 0:17:51 - Speaker 3Ready Mark. 0:18:08 - Speaker 5Roll it And take my life with my hands Where the great planes begin, at the hundredth meridian, at the hundredth meridian, where the great planes begin, driving down a part of our road, we stand in a shoulder high. The road is crusted Of wind and dust. At the hundredth meridian, at the hundredth meridian, at the hundredth meridian, where the great planes begin, let alone the dead chapter, car and train hauntings. A generation's almost done with any of these great planes. King crashes with the wind and The greatest planes along the line of old road, car and train out of Mali outskirts. The world is so very cruel, but I've done the best thing. At the hundredth meridian, at the hundredth meridian, at the hundredth meridian, where the great planes begin, at the hundredth meridian, at the hundredth meridian, at the hundredth meridian, where the great planes begin, and remember. I remember above and low, and I remember a thing about, it seems to me I don't ever, ever say no to everything I know. I don't ever, ever say no to everything I know. I don't ever say no to everything I know. If I don't walk on the road, i've seen a promise. Maybe I'll need some place. I don't want to be a dead man. I'm a dead man, i have to transport. I can't say I'm on this sleep. I've borrowed the keys. I've been listening to some songs and the tracks. I don't want to be a low on the shoulder. I've been listening to some songs and the tracks. I don't want to be a low on the shoulder. At the hundredth meridian. At the hundredth meridian, where the great planes begin. At the hundredth meridian, at the hundredth meridian. At the hundredth meridian, where the great planes begin. When the planes begin, oh, Love this one. 0:21:05 - Speaker 3All things backups. Can we do karaoke with this one? 0:21:09 - Speaker 1This became a lot. Yeah, i would do karaoke this. This became a life staple, for sure as well. 0:21:13 - Speaker 3I'm sure, yeah, garbage red sheep, garbage red trees, whispers of disease driving down a corduroy road. I had to look up corduroy road. I was like what the hell is that? So that was a really interesting Find right there. What is it? What is it? references. You know Laying down logs along waterways so you can keep on your journey. You're basically walking down logged paths. So, yeah, that's that's what a corduroy road is. 0:21:44 - Speaker 4Pretty cool, no idea, no idea, i Dude this, this tune, i would probably say I probably say this tune is my favorite on the record. I think The the like the, the borderline wrap, that um, that that gordon He's doing, and it um just Fucking amazing. The the the guitar, wah, um is is nasty, um, i It fits though, right, it's, oh Yeah, totally more than more than past songs I've heard No absolutely the realizing the again Going back every song, i think there's a, there's a reference, a historical reference, that the hundredth murdering was the, the separation of the united states through between spain and france and later between the us and spain, after the louis excuse me, louisiana purchased from um france and then from uh, and then with the united states of mexico, like that historical reference of it. But this song is just, it's a fucking Banger. It is a banger, right, it is a banger, absolutely, absolutely. And there's, there's, by the way, um, um, this song Has that line you mentioned it, tim garbage bag trees. I think that is in the song before looking for a place to happen that same, there's another reference to garbage bag trees, and so jd, or anybody, give me a line on that garbage bag trees. 0:23:24 - Speaker 1I wish I had one to me. It just, it just reminds me of one of those old derelict areas where you see, like debris caught in the, the fences, you know that's been blown around, wind strewn. I picture, you know, like a garbage bag tree to be a plastic bag that is fastened itself into the tree And, uh, it just looks, you know, more depressing by seeing it but I don't know that's. That's just my thinking. If you've got an angle on this, send me an email. Jd at getting hip to the hip calm. 0:23:59 - Speaker 4Put to be, to put that in two songs in a row on a record got me something. 0:24:04 - Speaker 1Yeah, agreed. How about you, tim? What did you think of this one? Oh, i guess you already. You spoke first, didn't you? 0:24:11 - Speaker 3Yeah, i mean I dug it. I I thought, uh, overall I I felt the anger in here. There's so much self expression which you know they're definitely feeling. so many songs, um, i, i love the refer, the reference or the declaration of have right cooter, you're seeing it, my funeral, you know that's in just going back and listening to some Rai kooder songs, i mean there's a lot of influence there for the band and it's I dug it. It's a great song, great tune. 0:24:42 - Speaker 1Now, did you recognize that lyric from anything? No so the live version of highway girl He. He says that at one point He says get mr Rai kooder to sing my eulogy, all right, fun. And then boom, it shows up in this song, like two years later, like it was just a, it was just a throwaway phrase in a, in a story, in the middle of a song, and then it becomes, you know, this end of this epic rant, uh, end of this epic rap, rather, that he sort of does this, this rap piece. Yeah, i think it's fucking cool. They started using this song to jam out songs in the middle of as well, and then it would. It would always lead up to that, that part, that that bridge part. Now, all three of these songs that we've talked about so far Are singles. Courage was the third single, at the hundredth meridian was the fourth single, and looking for a place to happen was the fifth single. Well, so they're. The records got legs. I mean, they really tried to leg this one out and and see if anything would stick. The next song is our first album cut of the Of the fully, fully, completely record, and it's an interesting one as well, title wise. What the hell is the pigeon camera, pete? 0:26:04 - Speaker 4So it's um, i had to look this one up too. Um, i guess back in the day 1909, there was a scientist or an inventor who Who thought that strapping cameras with time delays on them to pigeons would be a great idea, and so They kind of took off for a little bit. I would love to see actual Photographs. I that's something I I didn't. 0:26:33 - Speaker 1Sit. The birds took or of the birds that the birds took. 0:26:36 - Speaker 4There's a lot of pictures of the birds with the camera strapped to them but that the birds took, um, they were going to do it for you know, military purposes, for reconnaissance, but then planes Came and they started being able to mount cameras on planes, so it kind of, you know, went by the wayside. But, um, yeah, this song I liked it. Um, it didn't do A ton for me, but the guitar solo was very redeeming. It, it, it, i this is going to sound really strange because it's well, obviously so many years left kind of very sublime feel the band, sublime from that guitar solo, the tone That the guitar that was being played or the notes that were being played. It just sounded like it was uh, it was a. It was a Soul taken from the band sublime, but I liked it. It worked. It was really cool. Well, you got Yeah whoo-foo fight. 0:27:35 - Speaker 3I did not go to sublime and That band just just makes me. It makes me cringe. I just Hear it and it's changed the station as fast as possible because I only ever hear it. When I'm in southern california driving around listening to the radio, some stations are playing that band, like I swear, every 17 minutes. Oh yeah, oh terrible. 0:27:57 - Speaker 4Anyway, it's against the law to play that at a bar in long Beach. Yeah, it's against the law. 0:28:03 - Speaker 3It should be. It should be. Yeah, they should sell the. Anyways, uh, pigeon camera, i, you know it's. I think it's a good Slot four slowdown It's. There's this kind of calm, serene guitar riffing in there. Um, it's. I guess there's a lot of references when you look up actual pigeon cameras and kind of dive deeper into that. As you touched on Pete, i did find, you know, as you said, pictures of pigeons with the cameras strapped on them and Kind of thought about what, what, what is that? and you know, carry, the carrying of information, the passing of secrets. You know the, the, i don't know. It just seemed like a wartime era thing. I wasn't really sure why This song was in there, conceptually, lyrically, everything you know there was. It was a head scratcher. But the coolest thing about it was finding out about fucking pigeon cameras, simply like I'm glad the songs there, because, dude, you got to look up pictures that they took. There's a few online And they're fucking incredible. Like there's portions of wings Surrounding a landscape, you know it's, it kind of worked, but who the hell knows, like when you got, when you develop this film and you're printing these old black and whites and seeing all this abstract shit, like You know it's. It's so bizarre and weird. Let's write a song about this Very fascinating thing, guys, like did you know that these pigeons to carry and take cameras or take pictures? Like what the fuck? why not write a song about it? 0:29:54 - Speaker 1So weird, yeah, fun song we go to another album track, and this is one called lion eyes. 0:30:01 - Speaker 3So this one in the car was Fun and so sing along. You know, it's like simple, easy to get along with. It's a rock song, it's a good jam, like I imagine people just belting this out at live shows, maybe even almost annoyingly. If you're ever go to shows and you hear people singing like a little too much, yeah, sure, bands love it when it happens and they can, yeah, i just this is just could be one of those songs. The the parts about When he sings From the cleftab low variant. You know these, these film references are really kind of that. That was all this added Kind of mysteriousness to me. the cold wind blowing over your private parts. I'm like, is that you know? I, i was really trying to driving around listen to this over and over Because it's so listenable. I'm trying to decipher, you know, heads or tails of it and couldn't, couldn't get much, but overall It's an easy song to consume. Yeah, storytelling wise, i wasn't so sure, but overall it was like man, this is a jammy, easy one for sure. 0:31:18 - Speaker 4It's funny you say that, tim, because it's for me, storytelling wise. I found it way more interesting. I mean, i like the tune, i Like the turnaround after the chorus on the bridges, wildly out of place, like I just It, just it. It shut my brain off for this song. I was like, oh cool, i'm into this bridge comes. I'm like what the fuck is this? Is this like the same band I'm listening to, but the the references to tableau we've on which I had to look up. I was like a nativity scene even. More or less, i would assume. And then the other one, romana, clef, oclef, all these French references in there seemed really cool. Like this is again Because I think musically I liked the other ones. They stuck to me much quicker. I did a lot more digging in the lyrics for this one. I really liked. I really liked All the lyrical references Reveal more as the songs go on. 0:32:27 - Speaker 1Yeah, it's pretty loaded, it's really loaded Yeah okay, so we go next to a pretty menacing song, and especially menacing when you consider this one was a single and And it's fucking tremendous. 0:33:15 - Speaker 5Some. The truck's gone. The wind overlanded a real rainbow, like a new much star, when you could see everything but a logical factor. But ten bucks in just to get the tank chopped Oh, dang it. I found a place to stop and infrared it. It's a truth. We had a place where the copters won't spot it And I destroyed the man. I never even thought I'd forgotten. However, every day I'm dumping my body. If they better for us, they don't understand. If they better for me, they don't understand. Oh, dang it. I found a place to stop and infrared it. It's a truth. We got a place where the copters won't spot it And I destroyed the man. I never even thought I'd forgotten. However, every day I'm dumping my body. If they better for us, they don't understand. If they better for us, they don't understand. If they better for me, they don't understand. Let me out. 0:36:43 - Speaker 4Let me out, let me out. 0:37:28 - Speaker 1Let me out. 0:37:53 - Speaker 4I just love it. The second solo is just like towards the end. It's so awesome and I'm gonna pull a tim from Portland right now. The fucking fade kills me. Like it's so fucking cool man. The guitar solo is so awesome. I'm just like just fucking end it, guys. And they fade it and I'm just like you motherfuckers I never noticed it before you said it's him and then I start listening to songs like these. Or I'm just eating up the guitar solo at the end, like it's fucking mac and cheese And they just take the plate away from me. Dude, it's like eating a mac and cheese. There's some on the plate and the waiter just comes by and fucking takes it and says Sorry, here's the check. 0:38:51 - Speaker 3I hate to say it, but these fade outs make me pissed on a couple of levels. I mean the song Courage. The very first time I heard it in the car it fades out. It's an okay fade out, though, but as I heard it fading out in the car, i cranked the volume all the way. So now get the last, as I wanted to finish the song, you know, and the other part of it that pisses me off, it makes me frustrated, is never having heard them play live. I mean, they didn't fade out songs live. So it's like I wish I could hear the song live and hear how they ended or see what happens. So that's, you know, that's a don't want to spend so much time on that, but yeah, i feel that this song is. It's so heavy, it's pretty gnarly. The lyrics are crazy, you know, the storytelling is very sinister, dark, dumping the body. Be better for us if you don't understand. And then you know, after diving into this one further, i read about the story about Caroline Case, which, judy, i'm sure you know, this Toronto mother of three whose car was found overturned and wrecked and the bodies didn't show up. And there's this whole story that ties in with the song. That's just amazing. It's just such a dark song. It's cool. I mean I appreciate the level of storytelling and kind of malice and all of those things with us. 0:40:38 - Speaker 1Yeah, it's really fascinating that they can go to these dark places. You know, the last couple records have been have been chock full. This one so far is a more lively, less dour sort of record, but we get our first taste of it here and, yeah, maybe it is better for us if we don't understand. 0:41:01 - Speaker 3Yeah, agreed, it's just dark on many levels, you know. But again, when I read the story about Caroline Case and that whole tragedy and mystery, it's like fuck, what Amazing bits of information to call together to create a song about. Pretty cool. 0:41:24 - Speaker 1They've all gone and will go too. 0:41:27 - Speaker 3I thought maybe this was about like the difficulties of being on the road and traveling and playing gigs, setting up, tearing down. You got this massive country to drive across zigzag. You know it's kind of a. To me it was kind of a filler song with a long ending. You know it has like a 30 second ending, which is a little unusual, so I didn't listen to this one. A whole lot, a whole lot of extra times. 0:42:00 - Speaker 1How about you Pete? 0:42:01 - Speaker 4I'm in a second-day emotion Smokey And I say the opening guitar lyric was interesting, although very 80s, 90s. You know they, somebody in that band loves John Cola from Huey Lewis in the news because that guitar tone is just, it keeps showing up, it just keeps showing up. I think I don't know that Alanis ever listened to much Huey Maybe she was a hip fan, but I a lot of her music too, that I listened to that. Those, what are they? it's like a univive or something that he's using on the guitar, just keeps showing up And it just sounds a little dated. Because I feel like back when people were using those effects, they didn't have anything cool to play on the guitar, they just had a cool effect. So like playing anything was like, hey, be impressed because I've got this amazing effect. I'm not playing shit on the guitar, but it's a cool effect, right? Right, guys, you know so. But yeah, the song all in all doesn't do a ton for me. So what about you, jd? I don't know. 0:43:19 - Speaker 1Well, i think it's fascinating that this is the first mention of production really that has been brought up. I mean, you've mentioned guitar tone a couple times. but yeah, it's a slick, it's a slickly produced record. This guy who produced it produces a lot of like metal And if you know about the production of metal, oftentimes it's got a real clean well, real clean and focused kind of sound, very precise, and I think we get a bit of that on this. I'd almost love to hear what this record would have sounded like with Don Smith producing it, who produced the last two. But we get a taste of that when we go into the next record and they start to self-produce and they start to. it's almost like this record. they go as far as they've ever went production wise, and then they go completely the opposite direction, you know, for the next swath of records, and go sort of back to basics. 0:44:30 - Speaker 4Feels formulae And that, like, like I heard on the first couple couple records, like I felt them like really trying to go into the space of of being obscure and trying their own shit. And then maybe the record label was like All right, guys, enough, your crap, we're going to get a fucking big time producer. And then he's gonna you guys are going to be staws. you know, like I don't know what the fuck they were thinking. I feel like this is kind of that, although it's a good record. But yeah, i hear you JD. 0:45:02 - Speaker 1You know, for many fans this is their favorite record, so it's it's. It's tough. It's tough to be objective about it. It's not my favorite record. I've got another one that's my favorite And we'll get into that soon, but I hear that I I could. 0:45:18 - Speaker 3You know it resembles a following an athlete who goes amateur to pro. Yeah, this, this felt like this album. You know I don't want to get into it as if we're ending, but I agree with that JD. 0:45:31 - Speaker 1Well, the next next track we get is the titular fully, completely. 0:45:37 - Speaker 3As a title track, accidentally listened to the song first, instead of the first track, you know, searched the album and this thing came up. And I was getting ready to drive, to sit in way and then realize it was the title track and I was not, i wasn't 100% sold, i wasn't a kind of questioned certain things about it as a title track. Or I heard, like Eddie Vedder and Pearl Jam in there, you know there's just it's this kind of never ending guitar riffing. If you listen to it really closely, there's a right channel tambourine happening. There's a total afterthought production thing. It's like, hey, let's just add in some tambourine, like it's there If you really listened closely and it's it's. That made me like the song more because it added this kind of fun element to it. But I I thought it was not the strongest for a title track. I thought it was just okay. 0:46:38 - Speaker 1This is our first title track we've ever got as well Right. Yeah, can I? 0:46:44 - Speaker 4ask you, JD, was this a single? 0:46:46 - Speaker 1This was. This was the last single on the record. 0:46:49 - Speaker 4Okay, because I I have the same Tim. You mentioned something about the tambourine. I think that's so funny, because I I felt the same way, of course, about the tambourine, but also the, a lot of the guitar licks. I feel like if the song was just raw, maybe, maybe, maybe Gord Downey stepped on the gas a little bit harder with the, with the vocals, it would have been a totally different sounding song, but I think it was recorded. And then afterward producers like Hey you, you guitar guy, come in here, throw some more licks down here. What do you want me to play? Just do something. 0:47:26 - Speaker 3Yeah, and it's like Hey, who's your friend over there in the corner? Can you play tambourine? Come on over here. 0:47:32 - Speaker 4You know, but like I, i yeah, i feel the same way. I couldn't like super get into it, but I thought the guitar solo at the end was a huge, was really like the slide all again, all the licks. In the beginning, like I didn't dig that, but the solo at the end was really big payoff And I could see how this song at a show. Jd, maybe I'm wrong, but I could see them taking this at a show and just fucking do a 15 minute version of it. 0:48:01 - Speaker 1That's what I was going to say. I was going to say this song was one that wasn't my favorite for a long time And then it grew on me And now I would say it's like a top three on this record for me. Live It just slayed Yeah. 0:48:15 - Speaker 3Just slayed Again, where I had the same sentiment, pete, where I just wished I could have heard this type of song live version, because you hear certain things when it's recorded and you wonder, like, why was it produced this way, or why was this thrown in, or why this or why that? And you know that there is a more raw version of this out there And it's like you got to get through the, the, the meal that's prepared for the pictured menu item, when you walk in the restaurant and you think, okay, that's, that's supposedly what I'm going to get, and then the live version is like nah, here's your fucking mess of a meal. It's going to taste the same way, but this is actually what it looks like. That's, that's, that's what I thought about this song. 0:49:02 - Speaker 4Tim, i couldn't, i would not to take it a step further, but I'm going to take this stuff further. It's like getting through a shitty Thanksgiving dinner because you want to go out drinking later And then and then, after you've been out drinking to like three or four in the morning, then you hit up Taco Bell or whatever it is, and that's where the that's where the real joy of eating comes in. And that late night meal is the fucking live version. It's 100%. We're at where I die on this one. 0:49:30 - Speaker 1All right. Next up, we go to 50 mission cap. 0:49:59 - Speaker 5The barilco disappeared that summer. He was on a fishing trip, the last goal he ever scored. They didn't win another 1962. I stole this from a car. I worked it in. I worked it in to look like that. It's my fifth mission. And I worked it in. I worked it in. I worked it in to look like that. The barilco disappeared that summer. He was on a fishing trip, the last goal he ever scored. They didn't win another 1962. I stole this from a car. I worked it in. I worked it in to look like that. It's my fifth mission. It's my fifth mission. It's my fifth mission. 0:53:45 - Speaker 3It's my fifth mission. I worked it in. 0:53:54 - Speaker 5I worked it in. I worked it in, i worked it in. 0:54:07 - Speaker 3I worked it in. I worked it in. I worked it in. I worked it in. I worked it in. I worked it in. I worked it in. I worked it in. I worked it in. 0:54:42 - Speaker 1I worked it in. I worked it in, i worked it in. 0:54:58 - Speaker 3I worked it in. I worked it in. I worked it in. I worked it in I worked it in. 0:55:17 - Speaker 1Basically, just put a melody to this hockey card, sentence or paragraph rather, and boom, there's the verse. You know it's crazy, like I've seen the card before. And then you get this brilliant anthemic chorus 50 mission cap. But even it is a little deeper than just a brainless chorus because it's a 50 mission cap. And then the next lyric is I worked it in, i worked it in to look like that. So is the protagonist here somebody that really truly is wearing their 50 mission cap, like with pride? or are they trying to sneak by, you know, to make somebody think that they've been in their 50 missions? I don't know like, but I fucking love thinking about it. How about you, Pete? 0:56:08 - Speaker 4Okay, so the lyrics certainly seemed like he was reading from something Clearly. yeah, that's what it was, and I don't know if that's a if. when he said JD, you mentioned like I made you think that or something. What was that You said a second ago about the lyrics? 0:56:27 - Speaker 1like Oh, I worked it in to look like that. 0:56:30 - Speaker 4I worked it in to look like that. Like maybe he's referencing people who you know. unfortunately there are those people who, who would wear a 50 mission cap and never, you know, completed a mission in their entire lives. you know those, those fakes. But the song wise is just, it's an amazing song Looking at who Bill Barilko was And ironically, his body wasn't found until the years that Leafs won the cup next. 0:57:04 - Speaker 1They found his body, and then the Leafs won it. 0:57:07 - Speaker 4It's almost like he was cursing it right. Yeah, yeah, yeah, yeah, that's yeah. Sorry, that's what I meant to say, sorry, no, no, no, it's so cool And I took a deep dive into this. You mentioned all the other stuff already about the amazing chorus. I love the squeaky back of vocals made an appearance again. The guitar lyric, or the guitar after the chorus, does this thing where it goes up and down by half steps and it's just so. It doesn't sound like it fits the song, but if it's the song perfectly, and Tim said this is clearly a hip song, because it is And it again might be my favorite on the record, but other stuff, that it's a staple at the home games when the Leafs are warming up, and also, what else did they say about it? Oh, that in the like the private lounge. I'm not a big hockey fan because I grew up in Southern California. You are Tim? No, i'm Tim Brown. Yeah, yeah, no, yeah, it just, it's just hard. But even though we had Wayne Gretzky, but that there's a, there's a handwritten lyrics signed by Gord Downey in the players lounge, it where the players hang out, and that Bill Barolko. Anyway, and when the when the hip would play the Canada Airlines Arena or whatever, they would leave up on Bill Barolko's jersey his number. 0:58:50 - Speaker 1Yeah, they were tired. 0:58:53 - Speaker 4But that was the only one they left up, like kind of when they, you know, change the arena for the hip show. From what I read, i don't know, but it was really cool just for that particular reference. It's what a song, fucking awesome song. 0:59:09 - Speaker 3Loved it. Loved it And it made me think about also, you know, kind of tying in with sports and war, like seeing your favorite team do so well and also knowing that they have fallen, or have you seeing them fall? There's just, there's a tone here that's like defeated but also like quit while you're ahead. I don't know. It's kind of a bit of a surrender thing. It's a great tune. I enjoyed it. 0:59:39 - Speaker 1Well, it's followed on the record by yet another tragically hip ballad slow song that you probably don't want to slow dance to once you find out what it's about, and that's weakings. 0:59:53 - Speaker 4You want to take it to him. 0:59:55 - Speaker 3I mean, it's a hell of a mood song, right? I think there's some banjo in there. Is that what I hear? Some? banjo Doe bro. Doe bro, some doe bro plucking. I maybe gave it three listens and, as not being a diehard hip fan, it's one of those placements in the album where I get it and get why it's there, but also just I move on. It's. There's a couple. There's some good lines in there. Can't be fond of living in the past, you're not going to last. It's like someone getting caught or being in the middle or guilty or jail time or yeah, it didn't, didn't move me. Oh Tim, oh Tim. It's probably Pete's favorite. 1:00:52 - Speaker 4I couldn't disagree with you more. I wouldn't say it's my favorite. I will say this song and this band continues to amaze me with its ability to just be super heavy and then go into these little acoustic tunes that they throw. I call this. You know, this is like when they're in the studio. They're like okay, this is going to be the acoustic song, but it reminded me of how great I felt when I listened to Fiddler's Green on Road Apples. 1:01:22 - Speaker 3I thought of the same. I thought of the same. 1:01:24 - Speaker 4Yep, had that vibe, yep, the intro with the sound effects and the animals and the birds, the bluegrass vibe. There's a line in there that I love is so good. I can't remember the first part. The second part is hung with pictures of our parents, prime ministers, as just such a fucking cool line, and I did some a little bit of research on what was going on with the reference of. You know they were watching the Held, their Breath or Whispers, and the CBC News, that's right About a guy named David Millard who was served like 21 years for a crime eating committee. You got it. It was like you know. There's a lot of that in the US justice system too. 1:02:19 - Speaker 1Oh, right Yeah. 1:02:20 - Speaker 4It just was such a cool fuck Like what. I don't know if the guy's still alive. I don't know if you heard the song when it came out, but what a fucking. 1:02:29 - Speaker 1Yeah, i mean coincidence, i think, is the word you're looking for. So this record comes out in 92 and in 91, millard and his people are granted the ability for a clearing of his name And it was 20 years that he was in prison for a rape that, a rape and murder that had occurred in 1969. So basically, the guy is born in 51. His almost his entire life is around this, this tragedy. Right And Gord took, you know, a simple acoustic guitar line and turned it into an epic story of the beginning of the exoneration of David Millard. 1:03:29 - Speaker 3So I hear the reasons why and I understand, i get it. I guess there's just for me, okay. I guess for me experiencing an album and thinking it as like a book, and you're going through the chapters and you know some, some chapters, you're like, oh man, i love where the character development is going And then all of a sudden you experience this, this downfall, this, this unfortunate event. You know, and it's the wild ride And I'm trying to. I honestly thought, okay, honestly thought Pete probably loves this song, fiddler screen, etc. Everything you said. You know why. Why is it that this is triggering for me personally, in the cadence of an album, to hear something like this and be like, come on, you guys, let's just get to more good jam and stuff. I don't know, maybe it's the time of year, maybe it's winter, maybe it's the holidays, which I like have a love hate for. This is just. This is just one of those tracks that I was waiting for in the album. It's like, okay, here we go. Who's this song about? That was fucking kind of real. What did he not do? 1:04:44 - Speaker 5What did he not? 1:04:45 - Speaker 3do? to go to jail? God damn it. Fucking injustices in the world, All these things. It's like fucking, another fucking ballad about God damn it. You know just, it's just like this emotional roller coaster. It's like, okay, what else we got, What are we moving into next? You know that's in the hip albums. To get to this type of song, I'm always like, okay, there's only a couple left. Where are these guys going to take me? 1:05:15 - Speaker 1And where do they take you next? 1:05:19 - Speaker 3Where with all? so where with all you know, you jump and straight into some jammy chords. The scene's pretty calm, i thought for kind of the guitar progression. The, the baseline, really hit me as like 80s metal, rat motley crew, maybe G&R. 1:05:43 - Speaker 4I. 1:05:46 - Speaker 3This song, JD the producer what you said. His name? Christiane Arias. 1:05:51 - Speaker 1Yeah, right, it's a Greek last name. 1:05:53 - Speaker 3He can ever say eat all over this one, i Guarantee it. You know so it's. I thought you know there's some single, maybe some single potential here, but wasn't really sure. It's fucking short. I Read up on it a little bit with the Richard Dawson controversy and references towards Nixon and Those kinds of things, but this song overall and the band was like fine, you can have it. We're making it less than three minutes long, interesting track. 1:06:30 - Speaker 4Yeah, i said the same. I mean I had the same. I'm feeling about it, the private thing that I that stood out most because the guitar was just so prominent. It's easy to say the guitar was awesome and heavy and all that, but I really like the drums, really dug the drums in this one. I thought the drums drove it. I was interested in the Nixon reference because I didn't really know what the song was about. I did a little bit of digging and, tim, i don't know your, your thoughts around Nixon. It's crazy because My dad liked Nixon, like he was very sad when Nixon died And I know a lot of people who hated him. And then I, you know, when I grew up and kind of learned about who he was, i was like if not really That great of a guy, especially when all the tapes came out on everything. But Yeah, it's funny too, because if it is about Nixon, i'm like where does where do Canadians? That's like. You know, what do I think about a former Canadian Prime Minister? I don't think I can Name a former Canadian Prime Minister before Trudeau. If you had a gun in my head, jd, i'm sorry. 1:07:49 - Speaker 1We're used to it up here on the roof. Yeah, man, it's, but I am getting a little concerned about all the guns to the head references. That's like your fourth in terms of the podcast. Just Just you know. Checking you out, just make it sure everything is all groovy over here. 1:08:13 - Speaker 4Yeah, so, so, that's, that's what I got. 1:08:16 - Speaker 1Okay, so that brings us to the last song on the record, and that is El Dorado. 1:08:44 - Speaker 5El Dorado, when It's a man's size 10 times. Look in here. It's all hard work. What's that smell? Smells like coffee. It smells like coffee. If you regret it, please say something Like I know, jesus, the evil makes me calm and I know it makes me calm and I'm a loving. Ring a brother in love and ring A brother in love and ring a brother in love and ring It's a man's size 10 times. It's a man's size, elder of all. I don't know what it is. You can't take it. You can't take it. Where we going. What's that taking? I tell some men shed a hood and makes me sexy. Where we going makes me sexy. I'm a loving. Ring a brother in love and ring A brother in love and ring a brother in love and ring It's a man's size inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside. 1:13:16 - Speaker 4Wow, you know what? I was always because my buddy had a Ford Ranchero, Which was the Ford version of the Opium, And he had a champagne colored Ford That he sold to some guy in Denmark. It was a 76 or 74 and he sold it And I'll never forgive him for it because it was the coolest fucking car And it just smelled like gasoline and it was loud And it handled like a fucking tank And it was just Oh yeah, mine didn't have power steering. 1:13:49 - Speaker 1Oh no, none of that Dude. 1:13:51 - Speaker 3My uncle, chris, had a light blue Ranchero I don't know early 70s And it was so large for two doors and seating maybe for two and a half people It was the biggest vehicle. When I was 16, he had me drive it from his house to my folks house And I remember scared to death that I was just going to hit a parked car Because I felt like I was driving a car that was two cars wide. It was so gigantic. But fast forward, i guess maybe My grandparents owned Eldorados. They had two specifically. I remember A Block 4 door and a White 2 door. They had like a Coop early 80s Eldorado And those were. I mean they were like Rolls Royce's to us As kids. We thought they were, we were riding around in limos, you know these were like the nicest cars. So I totally get the car reference, 100%. The 2 door one that my grandparents had. I was in the back seat trying to get to the front seat, dropping my grandmother off somewhere, and she closed the door on my leg And I thought I'd never walk again, i mean those cars were just behemoth. I was like I was like 7, maybe 7 years old, But the reference is here just to get into the song, and less about cars, you know, But World War I in Canada, basically coming over to serve the motherland And fight Germany, it's just, that's all just so heavy. You know the line Berlin makes me sexy, making me sexy. That one tripped me up a little bit, You know. I was like okay, are they implying This kind of glorification of war? you know, are we now, is Canada now I say we as a full Canadian are we now in this kind of limelight Because we came across the pond to fight, you know, And we're going through Berlin And we're seeing the separation there And we're hanging out at where is it? Where the US had their base in Berlin, Oh gosh. 1:16:07 - Speaker 5It's um. 1:16:09 - Speaker 4I don't know, were you born in Canada too? No, oh. 1:16:15 - Speaker 3What was it called? 1:16:18 - Speaker 1His pick Canadian accent, doesn't it? Come on, tell me voted guys. I'd have to edit that out. 1:16:25 - Speaker 4Hey now, hey now. 1:16:27 - Speaker 3But anyways, like the Berlin making me sexy part Just makes me think like maybe Berlin was the shiny object Kind of around that time. And it's this beautiful song. There's this amazing bass, there's these big fat toms going on with the drums. You know, i imagine that was just at their recording room to kind of reel those in. I thought it was a good closer for the album. 1:16:59 - Speaker 1Yeah, I do too. Pete, where are you with this one? 1:17:02 - Speaker 4I well, definitely we need to continue our conversation in a later date About Alderados and Rancheros, but I dug it. I really liked it. Probably my favorite part about it was the second verse. There's some really cool like sharp guitar licks in there And the lyrics are really syncopated. The where, when he, when he's I can't remember the, i can't quote the lyrics specifically, but the syncopated lyrics are really cool. Again goes back to him being I'm sure it'll just get better like a fine wine Out. What a great phrasing lyricist. He is a singer, but I didn't. I was a little confused about the Berlin makes me sexy to Tim And I dug in some like forums and I just thought the funniest thing was And, by the way, i know we apologize to the listeners and I won't do that anymore But I really want to apologize to the band because I love this band, like I love this band, and I hope that if anybody ever hears even a fucking sentence of this podcast from that band, that I have the utmost fucking respect and admiration for them because they're fucking cool. But that being said, somebody said this song was written under the influence of little bat blue and Jack Daniels And I just was fucking rolling in my chair. Hilarious but cool. Good tune to end the record, yeah for sure. 1:18:41 - Speaker 3I got the Berlin reference around Berlin making me sexy. Maybe that had to do with, like checkpoint Charlie, right That's. I don't know. I was not really. 1:18:53 - Speaker 4Wasn't Charlie Vietnam. 1:18:55 - Speaker 1No, no. Charlie in Vietnam referred to what the Americans called their enemy on the Vietnamese side. They called them Charlie. No, it's the crossing point between East and West. 1:19:11 - Speaker 3Yeah, it's the crossing point between East and West Berlin Shows my World War II. It still exists. 1:19:16 - Speaker 1It still exists my Hey, pete, your World War II knowledge isn't that bad. You just don't pay attention to sequels. I don't watch that. You read about World War I and you were like, yeah, man, i don't need to read the sequel. 1:19:29 - Speaker 4Seriously and everybody's paying attention to the possibility of World War III right now, and I was just like guys, i don't care, this is stupid, it's all about WWI. Anything they make after that sucks. 1:19:46 - Speaker 1It's all computers now. You haven't seen a war until you've seen a horse full of wagon in beautiful black and white Double speed. 1:19:58 - Speaker 4This podcast took a really dark turn. I love it. 1:20:01 - Speaker 1So I have a question for you. This is their third full length record, But this one came out like less than a year after Road Apples. Road Apples was 91 and this is 92. 1:20:21 - Speaker 3Which was unusual for them, right. 1:20:23 - Speaker 1It's unusual for any band like at this point, but like, certainly, if you were going to do that, you think you'd do it in your first and second record, not your second and third. You know that's. It's just interesting to me that they were able to come up with 12, like, like, pretty great fucking songs and put them to wax, you know, so short of time after Road Apples. I just wonder if. 1:20:48 - Speaker 3Why the hustle I? 1:20:49 - Speaker 1don't know, i don't know, was it? 1:20:52 - Speaker 3a. Was it a kind of a I hate to say it, but like a cash grab to get them to next size venues on tour, because man traveling across that country to only hit like 200 to 1,000 or 1,200 fans and then to go to like 3,000 to up to 5,000 fans per show. That's that's a hurry go. What were they doing back then? 1:21:18 - Speaker 1They played Maple Leaf Gardens on this tour and then they opened their Canada Center on this tour, which is the where the Leafs play and the Raptors play, and then they started a summer festival. They did a summer festival across Canada and maybe a couple cities in the States called another roadside attraction And that's where I first got to see them on my 19th birthday, july 24th 1993, in Markham Fairgrounds. I I got to see them live for the first time And it was almost like out of a storybook, because I got so incredibly drunk and high and I passed out during the band that went on before them and slept, slept basically the whole time on the ground, and then woke up magically when the, when the hip went on and I was fine. 1:22:15 - Speaker 3Oh, i would love to go back to that moment, the three of us with JD right now, that would be so fun man. JD come on, bro, it's time, wake up, yeah. 1:22:26 - Speaker 4I don't know if you, i don't know if you asked your question, jd, but I was going to comment on what you said Because I feel kind of the same thing. I don't know if it was a cash cash grab either, tim, but I feel like this was the push where the record label finally said look you, fuckers, we've, we've put a lot of money into you. You're going to make a hit, and they brought in this big swing and dick of a producer And we're going to fall through the roof, so to speak, and being as. That never really happened. Maybe that's where, you know, we lead into their fifth record, which will be next week, to to kind of start exploring their own, you know, being more themselves instead of living for you know what they, what they think they should be commercially. 1:23:21 - Speaker 3Yeah, i think so, maybe, maybe. I mean, this was an era where bands were not getting paid enough but making a living off of selling albums, selling CDs. Yeah, you know, i mean we're. We're years away from MP3.com kicking off. Yeah, that's right. And so anyone anyone in the biz back then who saw this band doing well and saw fans at shows across Canada going bunkers and knowing that people were doing the tour or doing all the West Coast shows or doing all the East Coast shows, you know, like any, any band manager would have been like let's knock out another album I know this one's going to kick ass. Let's get this metal producer in to you know, organize everything and let's keep keep it all going. And I guess this is the album that made them realize they could do it on their own, which is fucking amazing, because a lot of bands in the 90s would not even step out, no way. 1:24:31 - Speaker 1Yeah, we're going to find a market shift in the sound and tonality of of this band starting with the next record, day for Night. If you've got anything you want to say to wrap up this record. 1:24:46 - Speaker 3I just wish I had my grandparents El Dorado, out front with some hip on the eight track. Did they ever make eight track tapes? Oh man, wouldn't that be cool? I'll just, i'll just fantasize about that with what JD passed out in the back and P all hyper in the front seat. That's, that's. That's, that's my, that's where I'm going to leave it. 1:25:09 - Speaker 4Same here, man, same here. I wish we wish we had a wish we were driving around in the champagne colored Ford Ranchero with a, with a 24 pack of the bat blue on the on the floorboard. 1:25:24 - Speaker 3Love and the smell of fuel. 1:25:26 - Speaker 1Yeah, All right, as we do every episode of the show, we are asking each of you, fellas, to choose your MVP track for the record. Fully, completely, tim, let's start with you. You, son of a gun. 1:25:46 - Speaker 3Yes, So my favorite song off this album was definitely El Dorado. You know, went back and listen to it a little bit more And there's even some. there's some Michael Steip feels in there, just literally. 1:25:57 - Speaker 4I can't wait, man. 1:25:58 - Speaker 3Just with with the way Gord sings, you know they're so. They're so much from the nineties going on on these albums. It actually makes me miss the nineties. I often think of the eighties as being just so spectacular, but the nineties were for music. It was so good to, and this, this is just one of those songs that maybe you also want to listen to. Just a bunch of other stuff. So I'm going with El Dorado. 1:26:23 - Speaker 1Cool. What do you? what's going to be your playlist song there, pete? 1:26:33 - Speaker 4The hundred meridian hands down, the phrasing in it, the historical content of it, how I'm aware that that line physical line, not lyrical line, the importance of that and how it will eventually play into other hip references in the future too. It's just, it's fucking cool man, It's going on those for sure. 1:27:03 - Speaker 1Awesome. I can't wait to hear these lists as they as they grow in stature. All right, that's what I have for you this week. So there's that. Hope you enjoyed yourself as much as I did. See you next week, fellas, pick up your shit. 1:27:24 - Speaker 2Thanks for listening to Getting Hip to the Hip. Please subscribe, share rate and review the show at GettingHiptotheHipcom. Find us on Twitter and Instagram at Getting Hip Pod And join our Facebook group at Facebookcom. Slash groups slash fully and completely. Questions or concerns. Email us at JD at GettingHiptotheHipcom. We'd love to hear from you. Support this podcast at — https://redcircle.com/fully-and-completely/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Get ready for a deep dive into the Tragically Hip's iconic 1992 album Fully Completely with hosts JD, Pete, and Tim as we explore the evolution of the band's sound, the polished production, and how it aimed for mainstream success. Share in our personal listening experiences and how this album resonated with us in different ways, from car rides to gym sessions.Join our lively conversation as we analyze standout tracks and Gord Downie's lyrical brilliance, including the catchy chorus of "Courage for Hugh MacLennan" and the various definitions of courage presented throughout the song. Discover the numerous Canadian references sprinkled across the album that give it a distinct cultural flavour, as well as discussing the impact of these songs on a personal level.Whether you're a longtime fan of the Tragically Hip or just discovering their music, this engaging and insightful episode is a must-listen. Don't miss our in-depth discussion of Fully Completely, as we explore the band's attempt to make their sound more mainstream, the slick production of the album, and the car and computer time that really made this album come alive. Tune in now and become a part of our musical journey!Transcript0:00:01 - Speaker 1When I think back to the fall of 92, everything was coming up JD. I was dating a real-life girl who also liked the hip. I was elected class president with my friend Tim under the efficiently executed two is better than one campaign, and I got a new hip record. While I love student government, the main thing the election provided me was an office in the high school for the student council, which acted as my locker and my rehearsal space for jamming the new hip album with my buddies Kirby and Dean. There was rarely a day that passed that someone wouldn't stop by for a version of pigeon camera locked in the trunk of a car, or courage. It was great fun and an experience I'll definitely never forget. Fully completely is what I call the last record of the early era, where the hip sound is more or less matured and they're writing an embarrassing number of stone-cold classics. The idea that the production keeps getting tighter and more precise sounding is worth noting as well. Working with the late Chris Tegeritas, the boys locked in on the task at hand, even if it wasn't their favorite recording experience, and they delivered MCA, an album brimming with singles and sing-along courses. This was a band that knew its groove and walked with a comfortable stride inside of it. Simply put, fully, completely is a rock and roll record at its finest Bar none. I'm actually feeling really excited for Pete Tim on this one. Their first experience outside of this project would have likely involved listening to this record as some kind of jumping off point, but that's not how we chose to do this. This is one album and episode, one chance to make an impression. Will this record stand up to the scrutiny that our protagonist will most certainly have for anything this anticipated? Let's find out. On this episode of Getting Hip to the Hip. Long-sliced brewery presents Getting Hip to the Hip. Hey, it's Jay Dee here, and welcome to Getting Hip to the Hip, a weekly podcast about the tragically hip and getting to hear their music for the first time through the ears of my friends, pete and Tim, who are here with me as always Pete from Malaga, making his way to us via LA this week, and, of course, Tim from Portland. Being from Portland, as it were, i'm excited, frankly, from a logistics standpoint, that we only had to deal with two time zones this week. That makes my job a lot easier, but I'm curious how are you fuckers doing? 0:02:51 - Speaker 3Doing great, doing good. It's well. It's, you know, december in Portland and we have a freeze happening, so we're hunkered down. It's a good day to be podcasting. 0:03:03 - Speaker 1Sounds good. 0:03:05 - Speaker 4It's snowing there, i take it. 0:03:06 - Speaker 3Almost. 0:03:07 - Speaker 4Okay. 0:03:08 - Speaker 3Almost. 0:03:09 - Speaker 4I'm dragging ass, man. I woke up around quarter to four this morning. I've gotten about four hours of sleep in the last. I want to say 36 hours. Yeah, so the jet lags hit me hard. Nine hour time difference sucks, but it is what it is for the hip anything. 0:03:33 - Speaker 1Holiday travel, man Everything. 0:03:36 - Speaker 4Fully and completely for the hip. 0:03:38 - Speaker 1Well, that's what we're talking about today. We're talking about the October 6th 1992 release produced by Chris Sanjiris. It's a 46 minute long CD at this point because that's where still around but it was a CD. It included singles, six singles, and it was rated 4.5 out of 5 by all music. So that's a great score and there's some good background information there. But I'm curious if you want to just get right into it and tell me how you experience the album. 0:04:14 - Speaker 3I like the evolution. This really helped me with where the albums have gone thus far, just having fully, completely be be where it's at in our, in our process, definitely. 0:04:31 - Speaker 4I mean, i agree with Tim the evolution I love. I clearly see this going somewhere. It's strange. I think I don't want to put the car before the horse but you do it, don't? 0:04:44 - Speaker 1you put that car as a horse. 0:04:45 - Speaker 4No, but I feel like this record may be the dark horse If we're going to stick with the equestrian analogies in that of the four records was the fourth one. We've fourth one. Yeah, i feel like this is my least favorite, although I do have some great notes on it. But there's so many album songs, artists over the years I've disliked at first and they end up being my favorites Interesting. Oh. Yeah, i've talked with you about a few things like that before, jd, but yeah, i feel like this might be the one. This might be the one. So, we'll see. 0:05:28 - Speaker 3You know, conversely, for me this one, like right out the gate, was the winner of what we've listened to so far And I went into the mindset of okay 1992, what was happening in my life when I got a new album and it usually was going straight in the car, you know, straight from the record store in the car. So I just had this one mostly in the car all week. I listened to it at the gym a little bit, but it was mostly car time didn't take notes until recently on any of it and just kind of jammed out to it. There's, you know, as expected, there's definitely some I like more than others, but of course I was, i was digging it. 0:06:11 - Speaker 1This to me was the band really trying to go over the top in terms of landing mainstream appeal. To me, that's what this record is always This record is. This record is that sound that they've been working on the last two records, that that bar sound. You know that that really tight and nifty blues, bass guitar sound, and this is just a really well produced version of that really slick. It's a slick sounding album and they haven't sounded slick up until this point. So to me, i've always thought of it as a record that was was trying to shoot for them, shoot for the moon. So I'm real surprised to hear you know Pete's analysis off the bat. Did you listen to in your car? because I do know that you have a premium audio sound system. 0:07:10 - Speaker 4I mentioned that and you've experienced it. I did listen to in my car and there were, there were tracks that really stood out that I really did like I don't want to say I didn't like this record, but there were tracks that really stood out and, like I said, i'm really glad I didn't listen to it on the plane, because associating this record with you know, a 12-hour flight after you've been at the airport for seven hours because they delayed your flight, would have, just you know, i probably just wouldn't have shown up today. I would have just texted you guys and said you're on your own, you know. So yeah, but it's. I mean computer time and car time was what was, what did it for me, this one. 0:07:52 - Speaker 1Alright. Well, do we want to get into the songs? Let's do it Alright. The first song is called Courage for Hugh MacLennan. 0:07:58 - Speaker 4I am Okay, bring up notes. So obviously I'm. I'm doing research on Hugh MacLennan and who he was because I want to know what the history of that is. The chorus is just catchy as fuck. It is just it, just it, just I don't know. It feels like there's a change of tempo, but it's not. But the lyrics just make it so sweet. The squeaky backup vocals that you said were going to eventually make their way in there. It would be the staple of, i believe, the bass player. 0:08:38 - Speaker 1The rhythm guitarist, rhythm guitar player. Yeah, all along. 0:08:42 - Speaker 4Those are all over this record. And then, kind of looking at the lyrics, which I did a lot more lyrical analysis for this record than others His Gord's definition of courage as opposed to MacLennan's definition was something that I really haven't pieced together yet, but I dug it. I yeah, i'll talk about more because I think this record is thematic in that sense because there's just a lot of Canadian references. Obviously There are, oh a ton. What about you, tim? 0:09:16 - Speaker 3Yeah, I was excited right out of the gate. Playing this song in the car I thought, okay, song number one for this album. If you know I'm a fan, starting at the beginning of this band or just really even coming into this album. This first song is a great first track of an album. The tempo is good, you know it's, it's singable parts. you know it's just a good, simple rocking tune and just as far as. Yeah, i had no idea who Hugh McLennan is or was. You know that looked him up and definitely feel like I need to read at least one of his books. So probably get a suggestion from you, mr JD. But you know it's this song about consequences and facing the light or the dark. You know it's just, it's a great, a great kickoff for the album. I loved it. 0:10:13 - Speaker 1This to me has one of Gord Downey's absolute best turns of turns of phrase or lyrical works of art. You know, it's a feat of strength, almost what he does with the text of McLennan's work. It shouldn't be as effective as it is, but it is. It works so well and all he does is read the lyric into the melody. The lyrics are there's no simple explanation for anything important any of us do. And, yeah, the human tragedy consists in the necessity of living with the consequence under pressure, under pressure. But the way he phrases it and the way he the music in the background is building up, it's so powerful and so such a great bridge. And then, you're right, it goes up up against that banger of a chorus to outro the song. Really fucking strong, strong work. This is a karaoke staple of mine as well, so perfect, yeah you mentioned the phrasing. 0:11:22 - Speaker 4It's funny because I thought the same thing and I think I put in. It's ironic. I'm showing this. People can at home can't see it, but this is just sitting on a thing and I'm thinking about it because of amazing it's a copy of Life magazine with Sinatra on the front yeah, sorry, sinatra. So I think people like Sinatra, i definitely think other musicians from the 90s, but this puts him, this record put him lyrically in that category for great phrasing. Not many people. People can put lyrics to songs and it sounds cool and they can sing harmonies and melodies. But when you can phrase a song like you just said so well, it just makes the song so fucking cool, brings out the lyrics in the melody so much better yeah, i agree. 0:12:12 - Speaker 1so next up we go to a real interesting song. this is something that Gord would carry with him, especially in his later years, and that is like the crisis in Canada's north crisis with our Indigenous people, and this song takes a look at that. It's called Looking for a Place to Happen. 0:12:38 - Speaker 3I thought this one started off running, you know, felt really catchy, without knowing what the lyrics were or background or anything. It just starts off really well. But eventually I realized, okay, this is something about taking away or taking what's not yours. You know I hear guilt and sorrow in here. It's just full of emotion. So as I looked into it I realized what it was basically about It. Even I don't know it got me when I got to the end of the song I heard Gord kind of singing through the outro Like it doesn't it carries on into me. That resembled like something around the fact that the invasion just is continuing on. You know, the taking away is continuing on, the pain isn't going to end. You know this, this and I think he he harkens that so well in this song for what the content is It? just it kind of it kind of floored me. It felt like a lot. And you know their songs I'm experiencing over the course of this catalog is you know some of them? I feel like, oh, this must be fun in a bar. You know people buy. I love the song and some songs are like fuck me. You know this is heavy stuff that we all still need to deal with and think about and realize, and just such a, such an impactful band. 0:14:20 - Speaker 1Yeah, and as they got bigger, they, you know, they, they took that to heart. you know that they had that, they carried some clout and they used that, and you know to, to a really good degree. 0:14:33 - Speaker 3Well, even even some of their. You know, some of the lyrics and some of the storytelling is just very North American based. It's, you know, often very much Canada for sure, specifically. But it did, and also, you know, at times made me again think about what the fuck? why didn't they resonate more in the USA? because I identify with a ton of it. There's so much there, i think that crosses over. 0:14:58 - Speaker 1Yeah, borders. How did you feel about looking for a place to have a beat? 0:15:02 - Speaker 4It's funny because the the what I said before about this record being thematic and and very, very Canada, kind of picking up where Tim left off. In my research of the first song and my research of who Hugh MacLennan was, I remember his wife saying to him, because I think his first couple of books were like flops, like you need to write about what you know, write about Canada. And that book, the third book or whatever book, the his book that he finally wrote about Canada and what he knew, ended up being really, really successful. And I feel like the hip kind of played around with that. This first, their first few times out, their first two or three records, but this one is just all Canada And it's just it's Canada threw up on this record, And in a good way, Jacques Cartier is mentioned. Jacques Cartier is mentioned in there. So, yeah, i think it's. It's cool because for and Tim, maybe you can speak to this because as Americans, we get a, we get. We have this polite maple syrup, like I said, but LeBat blue version of who Canadians are and what Canada is free healthcare, marijuana, everything's great north of the border on the roof of the US. But I think only probably in the last six or seven years has it really entered the American consciousness of the plight of indigenous folks. And in Canada, in the north, i don't think it's something that, tim. Maybe I'm wrong, maybe I'm just ignorant, but I feel like it's not something that's been talked about, at least in the mainstream for Americans until recently. 0:17:00 - Speaker 3I think you're right. I think you're right. We've we've definitely have talked about it more USA, regionally specific. 0:17:06 - Speaker 4But, but to know it was that this was being. 0:17:09 - Speaker 3This was in mainstream rock music in 1992 is cool, right, exactly, yeah, yeah, we weren't necessarily singing about that in 1992. 0:17:20 - Speaker 1Yeah, No, certainly we weren't here either other than other than through this. Yeah, and a lot of people. you know, for everybody that does like dive deep into the lyrics and and and wants to analyze you know what it all means that there is an equally large or maybe bigger cohort that is just wants to fucking dance to some music. you know, like they just want to rock out And they get to do that with our next song at the hundredth meridian, where the great planes begin. 0:17:51 - Speaker 3Ready Mark. 0:18:08 - Speaker 5Roll it And take my life with my hands Where the great planes begin, at the hundredth meridian, at the hundredth meridian, where the great planes begin, driving down a part of our road, we stand in a shoulder high. The road is crusted Of wind and dust. At the hundredth meridian, at the hundredth meridian, at the hundredth meridian, where the great planes begin, let alone the dead chapter, car and train hauntings. A generation's almost done with any of these great planes. King crashes with the wind and The greatest planes along the line of old road, car and train out of Mali outskirts. The world is so very cruel, but I've done the best thing. At the hundredth meridian, at the hundredth meridian, at the hundredth meridian, where the great planes begin, at the hundredth meridian, at the hundredth meridian, at the hundredth meridian, where the great planes begin, and remember. I remember above and low, and I remember a thing about, it seems to me I don't ever, ever say no to everything I know. I don't ever, ever say no to everything I know. I don't ever say no to everything I know. If I don't walk on the road, i've seen a promise. Maybe I'll need some place. I don't want to be a dead man. I'm a dead man, i have to transport. I can't say I'm on this sleep. I've borrowed the keys. I've been listening to some songs and the tracks. I don't want to be a low on the shoulder. I've been listening to some songs and the tracks. I don't want to be a low on the shoulder. At the hundredth meridian. At the hundredth meridian, where the great planes begin. At the hundredth meridian, at the hundredth meridian. At the hundredth meridian, where the great planes begin. When the planes begin, oh, Love this one. 0:21:05 - Speaker 3All things backups. Can we do karaoke with this one? 0:21:09 - Speaker 1This became a lot. Yeah, i would do karaoke this. This became a life staple, for sure as well. 0:21:13 - Speaker 3I'm sure, yeah, garbage red sheep, garbage red trees, whispers of disease driving down a corduroy road. I had to look up corduroy road. I was like what the hell is that? So that was a really interesting Find right there. What is it? What is it? references. You know Laying down logs along waterways so you can keep on your journey. You're basically walking down logged paths. So, yeah, that's that's what a corduroy road is. 0:21:44 - Speaker 4Pretty cool, no idea, no idea, i Dude this, this tune, i would probably say I probably say this tune is my favorite on the record. I think The the like the, the borderline wrap, that um, that that gordon He's doing, and it um just Fucking amazing. The the the guitar, wah, um is is nasty, um, i It fits though, right, it's, oh Yeah, totally more than more than past songs I've heard No absolutely the realizing the again Going back every song, i think there's a, there's a reference, a historical reference, that the hundredth murdering was the, the separation of the united states through between spain and france and later between the us and spain, after the louis excuse me, louisiana purchased from um france and then from uh, and then with the united states of mexico, like that historical reference of it. But this song is just, it's a fucking Banger. It is a banger, right, it is a banger, absolutely, absolutely. And there's, there's, by the way, um, um, this song Has that line you mentioned it, tim garbage bag trees. I think that is in the song before looking for a place to happen that same, there's another reference to garbage bag trees, and so jd, or anybody, give me a line on that garbage bag trees. 0:23:24 - Speaker 1I wish I had one to me. It just, it just reminds me of one of those old derelict areas where you see, like debris caught in the, the fences, you know that's been blown around, wind strewn. I picture, you know, like a garbage bag tree to be a plastic bag that is fastened itself into the tree And, uh, it just looks, you know, more depressing by seeing it but I don't know that's. That's just my thinking. If you've got an angle on this, send me an email. Jd at getting hip to the hip calm. 0:23:59 - Speaker 4Put to be, to put that in two songs in a row on a record got me something. 0:24:04 - Speaker 1Yeah, agreed. How about you, tim? What did you think of this one? Oh, i guess you already. You spoke first, didn't you? 0:24:11 - Speaker 3Yeah, i mean I dug it. I I thought, uh, overall I I felt the anger in here. There's so much self expression which you know they're definitely feeling. so many songs, um, i, i love the refer, the reference or the declaration of have right cooter, you're seeing it, my funeral, you know that's in just going back and listening to some Rai kooder songs, i mean there's a lot of influence there for the band and it's I dug it. It's a great song, great tune. 0:24:42 - Speaker 1Now, did you recognize that lyric from anything? No so the live version of highway girl He. He says that at one point He says get mr Rai kooder to sing my eulogy, all right, fun. And then boom, it shows up in this song, like two years later, like it was just a, it was just a throwaway phrase in a, in a story, in the middle of a song, and then it becomes, you know, this end of this epic rant, uh, end of this epic rap, rather, that he sort of does this, this rap piece. Yeah, i think it's fucking cool. They started using this song to jam out songs in the middle of as well, and then it would. It would always lead up to that, that part, that that bridge part. Now, all three of these songs that we've talked about so far Are singles. Courage was the third single, at the hundredth meridian was the fourth single, and looking for a place to happen was the fifth single. Well, so they're. The records got legs. I mean, they really tried to leg this one out and and see if anything would stick. The next song is our first album cut of the Of the fully, fully, completely record, and it's an interesting one as well, title wise. What the hell is the pigeon camera, pete? 0:26:04 - Speaker 4So it's um, i had to look this one up too. Um, i guess back in the day 1909, there was a scientist or an inventor who Who thought that strapping cameras with time delays on them to pigeons would be a great idea, and so They kind of took off for a little bit. I would love to see actual Photographs. I that's something I I didn't. 0:26:33 - Speaker 1Sit. The birds took or of the birds that the birds took. 0:26:36 - Speaker 4There's a lot of pictures of the birds with the camera strapped to them but that the birds took, um, they were going to do it for you know, military purposes, for reconnaissance, but then planes Came and they started being able to mount cameras on planes, so it kind of, you know, went by the wayside. But, um, yeah, this song I liked it. Um, it didn't do A ton for me, but the guitar solo was very redeeming. It, it, it, i this is going to sound really strange because it's well, obviously so many years left kind of very sublime feel the band, sublime from that guitar solo, the tone That the guitar that was being played or the notes that were being played. It just sounded like it was uh, it was a. It was a Soul taken from the band sublime, but I liked it. It worked. It was really cool. Well, you got Yeah whoo-foo fight. 0:27:35 - Speaker 3I did not go to sublime and That band just just makes me. It makes me cringe. I just Hear it and it's changed the station as fast as possible because I only ever hear it. When I'm in southern california driving around listening to the radio, some stations are playing that band, like I swear, every 17 minutes. Oh yeah, oh terrible. 0:27:57 - Speaker 4Anyway, it's against the law to play that at a bar in long Beach. Yeah, it's against the law. 0:28:03 - Speaker 3It should be. It should be. Yeah, they should sell the. Anyways, uh, pigeon camera, i, you know it's. I think it's a good Slot four slowdown It's. There's this kind of calm, serene guitar riffing in there. Um, it's. I guess there's a lot of references when you look up actual pigeon cameras and kind of dive deeper into that. As you touched on Pete, i did find, you know, as you said, pictures of pigeons with the cameras strapped on them and Kind of thought about what, what, what is that? and you know, carry, the carrying of information, the passing of secrets. You know the, the, i don't know. It just seemed like a wartime era thing. I wasn't really sure why This song was in there, conceptually, lyrically, everything you know there was. It was a head scratcher. But the coolest thing about it was finding out about fucking pigeon cameras, simply like I'm glad the songs there, because, dude, you got to look up pictures that they took. There's a few online And they're fucking incredible. Like there's portions of wings Surrounding a landscape, you know it's, it kind of worked, but who the hell knows, like when you got, when you develop this film and you're printing these old black and whites and seeing all this abstract shit, like You know it's. It's so bizarre and weird. Let's write a song about this Very fascinating thing, guys, like did you know that these pigeons to carry and take cameras or take pictures? Like what the fuck? why not write a song about it? 0:29:54 - Speaker 1So weird, yeah, fun song we go to another album track, and this is one called lion eyes. 0:30:01 - Speaker 3So this one in the car was Fun and so sing along. You know, it's like simple, easy to get along with. It's a rock song, it's a good jam, like I imagine people just belting this out at live shows, maybe even almost annoyingly. If you're ever go to shows and you hear people singing like a little too much, yeah, sure, bands love it when it happens and they can, yeah, i just this is just could be one of those songs. The the parts about When he sings From the cleftab low variant. You know these, these film references are really kind of that. That was all this added Kind of mysteriousness to me. the cold wind blowing over your private parts. I'm like, is that you know? I, i was really trying to driving around listen to this over and over Because it's so listenable. I'm trying to decipher, you know, heads or tails of it and couldn't, couldn't get much, but overall It's an easy song to consume. Yeah, storytelling wise, i wasn't so sure, but overall it was like man, this is a jammy, easy one for sure. 0:31:18 - Speaker 4It's funny you say that, tim, because it's for me, storytelling wise. I found it way more interesting. I mean, i like the tune, i Like the turnaround after the chorus on the bridges, wildly out of place, like I just It, just it. It shut my brain off for this song. I was like, oh cool, i'm into this bridge comes. I'm like what the fuck is this? Is this like the same band I'm listening to, but the the references to tableau we've on which I had to look up. I was like a nativity scene even. More or less, i would assume. And then the other one, romana, clef, oclef, all these French references in there seemed really cool. Like this is again Because I think musically I liked the other ones. They stuck to me much quicker. I did a lot more digging in the lyrics for this one. I really liked. I really liked All the lyrical references Reveal more as the songs go on. 0:32:27 - Speaker 1Yeah, it's pretty loaded, it's really loaded Yeah okay, so we go next to a pretty menacing song, and especially menacing when you consider this one was a single and And it's fucking tremendous. 0:33:15 - Speaker 5Some. The truck's gone. The wind overlanded a real rainbow, like a new much star, when you could see everything but a logical factor. But ten bucks in just to get the tank chopped Oh, dang it. I found a place to stop and infrared it. It's a truth. We had a place where the copters won't spot it And I destroyed the man. I never even thought I'd forgotten. However, every day I'm dumping my body. If they better for us, they don't understand. If they better for me, they don't understand. Oh, dang it. I found a place to stop and infrared it. It's a truth. We got a place where the copters won't spot it And I destroyed the man. I never even thought I'd forgotten. However, every day I'm dumping my body. If they better for us, they don't understand. If they better for us, they don't understand. If they better for me, they don't understand. Let me out. 0:36:43 - Speaker 4Let me out, let me out. 0:37:28 - Speaker 1Let me out. 0:37:53 - Speaker 4I just love it. The second solo is just like towards the end. It's so awesome and I'm gonna pull a tim from Portland right now. The fucking fade kills me. Like it's so fucking cool man. The guitar solo is so awesome. I'm just like just fucking end it, guys. And they fade it and I'm just like you motherfuckers I never noticed it before you said it's him and then I start listening to songs like these. Or I'm just eating up the guitar solo at the end, like it's fucking mac and cheese And they just take the plate away from me. Dude, it's like eating a mac and cheese. There's some on the plate and the waiter just comes by and fucking takes it and says Sorry, here's the check. 0:38:51 - Speaker 3I hate to say it, but these fade outs make me pissed on a couple of levels. I mean the song Courage. The very first time I heard it in the car it fades out. It's an okay fade out, though, but as I heard it fading out in the car, i cranked the volume all the way. So now get the last, as I wanted to finish the song, you know, and the other part of it that pisses me off, it makes me frustrated, is never having heard them play live. I mean, they didn't fade out songs live. So it's like I wish I could hear the song live and hear how they ended or see what happens. So that's, you know, that's a don't want to spend so much time on that, but yeah, i feel that this song is. It's so heavy, it's pretty gnarly. The lyrics are crazy, you know, the storytelling is very sinister, dark, dumping the body. Be better for us if you don't understand. And then you know, after diving into this one further, i read about the story about Caroline Case, which, judy, i'm sure you know, this Toronto mother of three whose car was found overturned and wrecked and the bodies didn't show up. And there's this whole story that ties in with the song. That's just amazing. It's just such a dark song. It's cool. I mean I appreciate the level of storytelling and kind of malice and all of those things with us. 0:40:38 - Speaker 1Yeah, it's really fascinating that they can go to these dark places. You know, the last couple records have been have been chock full. This one so far is a more lively, less dour sort of record, but we get our first taste of it here and, yeah, maybe it is better for us if we don't understand. 0:41:01 - Speaker 3Yeah, agreed, it's just dark on many levels, you know. But again, when I read the story about Caroline Case and that whole tragedy and mystery, it's like fuck, what Amazing bits of information to call together to create a song about. Pretty cool. 0:41:24 - Speaker 1They've all gone and will go too. 0:41:27 - Speaker 3I thought maybe this was about like the difficulties of being on the road and traveling and playing gigs, setting up, tearing down. You got this massive country to drive across zigzag. You know it's kind of a. To me it was kind of a filler song with a long ending. You know it has like a 30 second ending, which is a little unusual, so I didn't listen to this one. A whole lot, a whole lot of extra times. 0:42:00 - Speaker 1How about you Pete? 0:42:01 - Speaker 4I'm in a second-day emotion Smokey And I say the opening guitar lyric was interesting, although very 80s, 90s. You know they, somebody in that band loves John Cola from Huey Lewis in the news because that guitar tone is just, it keeps showing up, it just keeps showing up. I think I don't know that Alanis ever listened to much Huey Maybe she was a hip fan, but I a lot of her music too, that I listened to that. Those, what are they? it's like a univive or something that he's using on the guitar, just keeps showing up And it just sounds a little dated. Because I feel like back when people were using those effects, they didn't have anything cool to play on the guitar, they just had a cool effect. So like playing anything was like, hey, be impressed because I've got this amazing effect. I'm not playing shit on the guitar, but it's a cool effect, right? Right, guys, you know so. But yeah, the song all in all doesn't do a ton for me. So what about you, jd? I don't know. 0:43:19 - Speaker 1Well, i think it's fascinating that this is the first mention of production really that has been brought up. I mean, you've mentioned guitar tone a couple times. but yeah, it's a slick, it's a slickly produced record. This guy who produced it produces a lot of like metal And if you know about the production of metal, oftentimes it's got a real clean well, real clean and focused kind of sound, very precise, and I think we get a bit of that on this. I'd almost love to hear what this record would have sounded like with Don Smith producing it, who produced the last two. But we get a taste of that when we go into the next record and they start to self-produce and they start to. it's almost like this record. they go as far as they've ever went production wise, and then they go completely the opposite direction, you know, for the next swath of records, and go sort of back to basics. 0:44:30 - Speaker 4Feels formulae And that, like, like I heard on the first couple couple records, like I felt them like really trying to go into the space of of being obscure and trying their own shit. And then maybe the record label was like All right, guys, enough, your crap, we're going to get a fucking big time producer. And then he's gonna you guys are going to be staws. you know, like I don't know what the fuck they were thinking. I feel like this is kind of that, although it's a good record. But yeah, i hear you JD. 0:45:02 - Speaker 1You know, for many fans this is their favorite record, so it's it's. It's tough. It's tough to be objective about it. It's not my favorite record. I've got another one that's my favorite And we'll get into that soon, but I hear that I I could. 0:45:18 - Speaker 3You know it resembles a following an athlete who goes amateur to pro. Yeah, this, this felt like this album. You know I don't want to get into it as if we're ending, but I agree with that JD. 0:45:31 - Speaker 1Well, the next next track we get is the titular fully, completely. 0:45:37 - Speaker 3As a title track, accidentally listened to the song first, instead of the first track, you know, searched the album and this thing came up. And I was getting ready to drive, to sit in way and then realize it was the title track and I was not, i wasn't 100% sold, i wasn't a kind of questioned certain things about it as a title track. Or I heard, like Eddie Vedder and Pearl Jam in there, you know there's just it's this kind of never ending guitar riffing. If you listen to it really closely, there's a right channel tambourine happening. There's a total afterthought production thing. It's like, hey, let's just add in some tambourine, like it's there If you really listened closely and it's it's. That made me like the song more because it added this kind of fun element to it. But I I thought it was not the strongest for a title track. I thought it was just okay. 0:46:38 - Speaker 1This is our first title track we've ever got as well Right. Yeah, can I? 0:46:44 - Speaker 4ask you, JD, was this a single? 0:46:46 - Speaker 1This was. This was the last single on the record. 0:46:49 - Speaker 4Okay, because I I have the same Tim. You mentioned something about the tambourine. I think that's so funny, because I I felt the same way, of course, about the tambourine, but also the, a lot of the guitar licks. I feel like if the song was just raw, maybe, maybe, maybe Gord Downey stepped on the gas a little bit harder with the, with the vocals, it would have been a totally different sounding song, but I think it was recorded. And then afterward producers like Hey you, you guitar guy, come in here, throw some more licks down here. What do you want me to play? Just do something. 0:47:26 - Speaker 3Yeah, and it's like Hey, who's your friend over there in the corner? Can you play tambourine? Come on over here. 0:47:32 - Speaker 4You know, but like I, i yeah, i feel the same way. I couldn't like super get into it, but I thought the guitar solo at the end was a huge, was really like the slide all again, all the licks. In the beginning, like I didn't dig that, but the solo at the end was really big payoff And I could see how this song at a show. Jd, maybe I'm wrong, but I could see them taking this at a show and just fucking do a 15 minute version of it. 0:48:01 - Speaker 1That's what I was going to say. I was going to say this song was one that wasn't my favorite for a long time And then it grew on me And now I would say it's like a top three on this record for me. Live It just slayed Yeah. 0:48:15 - Speaker 3Just slayed Again, where I had the same sentiment, pete, where I just wished I could have heard this type of song live version, because you hear certain things when it's recorded and you wonder, like, why was it produced this way, or why was this thrown in, or why this or why that? And you know that there is a more raw version of this out there And it's like you got to get through the, the, the meal that's prepared for the pictured menu item, when you walk in the restaurant and you think, okay, that's, that's supposedly what I'm going to get, and then the live version is like nah, here's your fucking mess of a meal. It's going to taste the same way, but this is actually what it looks like. That's, that's, that's what I thought about this song. 0:49:02 - Speaker 4Tim, i couldn't, i would not to take it a step further, but I'm going to take this stuff further. It's like getting through a shitty Thanksgiving dinner because you want to go out drinking later And then and then, after you've been out drinking to like three or four in the morning, then you hit up Taco Bell or whatever it is, and that's where the that's where the real joy of eating comes in. And that late night meal is the fucking live version. It's 100%. We're at where I die on this one. 0:49:30 - Speaker 1All right. Next up, we go to 50 mission cap. 0:49:59 - Speaker 5The barilco disappeared that summer. He was on a fishing trip, the last goal he ever scored. They didn't win another 1962. I stole this from a car. I worked it in. I worked it in to look like that. It's my fifth mission. And I worked it in. I worked it in. I worked it in to look like that. The barilco disappeared that summer. He was on a fishing trip, the last goal he ever scored. They didn't win another 1962. I stole this from a car. I worked it in. I worked it in to look like that. It's my fifth mission. It's my fifth mission. It's my fifth mission. 0:53:45 - Speaker 3It's my fifth mission. I worked it in. 0:53:54 - Speaker 5I worked it in. I worked it in, i worked it in. 0:54:07 - Speaker 3I worked it in. I worked it in. I worked it in. I worked it in. I worked it in. I worked it in. I worked it in. I worked it in. I worked it in. 0:54:42 - Speaker 1I worked it in. I worked it in, i worked it in. 0:54:58 - Speaker 3I worked it in. I worked it in. I worked it in. I worked it in I worked it in. 0:55:17 - Speaker 1Basically, just put a melody to this hockey card, sentence or paragraph rather, and boom, there's the verse. You know it's crazy, like I've seen the card before. And then you get this brilliant anthemic chorus 50 mission cap. But even it is a little deeper than just a brainless chorus because it's a 50 mission cap. And then the next lyric is I worked it in, i worked it in to look like that. So is the protagonist here somebody that really truly is wearing their 50 mission cap, like with pride? or are they trying to sneak by, you know, to make somebody think that they've been in their 50 missions? I don't know like, but I fucking love thinking about it. How about you, Pete? 0:56:08 - Speaker 4Okay, so the lyrics certainly seemed like he was reading from something Clearly. yeah, that's what it was, and I don't know if that's a if. when he said JD, you mentioned like I made you think that or something. What was that You said a second ago about the lyrics? 0:56:27 - Speaker 1like Oh, I worked it in to look like that. 0:56:30 - Speaker 4I worked it in to look like that. Like maybe he's referencing people who you know. unfortunately there are those people who, who would wear a 50 mission cap and never, you know, completed a mission in their entire lives. you know those, those fakes. But the song wise is just, it's an amazing song Looking at who Bill Barilko was And ironically, his body wasn't found until the years that Leafs won the cup next. 0:57:04 - Speaker 1They found his body, and then the Leafs won it. 0:57:07 - Speaker 4It's almost like he was cursing it right. Yeah, yeah, yeah, yeah, that's yeah. Sorry, that's what I meant to say, sorry, no, no, no, it's so cool And I took a deep dive into this. You mentioned all the other stuff already about the amazing chorus. I love the squeaky back of vocals made an appearance again. The guitar lyric, or the guitar after the chorus, does this thing where it goes up and down by half steps and it's just so. It doesn't sound like it fits the song, but if it's the song perfectly, and Tim said this is clearly a hip song, because it is And it again might be my favorite on the record, but other stuff, that it's a staple at the home games when the Leafs are warming up, and also, what else did they say about it? Oh, that in the like the private lounge. I'm not a big hockey fan because I grew up in Southern California. You are Tim? No, i'm Tim Brown. Yeah, yeah, no, yeah, it just, it's just hard. But even though we had Wayne Gretzky, but that there's a, there's a handwritten lyrics signed by Gord Downey in the players lounge, it where the players hang out, and that Bill Barolko. Anyway, and when the when the hip would play the Canada Airlines Arena or whatever, they would leave up on Bill Barolko's jersey his number. 0:58:50 - Speaker 1Yeah, they were tired. 0:58:53 - Speaker 4But that was the only one they left up, like kind of when they, you know, change the arena for the hip show. From what I read, i don't know, but it was really cool just for that particular reference. It's what a song, fucking awesome song. 0:59:09 - Speaker 3Loved it. Loved it And it made me think about also, you know, kind of tying in with sports and war, like seeing your favorite team do so well and also knowing that they have fallen, or have you seeing them fall? There's just, there's a tone here that's like defeated but also like quit while you're ahead. I don't know. It's kind of a bit of a surrender thing. It's a great tune. I enjoyed it. 0:59:39 - Speaker 1Well, it's followed on the record by yet another tragically hip ballad slow song that you probably don't want to slow dance to once you find out what it's about, and that's weakings. 0:59:53 - Speaker 4You want to take it to him. 0:59:55 - Speaker 3I mean, it's a hell of a mood song, right? I think there's some banjo in there. Is that what I hear? Some? banjo Doe bro. Doe bro, some doe bro plucking. I maybe gave it three listens and, as not being a diehard hip fan, it's one of those placements in the album where I get it and get why it's there, but also just I move on. It's. There's a couple. There's some good lines in there. Can't be fond of living in the past, you're not going to last. It's like someone getting caught or being in the middle or guilty or jail time or yeah, it didn't, didn't move me. Oh Tim, oh Tim. It's probably Pete's favorite. 1:00:52 - Speaker 4I couldn't disagree with you more. I wouldn't say it's my favorite. I will say this song and this band continues to amaze me with its ability to just be super heavy and then go into these little acoustic tunes that they throw. I call this. You know, this is like when they're in the studio. They're like okay, this is going to be the acoustic song, but it reminded me of how great I felt when I listened to Fiddler's Green on Road Apples. 1:01:22 - Speaker 3I thought of the same. I thought of the same. 1:01:24 - Speaker 4Yep, had that vibe, yep, the intro with the sound effects and the animals and the birds, the bluegrass vibe. There's a line in there that I love is so good. I can't remember the first part. The second part is hung with pictures of our parents, prime ministers, as just such a fucking cool line, and I did some a little bit of research on what was going on with the reference of. You know they were watching the Held, their Breath or Whispers, and the CBC News, that's right About a guy named David Millard who was served like 21 years for a crime eating committee. You got it. It was like you know. There's a lot of that in the US justice system too. 1:02:19 - Speaker 1Oh, right Yeah. 1:02:20 - Speaker 4It just was such a cool fuck Like what. I don't know if the guy's still alive. I don't know if you heard the song when it came out, but what a fucking. 1:02:29 - Speaker 1Yeah, i mean coincidence, i think, is the word you're looking for. So this record comes out in 92 and in 91, millard and his people are granted the ability for a clearing of his name And it was 20 years that he was in prison for a rape that, a rape and murder that had occurred in 1969. So basically, the guy is born in 51. His almost his entire life is around this, this tragedy. Right And Gord took, you know, a simple acoustic guitar line and turned it into an epic story of the beginning of the exoneration of David Millard. 1:03:29 - Speaker 3So I hear the reasons why and I understand, i get it. I guess there's just for me, okay. I guess for me experiencing an album and thinking it as like a book, and you're going through the chapters and you know some, some chapters, you're like, oh man, i love where the character development is going And then all of a sudden you experience this, this downfall, this, this unfortunate event. You know, and it's the wild ride And I'm trying to. I honestly thought, okay, honestly thought Pete probably loves this song, fiddler screen, etc. Everything you said. You know why. Why is it that this is triggering for me personally, in the cadence of an album, to hear something like this and be like, come on, you guys, let's just get to more good jam and stuff. I don't know, maybe it's the time of year, maybe it's winter, maybe it's the holidays, which I like have a love hate for. This is just. This is just one of those tracks that I was waiting for in the album. It's like, okay, here we go. Who's this song about? That was fucking kind of real. What did he not do? 1:04:44 - Speaker 5What did he not? 1:04:45 - Speaker 3do? to go to jail? God damn it. Fucking injustices in the world, All these things. It's like fucking, another fucking ballad about God damn it. You know just, it's just like this emotional roller coaster. It's like, okay, what else we got, What are we moving into next? You know that's in the hip albums. To get to this type of song, I'm always like, okay, there's only a couple left. Where are these guys going to take me? 1:05:15 - Speaker 1And where do they take you next? 1:05:19 - Speaker 3Where with all? so where with all you know, you jump and straight into some jammy chords. The scene's pretty calm, i thought for kind of the guitar progression. The, the baseline, really hit me as like 80s metal, rat motley crew, maybe G&R. 1:05:43 - Speaker 4I. 1:05:46 - Speaker 3This song, JD the producer what you said. His name? Christiane Arias. 1:05:51 - Speaker 1Yeah, right, it's a Greek last name. 1:05:53 - Speaker 3He can ever say eat all over this one, i Guarantee it. You know so it's. I thought you know there's some single, maybe some single potential here, but wasn't really sure. It's fucking short. I Read up on it a little bit with the Richard Dawson controversy and references towards Nixon and Those kinds of things, but this song overall and the band was like fine, you can have it. We're making it less than three minutes long, interesting track. 1:06:30 - Speaker 4Yeah, i said the same. I mean I had the same. I'm feeling about it, the private thing that I that stood out most because the guitar was just so prominent. It's easy to say the guitar was awesome and heavy and all that, but I really like the drums, really dug the drums in this one. I thought the drums drove it. I was interested in the Nixon reference because I didn't really know what the song was about. I did a little bit of digging and, tim, i don't know your, your thoughts around Nixon. It's crazy because My dad liked Nixon, like he was very sad when Nixon died And I know a lot of people who hated him. And then I, you know, when I grew up and kind of learned about who he was, i was like if not really That great of a guy, especially when all the tapes came out on everything. But Yeah, it's funny too, because if it is about Nixon, i'm like where does where do Canadians? That's like. You know, what do I think about a former Canadian Prime Minister? I don't think I can Name a former Canadian Prime Minister before Trudeau. If you had a gun in my head, jd, i'm sorry. 1:07:49 - Speaker 1We're used to it up here on the roof. Yeah, man, it's, but I am getting a little concerned about all the guns to the head references. That's like your fourth in terms of the podcast. Just Just you know. Checking you out, just make it sure everything is all groovy over here. 1:08:13 - Speaker 4Yeah, so, so, that's, that's what I got. 1:08:16 - Speaker 1Okay, so that brings us to the last song on the record, and that is El Dorado. 1:08:44 - Speaker 5El Dorado, when It's a man's size 10 times. Look in here. It's all hard work. What's that smell? Smells like coffee. It smells like coffee. If you regret it, please say something Like I know, jesus, the evil makes me calm and I know it makes me calm and I'm a loving. Ring a brother in love and ring A brother in love and ring a brother in love and ring It's a man's size 10 times. It's a man's size, elder of all. I don't know what it is. You can't take it. You can't take it. Where we going. What's that taking? I tell some men shed a hood and makes me sexy. Where we going makes me sexy. I'm a loving. Ring a brother in love and ring A brother in love and ring a brother in love and ring It's a man's size inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside, inside. 1:13:16 - Speaker 4Wow, you know what? I was always because my buddy had a Ford Ranchero, Which was the Ford version of the Opium, And he had a champagne colored Ford That he sold to some guy in Denmark. It was a 76 or 74 and he sold it And I'll never forgive him for it because it was the coolest fucking car And it just smelled like gasoline and it was loud And it handled like a fucking tank And it was just Oh yeah, mine didn't have power steering. 1:13:49 - Speaker 1Oh no, none of that Dude. 1:13:51 - Speaker 3My uncle, chris, had a light blue Ranchero I don't know early 70s And it was so large for two doors and seating maybe for two and a half people It was the biggest vehicle. When I was 16, he had me drive it from his house to my folks house And I remember scared to death that I was just going to hit a parked car Because I felt like I was driving a car that was two cars wide. It was so gigantic. But fast forward, i guess maybe My grandparents owned Eldorados. They had two specifically. I remember A Block 4 door and a White 2 door. They had like a Coop early 80s Eldorado And those were. I mean they were like Rolls Royce's to us As kids. We thought they were, we were riding around in limos, you know these were like the nicest cars. So I totally get the car reference, 100%. The 2 door one that my grandparents had. I was in the back seat trying to get to the front seat, dropping my grandmother off somewhere, and she closed the door on my leg And I thought I'd never walk again, i mean those cars were just behemoth. I was like I was like 7, maybe 7 years old, But the reference is here just to get into the song, and less about cars, you know, But World War I in Canada, basically coming over to serve the motherland And fight Germany, it's just, that's all just so heavy. You know the line Berlin makes me sexy, making me sexy. That one tripped me up a little bit, You know. I was like okay, are they implying This kind of glorification of war? you know, are we now, is Canada now I say we as a full Canadian are we now in this kind of limelight Because we came across the pond to fight, you know, And we're going through Berlin And we're seeing the separation there And we're hanging out at where is it? Where the US had their base in Berlin, Oh gosh. 1:16:07 - Speaker 5It's um. 1:16:09 - Speaker 4I don't know, were you born in Canada too? No, oh. 1:16:15 - Speaker 3What was it called? 1:16:18 - Speaker 1His pick Canadian accent, doesn't it? Come on, tell me voted guys. I'd have to edit that out. 1:16:25 - Speaker 4Hey now, hey now. 1:16:27 - Speaker 3But anyways, like the Berlin making me sexy part Just makes me think like maybe Berlin was the shiny object Kind of around that time. And it's this beautiful song. There's this amazing bass, there's these big fat toms going on with the drums. You know, i imagine that was just at their recording room to kind of reel those in. I thought it was a good closer for the album. 1:16:59 - Speaker 1Yeah, I do too. Pete, where are you with this one? 1:17:02 - Speaker 4I well, definitely we need to continue our conversation in a later date About Alderados and Rancheros, but I dug it. I really liked it. Probably my favorite part about it was the second verse. There's some really cool like sharp guitar licks in there And the lyrics are really syncopated. The where, when he, when he's I can't remember the, i can't quote the lyrics specifically, but the syncopated lyrics are really cool. Again goes back to him being I'm sure it'll just get better like a fine wine Out. What a great phrasing lyricist. He is a singer, but I didn't. I was a little confused about the Berlin makes me sexy to Tim And I dug in some like forums and I just thought the funniest thing was And, by the way, i know we apologize to the listeners and I won't do that anymore But I really want to apologize to the band because I love this band, like I love this band, and I hope that if anybody ever hears even a fucking sentence of this podcast from that band, that I have the utmost fucking respect and admiration for them because they're fucking cool. But that being said, somebody said this song was written under the influence of little bat blue and Jack Daniels And I just was fucking rolling in my chair. Hilarious but cool. Good tune to end the record, yeah for sure. 1:18:41 - Speaker 3I got the Berlin reference around Berlin making me sexy. Maybe that had to do with, like checkpoint Charlie, right That's. I don't know. I was not really. 1:18:53 - Speaker 4Wasn't Charlie Vietnam. 1:18:55 - Speaker 1No, no. Charlie in Vietnam referred to what the Americans called their enemy on the Vietnamese side. They called them Charlie. No, it's the crossing point between East and West. 1:19:11 - Speaker 3Yeah, it's the crossing point between East and West Berlin Shows my World War II. It still exists. 1:19:16 - Speaker 1It still exists my Hey, pete, your World War II knowledge isn't that bad. You just don't pay attention to sequels. I don't watch that. You read about World War I and you were like, yeah, man, i don't need to read the sequel. 1:19:29 - Speaker 4Seriously and everybody's paying attention to the possibility of World War III right now, and I was just like guys, i don't care, this is stupid, it's all about WWI. Anything they make after that sucks. 1:19:46 - Speaker 1It's all computers now. You haven't seen a war until you've seen a horse full of wagon in beautiful black and white Double speed. 1:19:58 - Speaker 4This podcast took a really dark turn. I love it. 1:20:01 - Speaker 1So I have a question for you. This is their third full length record, But this one came out like less than a year after Road Apples. Road Apples was 91 and this is 92. 1:20:21 - Speaker 3Which was unusual for them, right. 1:20:23 - Speaker 1It's unusual for any band like at this point, but like, certainly, if you were going to do that, you think you'd do it in your first and second record, not your second and third. You know that's. It's just interesting to me that they were able to come up with 12, like, like, pretty great fucking songs and put them to wax, you know, so short of time after Road Apples. I just wonder if. 1:20:48 - Speaker 3Why the hustle I? 1:20:49 - Speaker 1don't know, i don't know, was it? 1:20:52 - Speaker 3a. Was it a kind of a I hate to say it, but like a cash grab to get them to next size venues on tour, because man traveling across that country to only hit like 200 to 1,000 or 1,200 fans and then to go to like 3,000 to up to 5,000 fans per show. That's that's a hurry go. What were they doing back then? 1:21:18 - Speaker 1They played Maple Leaf Gardens on this tour and then they opened their Canada Center on this tour, which is the where the Leafs play and the Raptors play, and then they started a summer festival. They did a summer festival across Canada and maybe a couple cities in the States called another roadside attraction And that's where I first got to see them on my 19th birthday, july 24th 1993, in Markham Fairgrounds. I I got to see them live for the first time And it was almost like out of a storybook, because I got so incredibly drunk and high and I passed out during the band that went on before them and slept, slept basically the whole time on the ground, and then woke up magically when the, when the hip went on and I was fine. 1:22:15 - Speaker 3Oh, i would love to go back to that moment, the three of us with JD right now, that would be so fun man. JD come on, bro, it's time, wake up, yeah. 1:22:26 - Speaker 4I don't know if you, i don't know if you asked your question, jd, but I was going to comment on what you said Because I feel kind of the same thing. I don't know if it was a cash cash grab either, tim, but I feel like this was the push where the record label finally said look you, fuckers, we've, we've put a lot of money into you. You're going to make a hit, and they brought in this big swing and dick of a producer And we're going to fall through the roof, so to speak, and being as. That never really happened. Maybe that's where, you know, we lead into their fifth record, which will be next week, to to kind of start exploring their own, you know, being more themselves instead of living for you know what they, what they think they should be commercially. 1:23:21 - Speaker 3Yeah, i think so, maybe, maybe. I mean, this was an era where bands were not getting paid enough but making a living off of selling albums, selling CDs. Yeah, you know, i mean we're. We're years away from MP3.com kicking off. Yeah, that's right. And so anyone anyone in the biz back then who saw this band doing well and saw fans at shows across Canada going bunkers and knowing that people were doing the tour or doing all the West Coast shows or doing all the East Coast shows, you know, like any, any band manager would have been like let's knock out another album I know this one's going to kick ass. Let's get this metal producer in to you know, organize everything and let's keep keep it all going. And I guess this is the album that made them realize they could do it on their own, which is fucking amazing, because a lot of bands in the 90s would not even step out, no way. 1:24:31 - Speaker 1Yeah, we're going to find a market shift in the sound and tonality of of this band starting with the next record, day for Night. If you've got anything you want to say to wrap up this record. 1:24:46 - Speaker 3I just wish I had my grandparents El Dorado, out front with some hip on the eight track. Did they ever make eight track tapes? Oh man, wouldn't that be cool? I'll just, i'll just fantasize about that with what JD passed out in the back and P all hyper in the front seat. That's, that's. That's, that's my, that's where I'm going to leave it. 1:25:09 - Speaker 4Same here, man, same here. I wish we wish we had a wish we were driving around in the champagne colored Ford Ranchero with a, with a 24 pack of the bat blue on the on the floorboard. 1:25:24 - Speaker 3Love and the smell of fuel. 1:25:26 - Speaker 1Yeah, All right, as we do every episode of the show, we are asking each of you, fellas, to choose your MVP track for the record. Fully, completely, tim, let's start with you. You, son of a gun. 1:25:46 - Speaker 3Yes, So my favorite song off this album was definitely El Dorado. You know, went back and listen to it a little bit more And there's even some. there's some Michael Steip feels in there, just literally. 1:25:57 - Speaker 4I can't wait, man. 1:25:58 - Speaker 3Just with with the way Gord sings, you know they're so. They're so much from the nineties going on on these albums. It actually makes me miss the nineties. I often think of the eighties as being just so spectacular, but the nineties were for music. It was so good to, and this, this is just one of those songs that maybe you also want to listen to. Just a bunch of other stuff. So I'm going with El Dorado. 1:26:23 - Speaker 1Cool. What do you? what's going to be your playlist song there, pete? 1:26:33 - Speaker 4The hundred meridian hands down, the phrasing in it, the historical content of it, how I'm aware that that line physical line, not lyrical line, the importance of that and how it will eventually play into other hip references in the future too. It's just, it's fucking cool man, It's going on those for sure. 1:27:03 - Speaker 1Awesome. I can't wait to hear these lists as they as they grow in stature. All right, that's what I have for you this week. So there's that. Hope you enjoyed yourself as much as I did. See you next week, fellas, pick up your shit. 1:27:24 - Speaker 2Thanks for listening to Getting Hip to the Hip. Please subscribe, share rate and review the show at GettingHiptotheHipcom. Find us on Twitter and Instagram at Getting Hip Pod And join our Facebook group at Facebookcom. Slash groups slash fully and completely. Questions or concerns. Email us at JD at GettingHiptotheHipcom. We'd love to hear from you. Support this podcast at — https://redcircle.com/gettinghiptothehip/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

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

Episode 14 - My Special guest is Don Smith he was part of NJ News 12 and has his own show on YouTube and also you can catch him on 880am Radio too. Man like every show we had some fun we talk about traffic some March Madness ( even though it's over LOL ), But we also talked about cars, sports, movies. I will say Don was a great guest and always welcome to come back !!! YouTube - @tristatetrafficshow Instagram- @ohdontraffic. Radio - 880 am Radio

There are many places you may know Don Smith from. It could be as a neighbor. Perhaps it's from his years on News 12 and TV35. More recently you might see his morning Tri-State Traffic Show or hear his voice doing traffic updates on WCBS Newsradio 880. On this week's Cranford Radio podcast, we learn how he made the journey from volunteering at Cranford's hometown channel to being seen on TV sets across the state.

TL:DR - If you're short on time and want to hear some of the gems of wisdom, life philosophy, and his transformation journey from ad creative to the inventor, here are 7 minutes of critical soundbites from Don Smith. If you have time on a run, cycle, or drive, check out the entire episode. Now over to Don. Don is an inspiring example of how transformation can occur in one's life if you set your mind to it, take bold actions, and seek help and advice from experts.From a career as an advertising creative, Don is now the inventor of 1nhaler, a single-dose, dry-powder, and pulmonary inhaler, and is also in development with KELP Systems, a revolutionary marine energy delivery system.I learn a lot from my guests, but Don has made me reframe my view of success and failure after hearing him explain the concept of Emergence.Don is not only a master storyteller, but he's also a domain expert in branding and is on track to make a difference in people's lives through his 1nhaler invention. Hosted on Acast. See acast.com/privacy for more information.

Don Smith is this week's guest. I won't say much about Don other than he is an inspiring example of how transformation can occur in one's life if you set your mind to it, take bold actions, and seek help and advice from experts.What we discuss Don explains his fluid view of who he is (4.00 - 6.00)I ask Don about what and who made him and his principles and ethics and references the OCEAN framework, Nietzsche, and the impact of being a father(7.50 - 13.10)Don explains the impact of his recently deceased Father and being a man of action(14.00 - 25.30)Don discusses the serendipitous impact of his Mother's tenacity, which opened up a work placement in an ad agency that set him on his career path. (26.30 - 30.00)Finding his Mentor and second father (32.00 - 30.00)Don reflects on serendipity his curious, rebellious non-conformist characteristics, (34.00 - 36.00)His natural talent - his empathy enables him to create ideas or products of value(36.00 - 37.30)What people compliment him for - conscientiousness, and hard work ethic (38.00 - 39.30)Don discusses his relationship with creative partner and artist Alex Paton 39.30- 40.25Don explains the emergence of his 1Haler Invention, developing the idea and realization of his limited executional knowledge (41.40 - 46.30)He then breakdown the impact and importance of asking experts and building a network support system and finding his commercial partner to bring his product to market (47.00 - 49.50)Don demonstrates how the 1nhaler works ( you can watch on YouTube (50.00 - 51.30)I ask Don about the importance of being unreasonable and not accepting the status quo (53.35 - 56.00)Don explains how his belief in the theory of emergence enables him to deal with success and failures (56.30 - 60.00)We discuss the role and impact of AI on the current education system and the importance of psychology and philosophy as skills for children to develop - referring to his son (1.01:17 - 1.02:00)The importance of discipline (1.02:00 - 1.04:30)The role of family (1.05:00 - 1.06:00)Speaking to the dead…and what we would have asked Alan Watts and Milton Glazer (1.06:30 - 1.07:30)The impact of Charlie Robertson (1.09:20 - 1.13:30)Don discusses KELP Systems (1.14.20 - 1.16.00)Don's hope that other creatives 1.17:45 - 1.19:55My challenge to Don 1.19.30Social Links KELP SystemsDon's SiteDon's TEDx Talk Interview With Don LinkedinLinks Epictetus Alex Paton Emergence Theory Ludwig von Bertalanffy Hosted on Acast. See acast.com/privacy for more information.

 In this episode, 2 Australian HIV experts share their thoughts on some of the most important HIV insights gained during the past year in the context of HIV care in Australia.Specifically, the faculty discuss the continued dominance of second-generation INSTI-based regimens as mainstay HIV therapy in Australia, including in both 2-drug and 3-drug oral regimens; the emergence of 2-drug long-acting injectable therapy as a switch strategy; key aspects of successfully expanded oral PrEP programs in the region; the potential role of long-acting injectable PrEP; and key new advances in HIV cure research.  Presenters:Sharon R. Lewin, AO, FRACP, PhD, FAHMSDirector, The Peter Doherty Institute for Infection and ImmunityProfessor of Infectious DiseasesUniversity of Melbourne  Consultant Infectious Diseases PhysicianAlfred Hospital and Royal Melbourne Hospital  Melbourne, AustraliaDon Smith, MDConjoint ProfessorSchool of Population MedicineUniversity of New South WalesSenior Staff SpecialistAlbion CentreSouth Eastern Sydney Local Health NetworkSydney, AustraliaContent based on an online program supported by an independent educational grant from Gilead Sciences, Inc. and ViiV Healthcare.  Link to full program:http://bit.ly/3YD8T4E  

This week,  we speak to Grammy Award-nominated producer/engineer Paul Fig about how he works and develops his craft. We also discuss the rich history behind his studio, www.davesroom.net, in Southern California. While working at world-famous Sound City Studios, Fig had the opportunity to practice every aspect of his trade, working with such luminaries as Joe Barresi, Matt Hyde, Don Smith, Matt Wallace, David Bianco, George Drakoulias and Greg Fidelman. During that time he worked on albums by Ry Cooder, Robert Cray, and the legendary Johnny Cash.Fig has since put his stamp on records by Deftones, Coheed and Cambria, Trivium, and the critically acclaimed Ghost B.C's 2013 album, Infestissumam. In 2014, he received a Grammy Nomination in the category of Best Engineered Album Non Classical for Alice in Chains “The Devil Put Dinosaurs Here”. Most recently, he Co-Produced and engineered Jerry Cantrell's new solo effort “Brighten” which was released October 29, 2021.Despite working all hours in the studio, Fig also finds time to compose and record music for television and film, including the HBO Docu-series “Sonic Highways”, The Motion Picture “The Collection”, Fox Sports, and MTV. Michael Hateley:Lotus Mastering http://lotusmastering.com/Hello CrowHello Crow, Michael's new EP is available now! Extra Fancy "You Look Like a Movie Star":https://youtu.be/0pE1TqlWHCkBaldyloks (Michael Hateley & John Napier):https://baldyloks.bandcamp.com/Dee Madden:https://www.deemadden.com/Dee's new album Paisley Madrigals is out now!Penal Colony “Blue 9” video:https://youtu.be/Fes9E3ea8FYDee Madden on Spotify:https://open.spotify.com/artist/4jsYxJ4QxzoGn9t0HRllPkAnu Kirk:https://www.anukirk.com Anu on Bandcamp Sid Luscious and The Pants on Bandcamp Luscious-235 on Bandcamp Rêvenir on Bandcamp

Water-wise gardening is more important than ever in the west, and part of this includes irrigating properly. Don Smith, Water Management Coordinator for the City of Folsom, joins me to discuss everything irrigation. He covers which sprinklers are best if you do have a lawn, how to lay out your drip irrigation for optimal coverage, and are “smart” controllers worth it? Plus, he reviews how to convert a PVC system to a drip system, and how to know how long to run your irrigation. More water conservation information can be found at: Website: ca.us/government/environmental-water-resources/water/water-conservation   To ask questions for future shows, submit them at: Facebook Instagram email Marlene at marlenetheplantlady@gmail.com Find Marlene over on YouTube, Instagram and Facebook