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jD is talking to Pavement super-fan Pete from Malaga this week on the pod. You'll learn all about his Pavement origin story and hear their breakdown of song number 41 on the countdownTranscript:Track 1:[0:00] Previously on the pavement top 50.Track 2:[0:02] Okay track number 42 easily fooled comes from the rattled by da rush ep and um it's the third track on that ep and it later appeared on the sorted sentinel edition of wowie zowiereissue along with its ep bandmate false scorpion and it was track number 22 on that uh second disc of the sorted sentinels uh collection three issue so alan yeah what do you think ofeasily fooled love it love it love it love it it's on like i said to you off off air it's probably one of my favorite tracks alongside here yeah it just it's just such an amazing track Love themeandering nature of it.Just really acerbic lyrics.And yeah, it's an awesome, awesome track to jam along to.Track 3:[1:01] Hey, this is Westy from the rock and roll band Pavement, and you're listening to The Countdown.Hey.Track 6:[1:09] It's JD here, back for another episode of our top 50 countdown for seminal indie rock band Pavement.Week over week, we're going to count down the 50 essential Pavement tracks that you selected with your very own top 20 ballots.I tabulated the results using an advanced abacus and some spilled toothpicks on the floor.And all that's left for us to reveal is this week's track.How will your favorite song fare in the rating? You'll need to tune in or whatever the podcast equivalent of tuning in is every week to find out. So there's that.Track 5:[1:43] This week.Track 6:[1:44] We're joined by Pavement superfan, Pete. Pete how are you doing motherfucker getting over the fact that you said abacus and toothpicks you're like you're you're like you're like a Idon't know you're a cross between like an old Chinese medicine man and fucking rain man didn't he didn't he count toothpicks he did.[2:13] I'm good man i'm good i'm thanks for thanks for having me no it's my pleasure to have you on the show the legendary pete marchica of marchica easy easy easy so talk to me a littlebit about your pavement origin story pavement origin story um so i think it's fair it's it's it's important to point out that early on so I came to pavement right as they broke up like I was likediscovered this amazing band and the record that had just come out, was Steve Malcolm's self-titled debut and so this is the in after days and a A buddy of mine, Moe, who you know I'vespoke of a number of times, who incidentally knows Spiral well, he was burning discs like nobody's business.He was a master pirate and was burning a bunch of pavement stuff.Track 5:[3:22] I'm like.Track 6:[3:23] This band is fucking awesome. And I really couldn't at the time differentiate between the Malcolm of Souls stuff and pavement itself.And.Track 5:[3:34] I mean.Track 6:[3:35] I think probably the first Pavement song maybe I ever heard was...[3:41] Elevate me later or stereo one of those two both good songs to start with yeah and then got to the point to where i had a couple of these like compilation burns of napster tunes frompavement and uh and they just i just listened to the shit out of them i would sometimes i would leave them in my car and i noticed my mom started liking like pavement stuff because therewere like some PSO I sprinkled in there too oh yeah yeah yeah there was one song actually that was a spiral tune I want to say it was date with Ikea right and when you downloaded itfrom Napster there was a there was like a a opener tag like sometimes you get the file and the file would just be be whatever that person that was on the file sharing gave you andsometimes it wouldn't be the song but you know this happened to be the song but it would start with this really cool jingle, and this beautiful woman with a beautiful voice and she wouldjust say encoded by easy mp3.[4:55] It was uh i guess it was a mp3 encoding software that was early on and uh so i i never like i I think the first time I ever heard date with Ikea without encoded by MP easy MP3 in thebeginning was like.[5:13] I don't know when I bought my first payment record.Cause I, I ended up buying them all obviously in the years to come.And it was probably 2006, 2005.So I was listening to payment for like a good four to five years.Thinking that date with Ikea started with coded by easy.[5:38] Yeah it was like it was some random shit but oh the nowadays that brings me back man, It was a wild west, man. And you know what's crazy? And I may have told this on the...It's only relevant because of the town that I grew up in.I grew up in Downey and this high school I went to was a high school of James Hetfield from Metallica.And so they were, if you remember, at the forefront at the time of just being like, Like, fuck Napster, they're destroying the music industry, and Sal Park made the episode, this, that, andthe other.So I remember having, like, and my dad used to be a musician before he, like, quit playing music and started a trucking company, this and that.Track 5:[6:27] Dude.Track 6:[6:28] We used to have, like, discussions at the table, like, the dinner table.These would be, like, long, drawn-out discussions where I'd have to make my case as to why what I was doing was okay.Really? Yeah, my dad was just like, that is just sheer theft.You are stealing from people.And man, I mean, he wasn't wrong.Right. He wasn't fucking wrong. And I can't say that I really think that the way the landscape has changed for musicians making music nowadays via streaming platforms is better becauseit sucks.Just ask any musician. Hi. Yeah. Yeah. Pete Barchiga here.Um it fucking but yeah dude i remember that um and and pavement was probably.[7:20] Yeah they were probably the band that i had the first band that i had really discovered via like napster like i had heard the floyd i had heard guns and roses i had heard all the ledzeppelin shit on cd prior to that i had friends who had all those albums and i had a lot of those albums but like I didn't have any pavement I had no idea who they were you know so like I,I guess you could say that like, cause I mean, nowadays, I mean, I bought, I've bought all the records I've seen fucking pavement three or four times. I've seen Malcolm as countless times.Track 5:[8:00] Um.Track 6:[8:00] I've bought their records, bought their merch, paid for their concerts.Like, so there's sort of a case to be made that like Napster helped me fall in love with that band.Track 5:[8:11] You know.Track 6:[8:11] It just was a really slow burn.Track 5:[8:14] You know.Track 6:[8:15] For the band. It wasn't like, Hey, I bought your record.Or do you get this much money from it it's like hey i'm gonna fucking steal all your music and then 20 years later it'll that investment will you know appreciate if you will when you thinkabout how many different formats there have been for these for these properties right like that we you know that we that we bought different versions of them on cassette and then on cdand then back Back to LPs, in the middle, MP3s, you know, like.Track 5:[8:50] Yes.Track 6:[8:50] You could steal on Napster, but, you know, you could also buy on iTunes.And, like, my digital library is just a mess now, you know?It's just a mess of stuff that I've imported in, Apple Music, and then stuff that I've bought.And it's like, my play counts don't work correctly.And it's really, you know, just a mess.Yeah i remember back in the day before apple really got a hold on like you know encoding.[9:21] Having software that basically prevented pirating you know i would borrow friend cds and rip them to my hard drive put them on my ipod if i didn't have those cds and i waslistening to them that way um and then you know the iphone came out that sort of changed everything but it's interesting you say that about the different formats because i rememberbefore moving to europe the first time a friend of mine who is a huge apple guy like i think he's a former employee like you as well told me he said don't sell your media keep your mediado not wow like told me and i was like good out of here like yeah i didn't listen to him obviously no i didn't either and it's like god like i would have it all i would have all my cds still ihave some cds ironically most of my pavement stuff i never sold like that was the only real band and a few other gems but it's funny bring up the the different formats like vinyl cd tapeand then now what we're looking at is the fucking the reissues with the b-sides and the blah blah blahs and yes yeah and like.Track 1:[10:42] It's cool if you're like a Pokemon.Track 6:[10:48] Got to catch them all kind of guy. And I know, like, I guess what I'm trying to say is the right way because I don't want to sound like a prick.But I think I'm going to sound like a prick either way. So I'll just say it.Track 5:[11:04] Like.Track 6:[11:05] I was reading something about Taylor Swift recently, who's got more money than God.Track 1:[11:09] And you know she's coming out with like how they kind of like not scam their fans but like you know they'll come out with the same record but like the green edition and it's thisone's gold now get the gold one it's the same fucking record but this one's gold and it's like, and you know most of the Taylor Swift fans are you know, not I'm not knocking Taylor Swiftor her fans but I'm just saying like, if zepp if zeppelin came out with fucking you know houses of the holy and then and i got just a regular standard black vinyl and they came out with likea translucent one i tell robert plant to go fuck himself like you got my money already dude same fucking songs i don't need to fucking get a different edition but you know i guess it's coolif you if you if it's the only only one you have but when you're buying the same record over and over it's kind of like but then on the other hand when it comes to payment dude like dudevery few bands make money you don't really make money on vinyl even nowadays no matter how much you produce you know, they're making money on touring yeah.Track 6:[12:25] I mean, and you can see that, right? They're touring their faces off right now.Track 5:[12:29] You know?Track 6:[12:30] Yeah, I mean... They're putting in their time. Yeah, yeah.What's the... I don't know who it was. I think I've heard Spiral talk about it before.Track 5:[12:38] But vinyls.Track 6:[12:40] The point of vinyl records, and I said this too, are not to make money off of them.They're really an indicator of who's going to go to your shows, who's going to spend that $50 or $75 or whatever it is to go to your show.Because if somebody's committed to buy a vinyl of your band, chances are they love you enough to go plunk down $50 for a ticket. Yeah, that makes sense.[13:09] $50 for beers. and that's money that that goes more directly in the band's pocket than you know vinyl record but what do i know i'm i'm you know even though that's true i'm stillwaiting like to build my pavement vinyl collection because i'm hopeful that they'll release like the sordid sentinels edition the elli's desert origin edition like the big boxes for vinyl like i'mreally hopeful because right now i've got them on cd and the book you know the booklet that it comes with is fine but when you see the terror twilight booklet the farewell horizontalbooklet it's like it's big and it's you know it's juicy i don't know it's really the design work that goes into it really stands out so much more and uh i'm so hopeful they do that but what itmeans is i don't have a tremendous amount of pavement on vinyl i've got uh i've got watery domestic and i've got the major leagues ep and i've got terror twilight.[14:18] Farewell horizons and i've got uh a funny version of slanted the the version of slanted that is just like red and black.Don't you have the, don't you have like demolition plot or something or no?Yeah, I have, I have those. I have them hanging on my wall in like a display. Okay.Those are nothing, man. Yeah. It's pretty cool. People don't have those.Those are worth some money. Yeah.Well, the one I paid quite a bit for.It's weird that it's on my wall now. Now that I have a turntable.I didn't have a turntable before.Track 5:[14:59] You know.Track 6:[15:00] Like, dude, if I'm going to listen to pavement shit on vinyl, because I have a fair amount of other stuff on vinyl, i'll do it where i'll listen to them sequentially with like a friend orlike just be like i'm gonna put on some pavement today it's very rare that i will like be like i'm gonna put on fucking, slanted on vinyl right you know i have a shitty copy of slanted i thinki bought it online through like fucking urban outfitters or some shit when when they thought that you know when when pavement was the cool thing again, once again in like the, youknow, cause I never had that record, but.Track 1:[15:44] But yeah.Track 6:[15:45] I, I don't know. I mean, cause I got all the shit. If I ever want to listen to it, you can listen to it on, on, you know, Spotify or Apple or whatever.Yeah. And now they're lossless, right? Like, so, you know, they sound much better and I don't know.What do you think? It's an interesting conversation. Yeah, definitely.Track 1:[16:07] What do you think we head over to the other side.Track 6:[16:10] Though?Track 2:[16:10] We'll listen to track 41, and then we'll come back and talk about it.Track 6:[16:14] Let's do it. Let's do it. All right, let's do it. We'll be right back after this.Track 5:[16:19] Hey, this is Bob Mustanovich from Pavement. Thanks for listening.And now on with a countdown.Track 2:[16:27] 41.So there it is. Major Leagues is number 41 on the countdown.It is the fifth track on Terror Twilight, and it's the eighth track if you're using the Goderich sequencing.It's on the second side of the Terror Twilight reissue, third track. So it's the eighth song.Track 6:[20:15] This is the second song from Terror Twilight on the countdown.You Are a Light was number 45.Track 2:[20:21] And here we are at number 41. with major leagues pete what do you think so i love this song um i was talking earlier about you know the the early days of me discoveringpavement and those burned mp3 cds and i always loved this song um i mean this song was the soundtrack to breakups and and heartaches and and Lonely Times.Track 6:[20:50] Getting out of shitty dive bars with my buddy Mo.And, you know, this song, because I think I said too earlier, I alluded to the fact that there were, that I didn't know, I couldn't differentiate yet, which was Pavement and which was, youknow, Malcolm is the Solo stuff.Stuff this this has some very much some early malcolmus and the jicks vibes totally i call this the beta test yeah it's very church i get some church on white vibes yeah it's good yeah thebeta test that's well done well said yeah it's it sounds very similar to that quality but one thing i i noticed listening to it um i don't know recently was like.[21:41] Um the the harmonies the in the back towards the end of the song are just like i i don't know that i ever noticed that i don't kind of i didn't notice it either until today let's sit on thebig cans and there's also this weird weird sound occasionally in the song like uh some sort of electronic static that comes up like two or three times in in the song very subtle very weird i Ihave written down that this is like one of the most dense pavement songs I can think of.Like there's very little space. And I don't mean that as a critique, just an observation, but songs by pavement are typically very sparse.And this is, you know, there's obviously Godrich is, you know, building this sort of soundscape and then SM with the, with the lovely vocal tone, like just really lovely.Track 5:[22:39] You know.Track 6:[22:40] Know this would be a song i would grab for anybody that says sm can't sing you know i'd be like you're crazy first of all but here listen to this and tell me this man can't sing well imean i still get that people will say that because those are the people who are just like you know they just don't really get music i think they think everything should sound like a perfectpop song and that's just not music but right um yeah i i i heard the i haven't heard the hiss but this song is chock full it's it's weighty it's got some fucking meat to it and yeah i don't knowif he's doing a you know a phil specter wall of sound sort of shit trying to have no empty space or, or what but i think it may have something to do with that is it like a little drum track orsomething at the very end that kind of trails off the song it sounds like a repeating drum right.[23:40] Yeah um or some sort of like some sort of sequencer but um yeah i was gonna mention one other thing about when you're talking about the weight of the song but yeah i mean it'sit's It's, oh, the first line, lip balm on watery clay is just, I mean, dude, it's, if you could have just said that and then just, the song was an instrumental called Lip Balm on Watery Clay, Iwould have been like, fuck, dude.I mean it's relationships hey hey hey fuck dude like just it smacks of just, 90s breakup fucking early 2000s just oh god i this is one of the very few songs that when i hear it i immediatelyget transported like back to.Track 1:[24:38] Images and situations and smells and states of being yeah wow this is a big one for you oh i and a lot of people like say that like oh it's it's not one it's not one of my favorites like ican't say that shit and i i applaud you for doing the doing the countdown in my eyes is it's always different you know yeah yeah yeah this is you know yeah it's fun i got it cool yeah this iswater cooler talk right exactly and it's great to to get together and, to chat i just i i find it funny the people that want to go to the mat, over shit you know well that leads to my next questionthen one of the questions i've been asking every episode is do you think this song is fairly rated at 42 should it be higher should it be lower is it just right like for you i would say it's a littlehigh up i would say it should be a little it should be a little closer to closer it's a top 40 song is what you're saying yeah Yeah.Track 6:[25:51] Yeah. I mean, it is really... I think over the last four years, five years since the whole...[26:03] Uh pavement mania yeah landed in america once again you know um with the primavera 2019 announcement all that your podcast i think people are more um heady so you'regonna get people that like fucking the the deep cuts the the half of canyons the fucking best friends armed you know the the shit like that that are really good songs if you're a hardcorepayment fan but like top 50 songs with their massive catalog my mom wants to know about pavement i'm not gonna put on fucking you know uh flux rat or fucking uh i'm just thinking ofshit off like wowie zowie right now right right you know it's no i'll put on major leagues is gonna be one of the first like and equally i was burning a lot of fucking albums back in the dayyou know that's what you did when you when you liked a girl made a record absolutely burned her cd and this song absolutely made it i mean this is major leagues this is i remember thebartender at my at my local local marla i was so in love with her and uh i i burned a copy of sm's solo record for her.[27:33] And you know slipped it to her one night at the bar it's like you just have to listen to this i'm not going to tell you anything else you just have to listen to this you know i wanted herto hear church on white so bad but i didn't want to tell her play church on white you know yeah i just I just wanted it to happen organically if I could. But.Track 5:[27:52] You know.Track 6:[27:52] Yeah. Those were the days, man.I mean, I think nowadays, too, with so much music at your fingertips, it's really hard to get into a record.Because even when you get into a record, it's like you get into it and you let it go and there's something new.Track 1:[28:16] Knew you don't have to work for it anymore man right even even those even those early, napster days man you know you didn't i was on a 56k for a long time man i have nofucking t1, i knew people that had a t1 and i was like if i got a fucking pave song uh that i was downloading or some pavement tunes i mean i had to wait for those months and i had to sitand say and a lot A lot of times.Track 6:[28:45] Sometimes you get close to a download, it's going for like 30 minutes, and then right at the end, the fucking user drops off or, you know, it was horrible.It's horrible. Yeah, torrents change the game. Yeah, yeah.But nowadays you just, you don't, you don't have to work for anything.It's just, you have the world. It's kind of, I don't know.I tell that to my kids all the time. I tell that to my kids all the time.And that's why, one of the reasons I started collecting vinyl now and got a good turntable is because.Track 5:[29:21] Like.Track 6:[29:22] I want them to see that it's, like, something that is tangible.Like, somebody created this. Somebody made this. and it's not just this thing that lives in your phone and you know i think that's important for them you know no that's that's a really fairpoint and i i get that too and i dig it and i want to build up my media in that respects because and i think we you and i have either had this conversation privately or we've mentioned it onother platforms but there's this really really famous interview that was done in.Track 5:[29:57] Man.Track 6:[29:58] I want to say 2010. I don't remember when it was, but it was David Bowie.And it was before he died in 2016 or whatever it was.And he said, in the future, everything will be subscription-based.And this was before... I think the only streaming service, Apple wasn't out yet, Spotify wasn't out yet.The only streaming service was Pandora.Right. I remember Pandora. And it was like, I think they had just maybe launched a premium, like, if you wanted it without commercials.Track 5:[30:35] You know.Track 6:[30:36] None of this unlimited, and you still couldn't, at the time, listen to anything you wanted on Pandora. You couldn't just call up a song.It was like you could go to radio stations and, you know, this and that.But nowadays, everything's a fucking subscription.You want, oh, you want fresh food delivered to your house and pre-done meals for five days a week?Subscription. Do you want...Fucking, you name it, man. I mean, I think Uber Eats and shit like that has subscriptions. They do. People.Track 5:[31:06] Everything.Track 6:[31:08] Well, I don't know if you had a chance. Did you have a chance to listen to the Spiral interview? The latest one?Track 5:[31:13] I did.Track 6:[31:14] And ask me why. And he talks about Pavement potentially doing a subscription-based live record sort of thing.Right. Yes, I do remember him mentioning that. Because they've got a whole bunch of live...Live uh dats that they got access to and then they've been taping a bunch of the more recent shows so they might release live records on the like there might be a pavement sub somehowyeah i don't know well i'll tell you what i think they're they're in a they're they're getting under the wire enough to where they can fucking um you know i i i want the best for the boys manAnd they deserve all that's coming to them.And if they decide to do a subscription model and whatever fucking more power to them, I will say that not now, but I think probably in another five to six years.Track 5:[32:12] I think...It's it's gonna we're we're gonna reach critical mass it's gonna change because i think uh just streaming everything not just music but movies and netflix and all like you know what irealized i watched we canceled this is a more personal shit but we canceled like our netflix disney plus fucking hbo we had all those fucking streaming platforms now we have of amazonand i think that's it because you know we have like an amazon prime account and i watched probably just as much fucking streaming as i did before i'm just not pissing away fucking, youknow 80 extra bucks a month it's fun that's a good way to do it just stick with one, and then suck it dry and then you know but it's not that's the other thing too it never goes dry becauseevery like 30 days they put new fucking shit on there and it's like true good point you can get away unless you're like you're obsessed with the marvel universe or you've got to watchwhatever i mean i know there are some staples on like things like you know people go to netflix for stranger things some people go to spotify for joe rogan shit like that i get that those areyou know flagship products of those companies but i think for the most part like Like.Track 1:[33:37] Am I going to have a HelloFresh subscription so I can get fresh potatoes and fuck out of here with that shit?Track 6:[33:46] No offense if they're coming on as a sponsor soon. Take it back. Edit this out.Anything else about Major Leagues?Anything else you want to say about it?Track 1:[34:01] I think it's a really dynamic song.Track 6:[34:03] I think it's a song that is just... It's so unique, man.And the piano that is playing, I'm stupid when it comes to instruments, but it's some sort of effect.It sounds like a really unique old piano. Yeah, it really does.It's very bassy. It's very, you know.Track 5:[34:27] Well.Track 6:[34:28] It's got some cool chorus reverb to it.It's really cool. And I love it.Track 1:[34:38] Yeah I don't know what you want no that's fine yeah it's a soundtrack if I want to put a cap on it it is a soundtrack to a window, into a certain time in my life that I just the songtransports me there immediately it's amazing what a trick the band are magicians in that respect, they know the tricks what's that?Track 6:[35:02] They're ex-magicians but they still know the tricks ex-magicians Does that go over my head? Trigger cut, on that note pete uh do you have anything you want to plug any anywherethat anybody can go and find your work uh yeah yeah if they i mean we're we're marchica on apple spotify we have new record coming out um in april or may of this year it's taken longenough it's coming coming out on my label records it's spelled like um not and not it's not the same meaning but it's m-a-i-l-e-i-b-e-l oh my label records so it's coming out in um yeahmay april may cool so we'll look for that yeah awesome well it's been great having you on of course uh great talking to you about a myriad of things.We'll do this again soon.Track 3:[36:08] Thanks.Track 6:[36:08] Man. Good to see you. That's all I got for you this week. So stay cool and wash your goddamn hands.Track 3:[36:15] Thanks for listening to Meeting Malcolmus, a pavement podcast where we count down the top 50 pavement tracks as selected by you.If you've got questions or concerns, please shoot me an email.JD at meetingmalcolmus.com.Support this podcast at — https://redcircle.com/meeting-malkmus-a-pavement-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Prepare to journey into the heart of the Hip's 2009 album, "We Are the Same." This week, we're pulling back the curtain on an album that made fans wait an extra year for its release. We're not just talking about the music; we're delving into the nostalgia, the reception, and the adventure of listening to this collection of songs. TracksMorning Moon - Studio versionThe Last Recluse - Montreal 2009The Depression Suite - San Fransciso 2009Frozen in my Tracks - Syracuse 2009TranscriptTrack 1:[0:01] For the first time in over 20 years, hip fans had to wait longer than two years for new material. It was three years after we got World Container that Bob Rock came down from the mountain with the Stone Tablet Masters of what appeared to be a campfire album called We Are TheSame. Although it launched with a cool promo, the hip, performing live at the bathhouse, beamed to cineplex theaters across Canada, and it debuted at number one, I have absolutely no memoryof this album entering the zeitgeist. In fact, I could tell you that only Love Is a First made it to my ears before the Fully and Completely podcast. My first full listen of this album was followed by a visit to the grocery store where I bumped into my co-host Greg, and I remember us casually throwing around terms like milk toast andbeige when describing what we were getting into with this springtime release. What followed though is something amazing and it's something only music can truly do. [1:05] You see, I gave this album its due and by that I mean a good solid listening session. On walks, at my desk, on my patio, the beige started to turn into a kaleidoscope of colors and shapes. The album was making me feel nostalgic for my 1977 El Camino. I could envision loading up the back of this hog with camping gear and taking this record to the cottage for the May long and listening to nothing but. Yes, I had become a fan of We Are The Same. Today it's an album I reach for when I feel wistful and I want to reminisce with my past. I adore Morning Moon and the Depression Suite, but the deeper cuts do it for me too. Will the love that Pete and Tim felt on the Bob Rock produced World Container spill over onto this record, or will their first experience be like mine? We're here now, so we may as well be getting hip to the hip. Track 4:[2:31] Hey it's JD here and welcome back to Getting Hip to the Hip. I'm here every week with my friends Pete and Tim and what we do is we talk about the Tragically Hip one album at a time week over week trying to understand what it's like to hear thisband for the first time again. Pete, Tim, How the fuck are you guys doing? Ola, como estas? Buenas tardes. Bueno, bueno, bueno. Los fanes de Tragically Hip. That's how they would say it here. I'm not culturally appropriating. That's how people talk here in Spain. In Spanish, you mean? Yeah, yeah. And they wouldn't change the name of Tragically Hip. hip, they would just say tragically hip, just like they say. See, see, see. Cloud, cloud, or cloud, or cloud. I don't know where he's went to, but there was a guy on Facebook. He's in the Facebook group. And his name is Luca Tadia, I believe. And he's Italian. And he discovered the hip out of, he's an Italian, he's in a band. He's a singer-songwriter. [3:47] And he was at a really low point. And he discovered the hip. And he, he really feels so strongly about them that he's rewritten, rewritten. [3:59] The lyrics like transcribe, like not transcribe them. What word am I looking for? Translated them, but in many cases he's had to write his own because there's so many turns of phrase he's, he's having to write like his own sort of stuff, but, but to fit in the melodicstructure and then, you know, he, he alters the melodic structure a little bit, but he's released a whole whack and he's coming out with a record and everything, but I haven't seen, I haven'tseen anything about him in a while. So what a fucking surface, Luca, come back to it. I'll point out, I'll send some stuff to the thread later this week, but, um, I'm getting way, uh, way caught up in the weeds here because we're here to talk about a record we're here to talkabout, we are the same, uh, released in 2009, which interesting tidbit. This is the first time that a hip band had had to wait more than two years for a record since the band emerged in 1987. They had to wait three years. So it was 2006, then 2009. Was that the longest three years of hip's lives? Or what was going on during that time? I'm guessing the diehards were losing their minds. Yeah. Are they breaking up? What's going on? Like, Gord was doing solo stuff. Rob Baker was doing Stripper's Union in 2005. So he might have toured Stripper's Union in 2006. [5:22] I don't know, they did their usual stuff, but they, like, to my... [5:28] To my knowledge, they, I mean, the record still opened at number one, um, for the week that it was released, which was consistent with what the hip had been doing. I think they had eight in a row or something like that, but they just weren't part of the zeitgeist, you know, they weren't part of, or maybe it's just, they weren't part of my zeitgeist. That, that might be it. Uh, they, they might've been, but, but I feel like if they were as big as they were in 96 in 2009, then they would have never fell off my radar, sort of. And it wasn't that they fell off my radar. They, I just started listening to other music. I just, you know, I- Were you aware of their whole, their whole bathhouse performance at the end or before the release? Like they played at the bathhouse to, they played a show? I would have lost my, like, I would have lost my mind. So I, yeah, I don't, I don't know. [6:24] It was just out of my reference point. Yeah, so I read that they played at the Bathhouse and it was screened, I guess, at Cineplex Theatres across Canada. It's like, these guys were, you know, celebrating for sure. Do you know what Cineplex Theatres owns? One of the things they own is a branch of places called the Rec Room. And one of the Rec Rooms is in Toronto, where we're going to be hosting our event. And we hope you all make it. Get out of fucking town. Wait, what's this event? What are we doing? [6:59] Come on be on board I hate the pull it out game That's gonna be a fun night. I just can't wait. That's gonna be a real fun. Oh, don't lie Jay Jay D Your pull-out game is great. [7:15] Oh my gosh He's got like 12 pockets on his outfit right now he's pulling shit out of her. Oh man. Yeah, I know, the event's going to be great, tickets are selling through, so get themwhile you can. Hit them quick. Get more information on our Twitter feed or send any of us an email, JD, Pete, Tim at gettinghiptothehip.com you can do all of that and more. So let's get into this Bob Rock produced record. This one's recorded entirely at The Bath House, which is a stark contrast from World Container, which was recorded at a big studio in Vancouver and a relatively large studio in Toronto. This was now The Hip on their own ground. I feel like as a result of that we get a very different sounding record. It's got like the nuances the nooks and crannies that the bathhouse records are sort of becoming famous for but it's still like holy shit is this record produced. Like it is depending on what side of the fence you're on it's either intricate or too busy you know like in terms of some of the arrangements. [8:34] The general, I don't know, gist of it that I was kind of reading about is a little bit of a love-hate. I don't know. I also read that that extra year they're waiting for Bob Rock to returnfrom a carnival cruise. Like a really extended long carnival cruise. Oh, wow. That's boggers. That's my joke right there. Oh, okay. Oh, yeah, I got that, it took me a second. Yeah, me too. Sorry. We'll dial it in, we'll dial it in in post. I'll test my new editing tools on that one. Punch up the laughter. Okay. No, I really, I read a bit about this album. It is very much highly produced. I feel like it's, the all music reviews, three stars. Yeah. Which is lower, you know, by at least half a point than usual. And one term they used about it was a creative bankruptcy. Like, they pulled out all the stops. All of the stops for this album and tapped the tank. So I thought that was a pretty fucking harsh review. That's very harsh. Considering three years, man. Yeah, no, no, don't be sorry. I just, I don't see that it's, it's, yeah. [9:59] I like this. I like this record. I'll tell you guys. I didn't. The first time I heard it, did not. So I was the same. Yeah, yeah. Let's hear about your experience listening to the record. I was kind of the same. I listened to it. Well, I listened to parts of it. I couldn't sit through it all thefirst try. It was like, I don't know, it was like reading a series of books and getting to the next book and it's like, oh my gosh, this book's going to take me forever. That's what it just felt like to me and finally got through it. I'll say finally. [10:32] And wasn't so sure, but you know there were songs, I'll just say that there were songs that grew on me after repeat listens and I and I got to a point where I thought I could see howhip fans either embraced the whole trajectory of the hip and continued to absolutely love this band and I could see how some hip fans were like Like, what the fuck? When are we going to get this Bob Brock guy out of here? Yeah. Because, I mean, I feel like that's still, I don't know, still a thread going through it. So yeah, that was my take. Listened to it kind of everywhere. [11:11] I just, I gave this album some real attempts. But I listened to it also, I think, less than other albums in general. Okay. Pete? You know, I say we get into it cause I got a lot to say about the, you know, the record as we go. And I'll leave my comments to the record as we move on. Okay, well then kick us off here. Let's start right out with Morning Moon. I mean, I thought it was, I thought it was, let's see. It definitely a different tone to begin the record on with the acoustic vibe, the melody was really cool. I was surprised by the strings, but as we'll talk about as we go on here, the strings become a thing. Hey, that's a good way of putting it, Tim. [12:12] There's a really cool country lick with the electric guitar, I like it. Chorus is catchy, heavy harmonies, twangy guitar. I got some, I got some like a little bit of Eagles vibes on this too. Sure. Clearly hear it. My note that I, my note I wrote down was, it's got an AM radio chorus. Yeah. Yeah, totally, totally. But, but. In a good way. Yeah, in a good way. But I wasn't like, I wasn't like, ah, ah, fuck. This is, yeah. I mean, this is not... [12:49] This is not music at work. This does not grab you by the balls and punch you in the face and then throw you down the fucking hill. It doesn't do that. [13:02] Not to say that I want that, but yeah, interesting start. That's all I'll say. Track one. We'll go there. We'll talk about Bob Rock as we keep going. Oh, Bobby, I thought, you know, this is an interesting start as well. It's got this country rock ballad, you know, it's like, are we jumping into a good condition 90s Chevy Suburban driving through Nashville in this one, like heading to the barbecue place? I don't know. But it also felt like, you know, I was listening through and I also thought this is so singable and it's kind of lovely and it's balladish and And it feels a little country. There's slide guitar. There's some, I don't know, cello or something that comes in. There's strings happening. And then I thought, I could rewrite the lyrics of this song and play it for anybody, and they would like it. I could actually turn this into a country music song. Or you could turn it into, dare I say, a Christian rock song. It just felt really mainstream, stream kickoff song to this album. It was like beautiful. Yeah, it's beautiful. And I like dug it, but it felt like programmed, I felt kind of programmed. [14:26] I would never suggest rewriting Gord Downie lyrics. I agree. But the music merited a feeling of, this could be a song played on different types of radio stations. It just, yeah. I wanted, you know, the kickoff on an album for me, it's got to be gripping. And it puts you in the seat. And you put on your seat belt. And you go. And this one was like, OK, what's number two? [14:56] Which, before we get into number two, honey, please, which, from each of you, song would you have used to kick off the record if you were sequencing the record? Is there a song on there that does that, that throws you down the hill, or grabs you by the throat? I know which one I would not, out of all of them, but I'll take it. It's a good question, but to be honest with you, I feel like this record, there are songs on. There's even notes that I'll say when we get into other songs. I feel like there's songs that don't belong in this record. Gotcha. Yeah, it's hard to say. I mean, they kicked it off the way they kicked it off. And I think it's, you know, you can't argue with what's been done. And I can't make their fucking decisions. But yeah. Yeah, I don't know. That's a tough question. It's a good question, but I can't answer it, JD. All right, honey, please. Oof. Here's another one I thought that kind of had this R.E.M. feel. I have East Street Band written down. OK. I also had. The beginning just reminds me of that piano lick at the beginning. Just reminds me of Springsteen. [16:08] It just feels like it's going into a Springsteen song. OK. This one, it somehow made me think of the band Big Country. I think they were, where were they from? Were they Scottish? I don't know. It just, Gord comes in softly, you know, I kind of felt like, oh, I wonder if they do this one live and he's angrier. Like it just, it just, I felt like there was a shift that wasn't in this song. Like it just felt like a great radio song, but at the same time. It was also playing in the ceiling speaker system when I was in Vancouver, BC getting my teeth cleaned. You know, like it just, it was really, it like, it was like I couldn't figure out what it was. It was that, or it was almost a wedding song. Like I couldn't figure out what this song was supposed to be. I just, it just kind of stumped me. It was good and sing along and everything, but it was also like, where are we going? I know, it's hard. This is that song, this might be the album that got kicked in the balls at the show on September 1st. Somebody might just walk up and kick me in the balls. Oh, there are big fans of this record. This might be that album. I'm wearing a cup, dude. [17:33] On Amazon, like, no fucking way. I'm wearing a mouth guard. I'm wearing a wig and I'm going to have like a voice modifier on my throat. I can just set you guys up behind the screen like so nobody can see you. You know, one of those things like silhouette. The old cage. You remember like watching fucking Roadhouse where the band played behind like a fucking like a chain link fence. And that band was? Jeff Healy and the... Fuck, Jeff Healy and the... I can't remember the band. I would have just said Jeff Healy band. Fucking shadow puppets. Here's my shadow puppets, Pete and Tim. Jesus Christ, man. Great fucking man, though. You know, we've been drinking the Kool-Aid and sometimes you get a little gherpie from, you know, too much Kool-Aid. I think that's just kind of... It's funny you say that, Tim, because I'm reading my notes for this song and it's... And honey, please... You've got gherpie written down. No, no, it didn't matter. This is my complete notes on this song. Heavy production. Producer is really mixing the Kool-Aid here. [18:44] Even how the drums are mixed, I mean, I just, I could not, I could not listen to this fucking song enough to even see, like, I just was like, yeah, dentist's office. I'm at, I'm at a fucking Sears or, or I'm at a Hallmark store and I'm just like, what the fuck, man? I just want to get out of here so I can put on fucking Black Sabbath or the, or fucking, or fully and completely in my fucking car. Like I just, Christ, excuse my language, but yeah, it justwas not taken, not taken. The, the, I'll just, there's more, but the, the, you're right about the drum mixing because there were a couple times where I was like, there's nothing wrong with this drummer. Why are we doing what we're doing here? Oh, it was like fucking the right tom went from the right ear to the left ear and then the kicks going back. I'm like, what the fuck are we doing? Why? Like, just give me the fucking drums. I don't need a ping pong set in my ears. It was just too much. I hear you on the E Street Band JD, but yeah, other than that, could not, oh, yeah, that's all I got. That's all I got. you. [20:05] J.D. we need to rerecord the start and you're going to be like, this is where I lost my friendship with Pete Dibb. And they were banned from the roof of the United States. No entry. No entry. [20:22] The first time I sat down and listened to the record was for Fully and Completely, the podcast. By the way, Pete, it's Fully Completely. Fully and Completely was our podcast. Whoa, easy, JD. Okay, now you're cut. Okay, all right. Mr. Details. This is episode... He's gotten our back. This is like, I mean, we got one record after two records. I should know this, you're right. I should know this at this point. I don't know if I can say this. So I listened to it then and I like absolutely, it did nothing for me. It did nothing. Like, I was just like, I don't even, I didn't pick up anything. I can't even say, oh, well, the Parchment Suite I really liked, you know, like, no, it just washed over me. And that really disappointed me and so I gave it like a session listen. Probably two or three weeks later, where I sat down and listened to it two or three times in a row. And that's when I latched onto a few songs. I won't say what they were, but I latched onto a few songs. And then picking it up again for this podcast and listening to it, it's like I'm finding some of these songs feel weirdly nostalgicnow, you know? And Honey Please, I like the tone of of his voice, like, I like what he's doing with his vocals on this song. Yeah. Uh, like he's, he's really playful. Like Jimmy's like, no, not like that. [21:51] Well, I was just in shock because I thought for a second, Gordani was sitting across from me. Oh, I thought you meant Tim was having a fucking seizure. No, it's, it's what I've been doing around the house when I need a refill. It's like, No, this, you know what, I'll tell, I'll tell you something, this, this is a really weird analogy, but like, I'm not a, I'm not one of those guys who's, I mean, I think the last time beforethis time I had been to a strip club when I was like 18 years old, you know, when you're 18, this is the first thing you can do. You go to a strip club. Yeah. Uh, and I had gone to one, one time after I was in a very committed and loving relationship And it was like, I got there and I was like, there's this beautifulwoman and she's talking to me and she smells nice and everything. And she's like, it's not doing, it's not, it's not taking. [22:44] And then like, you know, the night goes on, I have a couple of beers and I'm like, still not working. I don't understand what it is. And, you know, turns out, at least in terms of the strip club, it was because I love the person I was with and I didn't want to be there. I was not happy about where I was at. But that's how I felt listening to this song, is that no matter how much I tried, it did nothing for me whatsoever. Wow. It wasn't because it was your aunt, Shirley? I mean, for art, for art, that is the most harsh criticism you can give, right? I hate to say that. I hate to say that. This song is- No, no, I'm fine. This is what this is, right? This is great. Yeah, yeah, yeah. I like that you're being honest rather than pandering, you know, I'm not going to pander and I'm going to be honest about this. It means the stuff that you have loved is that much more real to me. You know, thank you. Yeah. I mean, when you go back to, I mean, talk to me about fucking trouble with the hen house and I'm Christ. [23:52] Well, and just wait for next, next week. Ooh. Okay. I'm, I'm, you know, I don't want to get to the last recluse. [27:09] Oh, so, you know, fun chorus, lots of oohs, aahs. You know, I like a good ooh-aah section in a song when it works. I don't mind it. It can make it fun. But this song is so loaded. It's like tons of instruments. I don't know if there's an accordion in this song. I don't know. There's keys. There's tons of layers. It's got this ominous start. Um, it's a really bridge. Yeah. Bridge is so ominous. This chanting. Yeah. Yeah. I, which I thought was kind of cool, but, uh, you know, the keys fade out at the end and, and Gord's just, who are you? Who are you? Who are you? And it's, uh, I don't know what the song is, is about or who, or I don't know. It just, it just was like, whew, this, this song's loaded. Did you watch those videos I sent you guys? There's a trilogy from this record and Gord produced the videos and I sent them as a link. I don't think I think I said I was going to watch it because I wasn't in a place with Wi-Fi and thenI never watched it. I think that's my excuse also. [28:23] I don't remember getting it from you. You have to resend it. I'll resend it. I would watch it. Yeah, I want to read my notes verbatim here. Okay, um because yeah, I I really cool opening. I got YouTube vibes, a little Alice in Chains with the acoustic. [28:46] Guitar. The melody is good but it's very Coldplay. I got a lot of Coldplay vibes from this song. Not that I'm a Coldplay fan but unless you've been living under a fucking rock, you know what Coldplay sounds like. [29:00] And not to say that Coldplay's bad. There's a market for them. I like the keyboards but again with like the chanting and everything like I wrote down I do not recognize this band and it's no it's no surprise to me that Bob Rock did not produce the nextrecord because I feel like the whole time this guy Bob Rock whoever he is I don't know how he sounds I don't know where he's from but he's like listen guys nah this is the way it's gottabe I've been in the business for years I did this Metallica group you hear of them you heard of them they're from they're from California I know how to do it. It's just what you got to do to make this record sound good. Okay, I'm a big time record producer here. Like, I mean, the whole band is just like, Gord, what do you think? Do you know how much this haircut costs? Yeah, I put my my my pants on the same way as everybody else. The only difference is I make gold records. Like, I'm like, just like, fuck, dude, I'm the band must have just been sitting sitting there like, okay, all right, we'll do this. [30:08] Hey Gord, we're taking a coffee break right now. Hey Gord, I just ran into fucking Bob Rock coming out of the bathroom and he says we should put some Gregorian chants on thenext song. And he's like, you said, you said what? Okay, I guess we'll try it. Like it just, I don't know. Yeah. I, let's, can we go to Coffee Girl? Because it's not just. Sure. Can we? Can we? I promise, I promise this is gonna get better, but not with this song. Yeah, it is, it is. Not with this song. [30:43] It's a rollercoaster ride. This song. I'm reading I'm reading verbatim here feels like a song used for a scene transition in a romantic comedy when the guy and the girl break up before the final act where they get backtogether. Coffee girl. It's like I'm just picturing like, ah, fuck, he broke up. It's a montage of like her at work alone, pissed off because the guy fucking broke her heart, whatever the And, and, and like the trumpet, it's like, it was cool, but it was just like, what thefucking trumpet? Like, what is, what is going on right now? [31:24] And, and I mean, maybe it's supposed to make you feel like you're in a, like, give you that, that so I made her an expert or so I married an expert vibes. You remember that? Yes. Yeah. Like with a trumpet, like a lowly coffee shop in San Francisco, like, I don't know what the fuck's going on, but I'm just like, okay, this band is takingdirection. This is not, not to say it's not the same guys, but they're just like, they're led astray on some songs with this record, I feel. That's all I'm saying. Interesting thing. Yeah. I'd want this, this song, I got this, like, I agree with you pretty much, but I got creepy vibes from it. Get to the back door, look around, then turn the key, turn on all the lights, take down the chairs and make things neat. One night he'll make you choose. I mean, what? This is... Well, the beginning part is her opening the coffee shop. This song's creepy though. It's, I don't know. There's, there's... So I had that little sentiment about it. And then I was like, I remember when you could walk in Starbucks and you'd hear like like a catchy song. And then they had CDs for sale next to the cash register. I remember those days. And you can like take from, you know, the holiday Starbucks playlist, but it was on CD for sale right there. Right. I wondered, like, yeah. [32:51] You used to have a song you could download too. Yeah, yeah, yeah. I was like, was this a Starbucks song? I don't think it was a single. Tim's all creeped out and JD's like, no. JD's like, no, I've worked at a coffee shop. I've worked at a Starbucks before. You turn the lights, you turn the fucking key, you put the chairs out. Tim, what the fuck is the problem? Yeah, the problem is one night he'll make you choose. What is that? Like there's... You gotta watch the videos. Watch the videos, all right? I don't... Fucking... Okay. All right. Homework. Homework. Now, I agree with you. This song is very milquetoast. Milquetoast. Good work. You know? Yeah. It's fine. But it's enhanced significantly by this video. You enjoy it a little bit more. But... Well, in that essence, do you feel the song was kind of made for video, hand in hand, kind of? Well, I don't know why it wouldn't have been a single then, you know? Yeah, yeah. Okay. Like, back in the day, they were releasing six, seven singles a record to give those record legs. [34:06] Well, it's got, I think, second biggest plays, or third biggest plays for this entire record on Spotify. Definitely a single category as far as listening is concerned. And I said it at the top of the fucking conversation about this tune is that it feels like it's made for a movie, you know? Yeah, yeah. So yeah, I thought of the same. Only played 77 times live. So it's not really a big live song. No, it'd be super rare. Yeah. You guys are such data whores. Such data whores. You started it with your Spotify. I really wasn't with this album until yesterday. I usually do some research along the way in this album. I really just tried to listen to it, and I tried to listen to it. You weren't inspired. And then yesterday, got into some of the data stuff. All right. Let's go to track number five. Let's go. So, the acoustic guitar feels kind of played hard. Like, I don't know if you caught this, Pete, but it felt like. I don't know. I don't think it feels forced, but the strumming of the acoustic guitar in the beginning feels a little bit annoyed or something. I don't know. There's some sentiment in there. [35:33] Drums felt kind of simple, and then everything kind of thickens up, and there's big solos in here. It's over a six-minute song, So it's building us up in song length. I mean, this is a long song for the hip. [35:52] What else did I have in my notes here? Oh, there is, you know... Sorry, I have to read this real quick. You know, the importance of this one is just how it is all about the reference of the residential school system. We actually watched a kind of docudrama film about the residential school system up there and all the government's policies towards First Nations people. And that's some heavy, heavy stuff. Yeah, yeah, yeah. Yeah. It's just the song, let's see, I read the song is a response to this basically a cool you've apologized. Oh no, no, this was a Gord quote, I believe. Cool you've apologized, but nothing has really changed. The damage has been done. People are still suffering as a direct result of the government's policies. You know, that's, it's, it's not an apology song, but it's sort of. This one's just big. It's just a big song. Another one. [37:06] Yeah, before I speak about the song, I'm going to go back to one thing I said in the previous pod. I really wish to God Gorda was alive today, because I feel like the governments of the world, specifically the United States government and the Canadian government are just fucking itspeople in so many ways. Not making this a political thing, but like, Absolutely, I just I feel like that guy is a guy who would speak out and and you know, it's funny because I remember watching like video ofTrudeau when he died and Saying what a great guy he was and him actually tearing up but thinking like god, man I wonder if Gord hadn't died and what he'd be saying about some of theshit going. Yeah, no doubt the war or, you know, anything that happened during COVID, all that shit. I just really, you know, that guy is an important voice for the people in Canada. And I think, I don't know, I say North America, although there's not a lot of Americans that know the hip, but I sure shit do now. So, but getting back to the song, I liked this one. I, Tim, I certainly felt the same vibe. acoustic guitar in the beginning sounds extremely dated so that's where I think you got the vibe. [38:28] There's a lot of chorus and a lot of reverb it's just like way too like is this is this 1991? 92? It sounded like the same guitar tone on the song More Than Words by Xtreme. It just but strumming instead of that Like it just was too much. That being said, again, the strings come in, but there's a lot more of that on this fucking record. Rob Baker kind of saves the day. Solo starts coming in. The hit is great. The chorus is awesome. I love it there's some really cool arpeggios that are done in the second verse that just mix up the the sound of the song and then Rob Baker's solo it I Mean, I don't know dude. I'm willing to think he's probably the biggest fucking Pink Floyd fan in all I thought the same thing! That motherfucker, it's just fucking David Gilmour. I mean, I'm like, is Gilmour playing on this fucking record or is it Rob Baker? I mean, it's not even like, if you heard it, you'd be like, oh yeah, it's David Gilmour playing guitar. Like, no, it's actually Rob Baker, which is cool. I like it. And then Paul Amois doing like a Beatles thing, like with the guitar, like bouncing back and forth. [39:57] But in the end, I felt like this song had literally, I don't wanna miss a thing, Aerosmith, Armageddon vibes. Like it was produced to that level. Like it was good. Cinematic. But it was just, yeah, like, whoa, like, did I see this on the IMAX? I've got to listen to this song in IMAX. Yeah, to really appreciate it. Oh my gosh. I had the Pink Floyd reference, not so much of the guitar playing, but more as the all-encompassing feel of this album and the journeys throughout it, because it felt like it was trying to belike this massive Floyd production. That's one thought I had relating to the Floyd. [40:44] But the song, it made me wonder. This is where I dove into the story a little bit more. I wanted to know who Honey Watson was. Did you find out who Honey Watson is? Anybody? The reference here. So Gord apparently was watching a CBAE, CBC news story about the residential schools and started to write this song about it. And then the news story shifted to some story in Haiti and the news correspondent's name was Connie Watson. And he heard it as Honey Watson. And he thought that was funny, so he incorporated her name, Connie Watson, as Honey Watson into the song. Just thought it was cool and wrote it down. So he's like going through this really heavy topic, like one of. [41:36] Canada's maybe, you know, top three heaviest topics, residential school system. And he's throwing in these funny little, I thought they said, honey, Watson, her name's Connie Watson. I'm going to put this in this fucked up story, you know, it's like, God damn what this guy can do. And Pete, I completely agree with you. We, we, if I could choose, of course, any of us to have Gord still around. Yes. But we also need the band. Like, this is something I kind of want to save to the end, but of the whole, all of our experience, but like, we don't have art in the form of music that isscreaming about issues going on right now and making people angry. We don't have like, I can't name a band right now that has death threats against it from groups of idiots. [42:31] You know, I just don't know, like, there's a lot of- Hang tight, Tim. Our record comes out in December. Yeah, there we go. I was just going to say, there's a lot of, there's a lot, there are many lesser known, but on the rise, you know, kind of post-punk stuff coming out or going on, you know, like there's a lot. I agree with you though, man. There's just like, there's no- There's no mainstream people out there who are really screaming about issues going on around the world and ruffling feathers. [43:07] Like so much. Where's the song War Pigs, dude? Fuck, I've second time I've mentioned Sabbath during this fucking podcast. But like, where's the song War Pigs? Right now. Right now. It's on my hard drive. Back off. Hey, no, but like, I mean, I mean, here we are. [43:27] You know sending Billions of dollars to fund war all around the world and where the fucking dude, you know what? Um, there's a great fucking tiktok or whatever the fuck it is And it's some guy like i've seen it. Don't pretend like you don't tiktok all the time. No, I don't I don't have it But I wish I did um for that purpose, but there's a guy's Sitting in his car. He actually has his own account. Yeah. Look it up at pete. Um, it's all about his hair No, dude, there's a fucking guy sitting in his car and he's just like, you know, you guys in your punk bands and you were young, you were fighting against thesystem. [44:06] But somewhere you got old and you got fucking soft and you joined a party and it dude, he just fucking nails it. This guy fucking nails it. Wow. He fucking nails it. And it's like when I see shit like people like Henry fucking Rollins, like supporting the Democratic Party, which is like, fuck the Republicans, fuck the Democrats, fuck them all. Your job is to be against the system. You fuck. Excuse my language, but it's just like that's yeah, that's how I feel like, like a guy like Gord had. I don't know. The interviews I've seen with him and so much integrity, he wouldn't waffle. He'd tell he'd call a fucking spade a spade when he saw it. And if he smelled bullshit, he'd call it out no matter who it was. I don't know. That's how I feel, man. And yeah, you're right, Tim. We need the band. We need the band. We do. We need the band. Because the music's... Because not everybody watches the news and not everybody watches interviews. You hear music, though, man. You hear fucking War Pigs and you listen to those lyrics and you think, yeah, Smedley Butler was right. If you don't know who Smedley Butler is, listeners, Google him. He's not either. No, he's dead, but he wrote a good book. War is a wreck. Anyhow, too soon yet. He's been dead a while. It's a depression suit. [54:35] I had no idea what I was getting in store for when the song started, right? I mean, I was in the car and the display in my mediocre sound system, M-S-S. Clearly not my sound system. Fucking premium audio shit. My stock sound system. Anyways, on my screen it doesn't show the amount of time the song is. It just shows the amount of time it's been playing. And I just kept looking over. Like, I'm driving across town and I keep looking over. Like, god damn, how long is this song gonna go? The last song was like six minutes plus, right? Is this one a rock opera? Like, what is going on? It has this lovely start, but you really don't know where it's going. [55:26] The lyrics, I just, I was a little bit confused. The first listen, I thought we were really going to end around three and a half minutes, because that's when I was looking over. But we just kept evolving. It shifts gears, it speeds up, it gets more intense. Gord gets more loud. The strings get more loud. It just like, it's really climbing up this mountain. [55:50] And you know, part of the lyrics is, is what if the song does nothing? What is it doing? You know, what if the song does nothing? In one of the reviews of the song, which I later read, some of the hip fans who aren't as much into this album, they, you know, their, their response of what if the song does nothing waslike, yeah, what if it's not doing anything, you know, it's just confusion maybe? I don't know. Some fans were were like, no, I don't want to see how it ends because Gord's lyrics kind of ask for that. There's this, um... Kind of painful guitar solo at like eight minute mark. I mean the strings that loop and have this abrupt stop it's just this song is... It just goes. I've only listened to it three times I will listen to it again but the song to me was just... I just wonder what everybody was trying to do because it just was magnanimous. [56:59] It's giant. All right. Well, I will say I fucking love this. I thought I thought it was fucking magnificent. I think, you know, I finally with all the strings that are on this record was like, OK, I can dig them on this song. You know, I mean, it's a very, this is a very emotional record. It sounds like just lyrically, I don't feel like any of the first five songs really moved me that way. But there's a lot of musical references that he makes in here to like things like perfectfifths. The chorus is fucking amazing. When he starts warming up his voice, when he really starts digging his fucking heels in and he starts repeating, if this song does nothing, with the strings backing him up, I think are superpowerful. [58:03] They move me in this song, especially I listen to this song a lot in the car. I've talked about it once or twice, but, you know, it's a different experience when you listen to a song, when you listen to hip in my car or any music but you know I have a, The soundsystems, you know, it came with premium, but it's it's you know, it's it's a good It's a good audio system in my car. Frothy and quiet. Pete's premium sound system There's When the strings there's a cool syncopated rhythm that happens in the song and then when it when it breaks There's a part, because this is twodifferent songs, it's like 9 minutes and 27 seconds long and when this song breaks and it changes course, there's a part in it that is Alice Cooper's Only Women Bleed. Has anybody heard that song before? Yeah, sure have. It's that, it's fucking that, fucking it's the hook in that song they fucking use. And Gord's vocals are exactly that. [59:16] He smokes and drinks and don't come home at all. That's the lyric in the Alice Cooper tune. But it's fucking, I dig it. And then, you know, I liked Rob Baker's solo. It was very emotional. This is a really emotional tune. And I don't feel like I'm like, ah, this is fucking amazing. I just think it's, it clearly took a ton of work and a ton of work. Yeah. But I do feel like the band starts to come together on this track. You start hearing, okay, this seems more tragically hip than before. [59:58] So anyway, that's what I got for this tune. They played this, they played the song live 86 times. Like I wanted to look that up to see, like did they play it 10 times, six times? Theyplayed it 86 times. That's like not a ton compared to all the shows they played in their entirety, but that's a handful of times at this. Well, considering it's a later album, I mean, obviously they played the earlier ones more. Yeah. So to experience it and to know it and experience it live was probably fucking epic. Yeah, but who knows if it was with the strings too. [1:00:35] Yeah, I don't think they toured with strings for sure. Okay, okay. If you're playing like Royal Albert Hall or something, yeah, you're gonna have fucking strings, but like, youknow, otherwise... That didn't happen for sure, JD. [1:00:48] I don't remember. I don't remember that being... Like, this would have been around the time in their career that that would have been something that you might expect them to do. You know, like, we're going to do a tour with a full orchestra to get different venues on board and, you know, things like that. Bands do that kind of shit. The Cineplex Theater video. Would have been perfect for this record. Yeah, that Sinplex Theater air didn't include all the Strings people or whomever, do you know? Was that just the band? I can't imagine it would have. I'll try to find that. Yeah, if you know, send me an email, jd.gettinghiptothehip.com. That would be really cool. But let's go to the exact feeling. I didn't have a whole lot on this one. I felt like it had the DNA more, a little more so, of a hip song. Like a standout was the wah pedal going on and kind of this faint background guitar playing fade out at the end like I Honestly didn't have a whole lot not many exact feelings of this oneNot that I didn't like it. It just felt like a filler spot to me. I just kept rolling. Okay. I Yeah, okay. There. This song is the one that starts with the Castagnets, so very Spanish. Yeah. They wrote it for me. [1:02:15] I like the rolling melody, like the chord progression, the way they do it is really cool. It just it drops and then it comes back, it drops and it's very circular. The chorus is fucking amazing on this song. And the way it builds to the chorus is like, it definitely has more of a hip vibe. Like I said last time, I feel like they really start to like becomethe hip again. It's like, whoa, who's that other fucking band the first four songs or whatever, you know? And now there's like, okay, we're warmed up now, fellas, sit back and relax and enjoy. So I dug it. But then, you know, it just kind of doesn't know where to go, fades out. Tim doesn't like fade outs. the time I don't. Yeah, sometimes they're okay. Yeah, in this case, I just feel like the song was really cool. They had some cool ideas, and then there was nowhere to really go. They painted themselves into a corner and we're just like, okay, we're just going to stop painting the room. [1:03:18] You know, but yeah, but I got I got stuff to say about the next song. Yeah, go. Let's go. Queen of the Furrows. I love the beginning. I thought it was fucking awesome. This song is fucking Led Zeppelin three. It is Led Zeppelin three. I think Rob Baker's playing the mandolin. I don't know if Gord is. I don't know who's playing the mandolin. Would love to get some get a line on that. If you know anything, Pete at getting it at the hip.com. You like what you see what I did there? That was that was very professional. Did it sound natural? My boys all growed up. [1:03:57] I dug this song. The way the fucking chorus, the way the chorus comes in is like, it's just so different from the song, which is not very Led Zeppelin 3 because it's so heavy. It's fucking rad. And then the solo by Rob Baker, I'm going to read notes for Vadim here, Rob Baker melts dicks off people. He doesn't even melt your face, he melts your dick. I mean, this solo is fucking screams. It's so good. You can just tell he's in the zone and he could hear that he wanted to play that solo and he just wanted to fucking destroy it. And he just did. He delivered, I don't know if he did that in one take or if they mixed different solos together to make that, but it just sounds so good, dude. Goddamn, it's so good. I love it. Good song, good tune. Good tune. I'll pretty much agree with that. You know, it's one, I'm not going to add much to what Pete just put in, but what I did want to know what, you know, what this queen of the furrows is. And, um, it's actually a crown awarded annually to quote an agriculturally-minded young woman of Ontario. [1:05:23] And I'll just show you guys real quick. This is Kieran County Queen of the Furrow 2020 as part of Ontario's Plowman's Association. Can you see? Oh, yeah. What do you think? She's nice, you know, it's so to give everybody You know some insight into that photo. I would say she's dressed like a like you would think she'd be wearing overalls or something likethat, but she's dressed like a beauty queen. She's got a lovely dress on. She's got a sash and a tiara that looks, you know, like, that looks all beautiful and like prom queenie. Not at all what I would have expected the Queen of the Furrows to look like. Which for real... Not at all what I expected the Plowman's Association to be doing. Easy, Tim! Easy! But I didn't know, furrows is the word for the lines, you know. That's right. In the farm from the machines planting seeds or doing whatever you do. I mean, now I know when I'm sitting in the window seat on Alaska Airlines, covering the West Coast as I do. [1:06:37] I thought the guitar solo, it hearkened me back to some GNR. That's all I'll say about that. Certainly. this I guess just lastly the ending had this noisy but kind of quiet background guitar feedback something like there was something something playfulhappening with some guitar noise and the congos like this was one of those interesting enders but but kind of a cool song. Speed River. So, Speed River, I was like, ah, okay, I'm kind of digging this one. This felt a little more like what I was hearkening back to, Liking of the Hip. This was a single. Yep, yep. This has, again, a big guitar solo, which quiets down into keys and some rim shots from drumsticks happening. [1:07:34] This house sounds like a bomb hit it is a fucking cool lyric. I didn't know if that was referencing the feeling of recording and just being in the zone. This is what I was imagining, just being in the zone of the music just feeling so good with yourbandmates. You know, this house feels like a fucking bomb hit it because we are destroying with this music. But this song is kind of cool. a little more, I don't know, a little more fun in an easilysingable way. You know, it has a somewhat fitting, abrupt ender to it. It might have been... At first glance, it was like, this might be my song on the album. I'm not sure. Don't give it away, buddy. I didn't. I left it hanging a little. All right. He said it might. Yeah. Okay. Okay. I stand corrected. Speed River. I'd love to agree with Tim, because I love agreeing with him, but the tonal licks were cool. [1:08:45] Overall, though, not impressed. I feel like this song was written to play live. I mean, literally, they wrote it and were like, yeah, we don't care how this fucking sounds on the record. It's just gonna be a fucking banger to play live. Yeah, I'm sure it was great live. How many times did they play it there, Tim? Let's look. It was probably like a- Oh, I thought you had it pulled up hard. I do. It's just on, I got it right here. It probably was awesome, you know, to play like the fifth song of a show just to keep the crowd going. It was played 11. This was played 11 times. So this song was probably a treat for people who do it. You know, it was probably a fucking treat. Yeah. I guess so. I heard the rim shots and the keyboards, it's just felt so country pop, like, I felt like I felt like I should be at, like, the lake with my, like, pseudo country Republican voting friends, like, 12Bud Lights deep being like, yeah, this is fucking mad, right? Yeah, this is fucking cool. Yeah. Fuck, yeah. [1:10:00] So that was Bobby and. Yeah. You know, I don't know. It's just the vibe I got. I don't know why, but I felt. I felt like if I heard the song live, I'd be like, fuck, yeah. But on the record, it was just. It was like a bad Viagra pill, not that I've ever taken Viagra, but I don't know why. That's why. That's what I thought of. But it's like somebody selling you like a, like a placebo and be like, yeah, this will, this will do it. And you take it and you're like, I didn't do anything. [1:10:35] I think it was 2009 that we went to Mazatlan. That's kind of throwing me back to bad Viagra pills. Okay. I just thought, because you know, songs, you want to say this song to getmy engine going. That's why I did that. Anyway. If you look at the blueprints of this song, though, it should work like it should. It should all be there. Yeah, yeah. It's got an interesting chorus. But you're right, the sum of the pieces don't add up. Now, there are people that will love this song and tell us why you love it. It'd be great to hear. You could love it, but compare it to the shit that they've done. [1:11:19] And we're not in the compare and contrast game. We're not comparing apples and and oranges, groeries and forges. But I mean, dude, like. You're going to put this up against fucking fireworks, go fucking freak off, as Ricky LeFleur would say. Freak, freak right off. I mean, Christ, I mean, not even close. Right. Just I. But you're right, Judy, the sum of it, you know, it has all the components. It's like, Hey, babe, I was going to make this amazing soup for you. I put all the ingredients in, but for some reason it still tastes like shit. Yeah. Yeah. I won't go. Yeah. I won't, I won't go that far, but yeah. [1:12:08] Well, you know, you know where I'm going. Yeah. Well, with it, with this album and where we're at now and with, with all these journeys of these songs, I mean, we've gone fromlike three minute songs to nine minute songs, these, these past two, Queen of the Froze and Speed River, they feel like kind of placed in there to fill it out a little bit. But they also feel to me a little bit like past albums filler songs. So yeah. To me, they were good and they represent. But in this particular album, it's almost like, guys, we had 10 days book to record. We're at day four and you're feeling done. What do you have? They were part of this for two months. What do you have that we could pull in here? Jesus Christ. What about that song, Speed River? I just hope Bob Brock can retire after this. Yeah. What was that? [1:13:02] I just said, I hope Bob Rock retired after this or, or no, no offense to Bob Rock. Cause he produced some great shit, but just like, or found a band that he was more compatible with because it just. Yeah. I feel you. I feel you. I don't feel, and that's, you know, you guys dug the last record and that was him. And, uh, and, and you turned me back onto it by your, by your digging of it. You know, it's, it's just, it's just interesting. It's it sure is. I mean the last record I I it kind of won me over quickly and I believe I said this, you know, I went online to see how I could get it on vinyl and And then the more I listened to it the less Ilooked into Getting it on vinyl. I'm watching literally watching a crow in my backyard right now I'm going to destroy. [1:13:59] An old crow? I have a crow right now, destroying. Hey! Go! I love birds. I'm a birder. And this crow is destroying my cover over my... It's too complicated. I didn't know that crows in Portland speak English. Did you know that, Jamie? I did not know that either. That is a fact. I would have assumed they spoke Croatian. Oh shit. Fuck man. JD takes a sip of his fucking whiskey and says, I'm out bitches, finish the podcast on your own motherfuckers. I printed out the article, I didn't really, but I printed out the article about dads who throw out dad jokes are better dads than dads who do not throw out dad jokes. That may be true, but I'll tell you what, um, uh, camera, wait, what was it? Pigeon camera? Pigeon camera. Yeah. Yeah, it'd be cool if we, they did a crow camera. At least you havealliteration. [1:15:08] I guess crows weren't as smart, but crows are supposed to be really smart. They're fucking smart. And they, they have face recognition skills. They, they remember people. Frozen in my tracks. [1:18:58] You know, I think it's kind of a pleasure. It's a little bit of a gift, or maybe it's a huge gift, when Gord does his, what do we call it, when he speaks over... Spoken word! Yeah, when he does a spoken word fucking poetry, trippy stuff, like this song has it, and we got it, and I'm happy at this point on any hip song to get that. It's got kind of a... That's cool. Yeah, I mean, come on. It's got somewhat of a spooky start. The snare on this one's a bit tuned up, and the bass is like, lack of a better term for thuddier or deeper. It's like the drums felt a little bit different to me. [1:19:43] This, you know, Gord at the one minute mark, he's already screaming in this song. [1:19:48] I thought that, I don't know, with the bridge at like two minutes, this kind of locomotive feeling, I thought this song reminded, it made me wonder if Bob Rock, look, can yousqueeze call him Bobby? Because if he listens to this, I just want him to be Really upset. It's called a
Princess Ena's assassin had been captured and brought back to the Castle where Godrich, the head of the Blue Cathedral, unpetrified the man. Just like the head chef, he seemed to have been black mailed into doing someone's dirty deed. Before the Tempests were able to get any information out of the man, he was struck in the chest with a Disintegrate spell. A quick search outside proved fruitless as the caster seemed to have vanished without a trace. The only clue remaining was to investigate the tabard the man had been wearing with the symbol of a rat rowing in a dinghy. After a short search, the Tempests found the hideout for the Sea Rats, the Thieves Guild operating within the capitol. Wharfmaster Brim was already there discussing the guild's next steps and how to avoid being the wrongful target of the kingdom's wrath. After some head scratching and thinking in circles, the Tempests decided to question anyone and anything related to Princess Ena, confounded as Brick may be as to why she was the target. Gaining no real ground with their questioning, Kasumi decided to see if Shenshe would reply to her query. Was the Baroness Lorella Quint involved? With a definitive YES, the Tempests now had someone to question. If you'd like to join the community to chat with the Fools and other D&D aficionados, considering joining our discord! https://discord.gg/bWSgjAdMbp You can catch us live every other Friday on Twitch at: https://www.twitch.tv/foolsnflagons/ If you'd like to see our past adventures, you can check out the VODs on YouTube at: https://www.youtube.com/c/FoolsNFlagons
On this week's Talkhouse Podcast we've got the Scottish singer and songwriter behind some of the catchiest songs of the past two decades along with the super producer who helped bring those songs into the world: Fran Healy and Nigel Godrich. Healy is the singer, guitarist, and chief songwriter of the band Travis, which really broke big with 1999's The Man Who, scoring mainstream hits with songs like “Why Does it Always Rain on Me” and “Turn.” They've since created a deep catalog that numbers nine albums. But for today's purposes we're going to concentrate on 2001's The Invisible Band, which Travis is giving a belated 20th birthday celebration for at the moment, including a US tour that starts this week. It can be difficult to follow up a massive success like The Man Who, and Travis turned once again to Godrich to help them chart the proper course. It wasn't the beginning, but rather the continuation of a long and fruitful relationship. Check out “Sing” from The Invisible Band. Godrich, by the time Invisible Band came around, had found massive success as the producer of Radiohead's OK Computer, and of course he would go on to be the sort of unofficial sixth member of that band—recording all of their albums and even playing music with Thom Yorke in Atoms for Peace. As you'll hear in this conversation, Godrich had some solid advice for Healy heading into The Invisible Band, though it's not necessarily advice he would give anymore. Beyond his work with Radiohead and Travis, Godrich has also produced classics by Beck—including Mutations and Sea Change—and Air and Arcade Fire and Roger Waters. The list goes on. In this conversation, the two old friends talk about their state of mind and state of life back when they commenced recording The Invisible Band in Los Angeles. They talk about Godrich's recent revelatory experience seeing the Pavement reunion tour—he also produced that band's swan song, Terror Twilight. There's even a story about a baby goat peeing in a very expensive guitar case. Enjoy. Thanks for listening to the Talkhouse Podcast and thanks to Fran Healy and Nigel Godrich for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting and social media platforms. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!
Mikko Gordon is a record producer, audio engineer, and mixing engineer based out of London, England, UK! In our chat, Mikko shares his story; from playing in bands to doubling down on the studio thing, meeting and working with Nigel Godrich, and working with some of today's biggest indie/alternative acts! We chat about finding artists he really wants to work with, establishing an aesthetic on a record, his philosophy on drum sounds, and being fast and fearless in the tracking stage. We also talk about mixing, reverb, working with The Smile, lessons from FOH, transitioning from a local scene to the global music scene, and so much more! Check it out!You can learn more about Mikko at https://www.mikkogordon.com/You can follow Mikko on Social MediaIG - https://www.instagram.com/mikkogordon/***Thanks to our sponsors!***Save 20% off your first year of Filepass at - https://filepass.com/secretsonicsSave 50% off your first 3 months of Easy Funnels at - https://easyfunnels.io/secret-sonicsClick here to listen to "Thanks for Thinking" - https://www.carlbahner.com/thanks-for-thinking ***Join the Secret Sonics Discord community here(!) - discord.gg/UP97b72W6tYou can listen to the song we discussed in the "Sauce" segment here: "Octopus" by Island - https://youtu.be/XXYWEAwMwp8References:Nigel Godrich - https://en.wikipedia.org/wiki/Nigel_GodrichRadiohead - https://en.wikipedia.org/wiki/RadioheadLaura Bettinson - https://www.instagram.com/lau.ra.lau.ra.lau.ra/Ultraista - https://www.instagram.com/ultraistamusic/Island - https://www.instagram.com/islandislandisland/Tim O'Sullivan - https://www.benwallick.com/podcast-episodes/2022/9/18/secret-sonics-158-tim-osullivan-fostering-inspiration-in-the-studioThe Smile - https://en.wikipedia.org/wiki/The_Smile_(band)Nigel on Hanging Out with Audiophiles - https://hangingoutwithaudiophiles.libsyn.com/howa-ep-100-nigel-godrichHackney Road Studios - http://www.hackney-road.com/Tchad Blake - https://en.wikipedia.org/wiki/Tchad_BlakeConsider rating and reviewing our show on Apple Podcasts and sharing this or any of your favorite episodes with a friend or two.Thank you to Zvi Rodan, Mendy Portnoy, and Yakir Hyman for contributing to the podcast theme music!Thanks to Gavi Kutliroff for helping edit this episode!You can find out more about Secret Sonics and subscribe on your favorite podcast app by visiting www.secretsonics.co Have a great week, stay safe, and dig in!-Ben
The three Beckmen take on their first of two Beck albums. Is this bong load his Kid A or his Amnesiac? Godrich only knows.
Guest: Buhle Mbhele- EWN ReporterSee omnystudio.com/listener for privacy information.
Former EFF secretary-general Godrich Gardee says it is painful knowing that while searching for his daughter, he drove past the house where she was possibly held captive and raped. “It's very painful to know I have been passing the place where everything happened without knowing. While we were busy with the search and rescue in bushes and mountains, we were passing the place where she was held and suffered so much abuse,” he told TimesLIVE in an exclusive interview on Tuesday.
Audio recordings of the 2022 Southern Cross Association of Churches Online International Leaders Advance. The Advance is entitled "The Post Covid Church" and was held on 4 and 5 March 2022 via Zoom.
Recordings from the 2021 Southern Cross Association of Churches Leaders Advance. Held on 26 & 27 February 2021 on Zoom.
Fresh off the March 13th release of their new album, Sister, Nigel Godrich and Laura Bettinson of Ultraísta join This Must Be the Gig to premiere their brand new short film directed by the band and filmed throughout London, featuring a series of interconnected videos for songs off the record. Using the London Underground as a route between the songs, Bettinson hops off at appropriately color-coded locales to deliver the vibrant electronic jams in a variety of surreal environments. In the accompanying episode of This Must be the Gig, Godrich and Bettinson dial in with host Lior Phillips to discuss details on the film's fascinating production, the origins of Sister, their histories as performers and first concerts, and so much more. Be sure to head to Consequence of Sound to catch the short film. Head here for more info on Ultraista. For more from Lior Phillips and This Must Be the Gig, follow along on Instagram or Twitter, or like the show page on Facebook. Be sure to subscribe, rate, and review via Apple Podcast, Stitcher, Spotify, or wherever you find your podcasts. For information regarding your data privacy, visit acast.com/privacy
Few rock singers of the alternative era were as original or as instantly unforgettable as Thom Yorke, and his band Radiohead became one of the biggest acts of the 1990s and 2000s for their challenging and unpredictable music. The group's original name was On a Friday before being changed to Radiohead, which they'd swiped from the title of a song on Talking Heads' True Stories. By late 1991, the band was signed to Parlophone in the U.K. and Capitol in the U.S., as an EP, Drill, came and went without much fanfare. Released in 1993, the group's full-length debut, Pablo Honey, appeared to be suffering the same fate until American radio/MTV made a surprise hit out of the Nirvana-esque alternative anthem "Creep." Radiohead's fan base grew considerably over the course of their next two releases, 1995's The Bends and 1997's OK Computer, the latter being voted Greatest Album of All Time in the British magazine Q shortly after its release. One of the world's top rock bands by this time, Radiohead attempted to alienate their newly found Top 40 audience with their next release, 2000's abstract Kid A, but instead found it debuting at the top of the U.S. charts (despite the absence of a video or single being released from the album). Yorke returned with ANIMA, his third solo album, in June 2019. Produced by Godrich, ANIMA was also accompanied by a short film directed by Paul Thomas Anderson. Yorke was born on October 7, 1968, in Wellingborough, England. His left eye was paralyzed from birth and remained shut until the age of six. He underwent a total of five operations; the last operation was botched and he almost lost all sight in that eye.
In our fourth episode of season one, we examine the making of Radiohead's 2000 and 2001 albums Kid A and Amnesiac. Some initial writer's block leads to unexpected creative developments as the band spreads their wings and experiments in their own studio. Napster enters the fold and has a surprising (lack of) effect on album sales, Ed O'Brien keeps a daily record, and Jonny Greenwood buys some very expensive antique synthesizers as we cover the years 1999-2001 in the life of Radiohead.Primary sources:https://www.amazon.com/Exit-Music-Radiohead-Mac-Randall/dp/0385333935https://citizeninsane.eu/https://web.archive.org/web/20060701093047/http://www.ateaseweb.com/https://web.archive.org/web/20190413025533/http://www.greenplastic.com/https://web.archive.org/web/20080913030118/http://www.followmearound.com/http://thekingoflimbspart2.com/https://web.archive.org/web/20060701093047/http://www.ateaseweb.com/
In our second episode of season one, we take a look at Radiohead's attempt to top Pablo Honey amidst self-doubt and internal conflict. Along the way, they begin long term collaborations with two key figures in the Radiohead story.Primary sources:https://www.amazon.com/Exit-Music-Radiohead-Mac-Randall/dp/0385333935https://citizeninsane.eu/https://web.archive.org/web/20060701093047/http://www.ateaseweb.com/https://web.archive.org/web/20190413025533/http://www.greenplastic.com/https://web.archive.org/web/20080913030118/http://www.followmearound.com/http://thekingoflimbspart2.com/https://web.archive.org/web/20060701093047/http://www.ateaseweb.com/
On this week's episode we welcome our first guest to No Filler - musician and Radiohead superfan Nathan Forster. To finish up our coverage of Radiohead (for now), we take our first true deep dive, and go track by track through their 2007 release "In Rainbows". Join us as we geek out over not just "In Rainbows", but all things Radiohead - everything from Yorke's infamous lazy eye to Godrich's awe-inspiring recordings From The Basement. For more info, check out the show notes: https://www.nofillerpodcast.com/episode/ep-31-radiohead-in-rainbows
The EFF's Godrich Gardee says the party is satisfied with its results thus far and they look forward to the results of the larger metros as results of yesterday's local election results begin to trickle in...
Are Radiohead the most accomplished "art rock" band of the early twenty-first century, as the Encyclopedia Britannica claims? Or are they savvy businessmen who've brilliantly marketed themselves for 20 years? Can they be both? In the title fight for Charlie's musical identity, Thom Yorke comes out swinging with every ounce of nihilistic ennui at his command. iTunes direct link Google Play direct link Additional Resources “The Searchers: Radiohead’s Unquiet Revolution” “Radiohead Says Pay What You Want” “Everything In Its Right Place”
Darrell Thorp is a Three Time Grammy Award Winning (OutKast, Radiohead, Switchfoot) Producer, Mixer, Engineer with over 16 years experience under his belt and many multi platinum records to his discography. Darrell moved to Los Angles in 1997 after a 4 year service in the U.S. Navy and started interning at smaller studios and eventually worked his way up to an Assistant Engineer at some of L.A.'s prestigious studios such as Track Record, Conway, and finally Ocean Way Recording. It was at Ocean Way recording that Darrell meet famed Radiohead producer Nigel Godrich. Shortly after meeting Godrich, Darrell became his full time engineer and ended up recording Beck "Sea Change", Radiohead "Hail to The Thief", Paul McCartney's "Chaos and Creation In The Back Yard" and many others. Currently Darrell is splitting his time between mixing various records and projects and Producing. Darrell has had the pleasure of producing the critically claimed Kan Wakan "Forever Found" and Preston Lovinggood "Shadow Songs" as well as Kiev's EP "Be Gone Dull Cage. Also Producing and Engineering a new record due out next spring for Shaheed and DJ Supreme on Communicating Vessels and a new 4 Song EP by the LA based band Opus Vitae due out early 2015. Twitter: @darrellthorp facebook.com/dfthorp darrellthorp.com
Darrell Thorp is a Three Time Grammy Award Winning (OutKast, Radiohead, Switchfoot) Producer, Mixer, Engineer with over 16 years experience under his belt and many multi platinum records to his discography. Darrell moved to Los Angles in 1997 after a 4 year service in the U.S. Navy and started interning at smaller studios and eventually worked his way up to an Assistant Engineer at some of L.A.'s prestigious studios such as Track Record, Conway, and finally Ocean Way Recording. It was at Ocean Way recording that Darrell meet famed Radiohead producer Nigel Godrich. Shortly after meeting Godrich, Darrell became his full time engineer and ended up recording Beck "Sea Change", Radiohead "Hail to The Thief", Paul McCartney's "Chaos and Creation In The Back Yard" and many others. Currently Darrell is splitting his time between mixing various records and projects and Producing. Darrell has had the pleasure of producing the critically claimed Kan Wakan "Forever Found" and Preston Lovinggood "Shadow Songs" as well as Kiev's EP "Be Gone Dull Cage. Also Producing and Engineering a new record due out next spring for Shaheed and DJ Supreme on Communicating Vessels and a new 4 Song EP by the LA based band Opus Vitae due out early 2015. Twitter: @darrellthorp facebook.com/dfthorp darrellthorp.com
In this episode we bring in our the super talented Eric Griffin to discuss Radiohead's record Ok Computer... which turns out to be a conversation on ALL THINGS Radiohead. Eric was also kind enough to give us a live in studio performance of his song "House of Stone".
Our interview with Michael Bloch of Here We Go Magic. We talked about working with Nigel Godrich and some other interesting things. listened to some tunes as well.