Podcast appearances and mentions of john cougar

606 - John Cougar - Ain't Even Done With the Night: Chris, Nick, and Andy break down "Ain't Even Done With the Night" from the 1980 album Nothin' Matters and What If It Did by John Cougar.

In this Friday Quick Fix, Sonny celebrates his Birthday for 1982 when he takes a look at the music and events that were happening during his special day. The Friday Quick Fix Concept: The Friday Quick Fix is your single dose of Rock n Roll in 15 minutes or less to get your weekend off to a rockin' start. Every Friday, we will deliver a different segment  that focuses on albums, songs, movies, Playlist,  and generally just about anything we find entertaining and want to share with you. You will still get a regular full length episode every Sunday as usual Please Consider Supporting The Artist We Feature In This and Every Episode: (You can support them by purchasing Music, Merch, or A Concert Ticket) In This Episode You Heard: Men At Work, John Cougar, Balance Reach Out To Us: Email: growinuprock@gmail.com Follow Us@: Facebook Loud Minority Group Twitter Instagram Website: https://growinuprock.com Pantheon Podcast Network A Special THANK YOU to Restrayned for the Killer Show Intro and transition music!! Restrayned Website Please consider leaving us a five star review in one of the following places to help the podcast get discovered by others: GUR On Apple Podcast GUR On Podchaser GUR On Spotify Learn more about your ad choices. Visit megaphone.fm/adchoices

Hør om den amerikanske heartland rocker John Mellencamp. Mit første møde med ham var under navnet John Cougar i 1982, da jeg hørte singlen Jack & Diane fra Lp'en American Fool. Siden har jeg fulgt hans udgivelser op gennem 80'erne og 90'erne, jeg så ham i 1992 i Valby Hallen, til et brag af en … Læs videre "John Mellencamp"

Dan rides solo and leads us to depths of his parents basement in 1980 while we hiss, pop and crackle to the ALL vinyl sounds of Pink Floyd; Rush; Toto; John Cougar; Joe Jackson; Styx; Police and Pink Floyd (again).

¿Quién querría vivir para siempre?, si nuestro cuerpo y mente está en un estado tal, que ni siquiera nos reconocemos. Queremos vivir, pero vivir bien. Nuestro problema es que hemos sido hechos para vivir en relación con el Autor de la vida. Y al arrojar a la basura el Manual de Instrucciones, nada es como debiera ser. La vida eterna de la que habla Jesús en tercer capítulo de la Buena Noticia según Juan, no es sólo ilimitada en el tiempo, sino de acuerdo al propósito con el que hemos sido creados para Dios con la humanidad de Jesús. Tras la sintonía de Ruta 66 en la voz de la cantante de blues y jazz que acompañó la orquesta de Duke Ellington, Betty Roché, pensamos en esta parada en el viaje de la vida a la luz del Buen Libro en el versículo de la Biblia más repetido en el mundo evangélico, Juan 3:16. Lo hacemos con la canción que incluye la cita en el título de un cantante country alternativo llamado Keith Urban, que une al nombre que usaba John Mellecamp en los 80 (Cougar) y la marca de tractores John Deere para evocar en 2016 su educación en la América profunda del "cinturón bíblico" (John Cougar, John Deere & John 3:16). En el mundo urbano de la marginación afroamericana es el rapero Kanye West el que une en 2019 su fe en la "Vida eterna" (Eternal Life) con la debilidad de la adicción y el enfrentamiento entre el diablo y Jesús. En 1991 el músico de Irlanda del Norte Van Morrison busca en el silencio, "el momento eterno" de la inspiración mística que tuvo de niño en el Este protestante de Belfast, cuando se alimentaba de himnos y sermones en la Asamblea de Hermanos que había al final de su calle. En la oración que titula "Llévame de vuelta" anhela volver a tener la misma experiencia cuando "entendió y sintió la eternidad" (Take Me Back). Si hay una película que se atrevido a imaginar la vida eterna, ya no como fantasma en este mundo, sino en otra realidad, es la que hizo el atormentado cómico Robin Williams en 1998, sobre la historia del maestro del relato de misterio, Richard Matheson,"Más allá de los sueños". Escuchamos diálogos de la versión doblada al castellano con los comentarios de José de Segovia sobre la banda sonora que hizo primero Ennio Morrricone y fue luego descartada, así como la que apareció finalmente de Michael Kamen. Paul Simon ha estado siempre buscando a Dios en sus canciones, pero sus últimos discos ya parecen no hablar de otra cosa. Este judío neoyorquino entró en el ambiente cristiano en Londres antes de grabar sus discos más conocidos con su antiguo compañero de colegio, Art Garfunkel. En "Amor y tiempos difíciles" (Love and Hard Times 2011), Simon imagina cómo sería si Dios bajara desde la eternidad con Su Hijo a la tierra, un domingo por la mañana. La canción con la que acabamos del programa es del que fuera portavoz del movimiento "hippie" de vuelta al cristianismo en la Revolución por Jesús de finales de los 60, Larry Norman. Estaba en medio de una de sus muchas crisis, cuando escribió esta oración, "Ilumíname con tu luz" (Shine Your Light), que aparece en un álbum de 1984 con versiones de Tom Howard y temas descartados de sus discos anteriores, acompañado por hermano Charlie y sus Cachorros (Young Lions) con el bucólico título de "Noche de paz" (Quiet Night). Nos recuerda que en esa eternidad, al que confía en Jesús, la Luz de su santidad, le cambiará también moralmente.

TSORR Radio Show S7E34 aired live at 19h00 on Rebel Rock Radio on 22 Aug 2024.  This was a great show, it rocked right out the gate and didn't quit for 3 hours.  There should be something for everyone here.       You can follow us on Facebook, X, or Instagram, just search for The Story of Rock and Roll on those sites.  Check out the website www.thestoryofrockandroll.com and sign up for the monthly newsletter for more content about previous shows.  It includes articles, interviews, video clips, and more. The featured artists (see below) are in order of play so you can quickly get to the stuff you like (if you are in a hurry).  This week's highlights include The Twisted Twins feature, with a song called ‘I Need a Woman'.  We heard from Black Stone Cherry and a South African band called The Diamond Dogs. The Dogs were huge on the SA live scene in the late 80s. If you saw them at 2 a.m. in Dylan's in Rocky Street back in the day, you will never forget it.          Immortals this week came from Smith / Kotzen and was off the eponymous album released in 2021.  The track was called ‘You Don't Know Me'.The Diabolical Challenge looked at four bands beginning with the letter ‘J'.  The idea is that we have 4 albums, and you can only pick one.   Joan Jett & The Blackhearts – I Love Rock n' RollJohn Cougar – American FoolJourney – EscapeJimi Hendrix – Are You Experienced? Bomb Crocodile and Slow Panda's picks of the week were: Cold Chisel – Bel-A-Versailles and Bob Dylan – Knocking On Heavens Door.   Artists Featured:  Sophie Lloyd, Badlands, Skid Row, Goodbye June, Pride & Glory. Limp Bizkit, Megadeth, System of a Down, Metallica, ACDC, Beautiful Creatures, Deep Purple, Black Stone Cherry, The Diamond Dogs, Jack Hammer, Rory Gallagher, Philip Sayce, The Jam, the Stranglers, Iron Maiden, Accept, Bush Thunder, Doomsday Outlaw, Category 7, Smith / Kotzen, Joan Jett & the Blackhearts, John Cougar, Journey, Jimi Hendrix, Buckcherry, Judas Priest, Cold Chisel, Bob Dylan, Dark Tranquillity, Metal Church, Arch Enemy, VendedThe Story of Rock and Roll. TSORR - Your one-stop shop for Rock

In this rock-driven episode of Dem Vinyl Boyz, we take a journey back to the heartland of America with John Cougar's 1982 breakthrough album, American Fool. This album propelled John Mellencamp (then known as John Cougar) into the spotlight, solidifying his place as a staple of classic American rock. American Fool is packed with timeless hits that defined Mellencamp’s signature sound, combining gritty rock with relatable, working-class storytelling. The album features chart-topping tracks like "Jack & Diane" and "Hurts So Good," songs that became anthems of the 80s and remain staples on rock radio today. Each track on the album showcases Mellencamp’s ability to blend rock, pop, and heartland sensibilities, creating songs that resonate across generations. Throughout this episode, we’ll dive into the making of American Fool, exploring how this album turned John Cougar into a household name. We’ll discuss the album’s critical and commercial success, the stories behind its hit songs, and how American Fool marked a turning point in Mellencamp’s career, paving the way for his evolution as an artist. Join us on Dem Vinyl Boyz as we celebrate American Fool, an album that captures the essence of 80s rock while highlighting the raw energy and honest storytelling that made John Cougar a rock legend. Taking care of your mental health is crucial, and BetterHelp makes it accessible and convenient. BetterHelp offers professional therapy from over 30,000 licensed therapists. Visit BetterHelp.com/vinyl and use the code "vinyl" to get 10% off your first month. Start your journey to better mental health today.

In this nostalgic episode of 'Past Tens, a Top 10 Time Machine', hosts Dave and Milt transport listeners back to July 1982, exploring the Billboard Top 10 hits and top albums of the week. They discuss enduring classics from artists like John Cougar (Mellencamp?), Van Halen, and the Rolling Stones. Highlights include "The Loverboy Teen Butt Album Cover Story," and a Jeopardy-style quiz segment. Additionally, the hosts offer their own favorite picks, adding a personal twist to the musical lineup. Tune in for an engaging deep dive into music history filled with humor, debates, nachos, cocktails, lots of full frontal nudity, and unexpected stories.Topics00:47 Aging and Colonoscopy Tales!03:14 Patriotism Pod Recap04:17 Upcoming Weekend Plans05:16 Listener Reviews and Feedback06:24 Time Machine to July 3rd, 198229:33 John Cougar's Breakthrough Album37:35 Nostalgic TV Memories38:09 Johnny C's Career and Music39:18 David Lee Roth's Era40:46 Van Halen's Diver Down Album48:35 Rolling Stones' Live Albums53:53 Jeopardy! Style Music Quiz01:01:48 Toto's Grammy-Winning Album01:09:52 Human League's Synth-Pop Impact01:15:06 Willie Nelson's Pop Breakthrough01:16:04 Cover Versions and Collaborations01:19:21 Willie Nelson's Humor and Legacy01:24:15 Paul McCartney's Tug of War01:30:20 Asia's Debut Album01:38:04 Recap and Reflections

Algunas por nuevas o actuales, otras por caprichos del destino y otras por inercia. De las primeras con Local Natives, Iraina Mancini, Jon Muq o Graham Nash. Las últimas, sí por inercia hacia el rocanrol americana con Tom Petty & The Heartbreakers, Neil Young & Crazy Horse, Joe Wlash, Orleans, Linda Ronstadt, Sarah Harmer, John Cougar Mellencamp o Eleni Mandell. Y Kacey Musgraves o Michael Scott Boudreaux simplemente perche mi piacce.CLO PROMO MILEMARKERDISCO 1 JON MUQ One You Love (2)DISCO 2 LOCAL NATIVES Alpharetta (1)DISCO 3 IRAINA MANCINI What You Doin’ (8)CLO LUCAS EXPLORANDO + SEP MARTÍN X (TWITTER)DISCO 4 LINDA RONSTADT Tumbling Dice (Cara 1 Corte 2)DISCO 5 JOE WALSH I Can Play That Rock & Roll (Cara 1 Corte 1)DISCO 6 ORLEANS Let the Be Music (5) CUÑA BUSCAS SAMUSTINA+ INDI PODCAST ANADISCO 7 TOM PETTY & THE HEARTBREAKERS You And I Will Meet Again (10)DISCO 8 ELENI MANDELL I’m Lucky (4)DISCO 9 MICHAEL SCOTT BOUDREAUX Louisiana Rain (1)DISCO 10 NEIL YOUNG & CRAZY HORSE Winterlong (3)PRES. LÍA ALCANDADISCO 11 GRAHAM NASH A Better Life (2)DISCO 12 JOHN COUGAR Sugar Marie (8)DISCO 13 SARAH HARMER Late Bloomer (ESCA)DISCO 14 KACEY MUSGRAVES & Troye Sivan Gliterry (ESCA)Escuchar audio

S7E19 went out Live on Rebel Rock Radio at 19h00 on 9 May 2024.  Winter is coming to Johannesburg so this show helped to warm up the airwaves.  We kicked off with Blackfoot of Tomcattin' and a track called 'Gimme, Gimme, Gimme'.  From there on out it was all the rock and metal we could squeeze in from the last 55 years.   Continuing with Evolutions we took in a track off The Foo Fighters' second album The Color and The Shape.     Just to reiterate please NOTE that if you listen to TSORR on Google Podcasts they are shutting it down and forcing podcasters onto YouTube Music.  The problem with that is you just can't get through the red tape and the shows get blocked due to the convoluted licencing structures.  You can find us on plenty of other sites if this happens.  The TSORR website www.thestoryofrockandroll.com will always be able to help.  You can also always contact TSORR on Facebook, X, or Instagram.     This week's Twisted Twins featured tracks called ‘Reason to Believe'.  Bruce Springsteen and Arch Enemy did the honours.     Immortals this week came from Gary Moore and a track called 'Blood of Emeralds'.  It was tempting to give ‘Parisienne Walkways' a go but traditionally we stay more obscure with immortals.  Maybe next time.     The Diabolical Challenge looked at four bands beginning with the letter ‘S'.  The idea is that we have 4 albums, and you can only pick one.  This week we had: Scorpions – Love At First StingSaxon – Wheels of SteelSeether – GasolineSkid Row – Skid RowWe also had Bomb Crocodile and Slow Panda's Picks of the Week featuring birthday boy Joe Bonamassa and Spiritbox.Check out the website to sign up for the monthly TSORR newsletterArtists Featured: Blackfoot, Badlands, Theory of a Deadman, Boston, Van Halen, Massive Wagons, Kickin' Valentina, Backyard Babies, Patti Smith, Tom Petty & The Heartbreakers, John Cougar, Last In Line, Def Leppard, Bruce Springsteen, Arch Enemy, Nirvana, Mick mars, Daughtry, Disturbed, Foo Fighters, Godsmack, Karen Zoid (feat Dan Patlansky), Dan Patlansky, The Black Cat Bones, Springbok Nude Girls, Gary Moore, Scorpions, Saxon, Skid Row, Seether, The Clash, The Stranglers, the Fismits, Joe Bonamassa, Spiritbox, Ghost Brigade, Billy idolThe Story of Rock and Roll. TSORR - Your one-stop shop for Rock

Chris Kinsley joined me for Episode #116, and our coming together for this conversation resulted via collaboration with Chris's band, Arson Class, Sid Sowder's toomuchrock.com, and myself.Sid's Too Much Rock project has a number of intriguing aspects to it, i.e. concert reviews, stills, and footage. It also has a weekly podcast that is rapidly approaching the 700-episode mark. More pertinent to today, however, is the revitalization of his Too Much Rock Single Series, which -- with the release of Arson Class's new single, "Junior" -- celebrates its 11th installment.Tomorrow, then, Friday, May 3rd, Chris and Arson Class will be celebrating "Junior"'s release with a live set at Sister Anne's Records & Coffee, at 901 E. 31st Street, here in Kansas City."Junior" will be available for purchase at area record stores, via a few online retailers, as well as directly from the band. It is only available as a limited-edition 7" vinyl pressing, and features an Arson Class cover of John Cougar's "American Dream" as its B-side.Chris sat down with me to discuss family, band life, serving in the military, and -- of course -- a few of his favorite records.Those were these:Horse Bites Dog Cries (1986), D.I.The Cramps' Flamejob (1994)Do or Die (1998), Dropkick MurphysArson Class has an EP, an LP, and a pair of singles you can purchase or access from their bandcamp page. You can also find their stuff where you stream your music. You can give them a follow on Facebook or Instagram, or catch them live on either May 18th at Centennial Skate Park in Lawrence, KS, June 1st at miniBar in Kansas City, or on July 20th at Scene of the Crash in Sioux City, Nebraska.Too Much Rock can be followed on Instagram, Facebook, Twitter, and Bluesky, and you can tune in to my conversation with Sid in Episode #105 of Badass Records.copyright disclaimer: I do not own the rights to the audio samples contained within this episode. They are portions of a track called, "Your Friendly Neighborhood Sugar Man" by The Sugarman 3. The tune comes from their 2012 release, What the World Needs Now, c/o Daptone Records.

Playlist : Carlone Was A Drop-Out > Kid Creole & The Coconuts 1985 / Hurts To Good > John Cougar… The post Le Musée des Oubliés-20-04-2024 first appeared on Radio Campus Angers.

Mike Morgan joins the guys for a full show of Power Hour. They get into the Coach Cal confirmation as he makes his way to Fayetteville, AR. They discuss to potential adjustments he may have to make for success at Arky, and they get into some the comparative talk between them and Carolina as they both made their way into the conference at the same time To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Magic Matt brought "John Cougar" on stage in Seattle before John was a Star!

Hello BoomXers! On tonight's show we try to pull the curtain back and take a peak into Jimmy's Brain. Dave heckles John Cougar. Cindy bullies a Crazy Faced French Social Media Queen and Shari wins Jimmy Reads (who cares). Oh yeah - Happy Birthday Boomer!

DID HE HANDLE THIS RIGHT?

Seth and Marc talk about the Americana coming-of-age ditty Jack & Diane by John Cougar. Switching between horny verses and existentialist choruses, this song paints a Midwest hell where people suck on hot dogs with chili on them and fuck under trees and opt for some strange words and turns of phrase that you'd maybe be familiar with if you grew up in Bumfuck, Indiana like "dribble off those Bobbie Brooks slacks" and "ditty."

Everything is janky on today's show. Markwayne Mullin vs Sean O'Brien. The near-fights in Congress are the next evolution in Republican violence. A shocking historic trend among all Republican presidents since Taft. Why voting against Biden because of 3.2 percent inflation is a crappy idea. Marjorie Taylor Green is a moron, Part Eleventy Billion. Stephanie Miller loves the Duggar Cultapraxapro bit. Why we can't rely on Trump's criminal trials to save democracy. It's really down to us. We know who leaked the proffer videos in Fulton County. Elon Musk is an anti-semite. TikTok users are getting their news from TikTok. George Santos isn't running again. Yankees fans screaming at Ted Cruz. With Jody Hamilton, David Ferguson, music by Razorhouse, Matt Jaffe, and more!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hi there, I'm Judy Croon. Welcome to another episode of Laugh Long and Prosper. Today , I'm joined by my long time amazing friend and awesome comedian Evan Carter. Evan is a legend in the Canadian comedy scene and has been considered by fans and comics alike to be one of the best ever. For years he has been at the top of the heap, and continues to deliver clean and witty comedy as good as it gets. Carter's versatility, experience, and professionalism serve him well and he transitions easily from different venues such as the opening of the 2015 Pam Am Games, to concert halls, working with musical stars such as Gladys Knight, The Temptations, Air Supply, Dionne Warwick, John Cougar, Midnight Oil, the late Marvin Gaye as well as many other top names in the world of show business. He equally excels at delivering quality performances to private corporate conferences and local fundraisers. Evan has worked on numerous television shows, like including his own half hour specials on CBC and The Comedy Network. On radio, Evan appears regularly on CBC's “Metro Morning”, “Fresh Air”, “Later the Same Day”, “LOL” and “The Debaters”. www.EvanCarter.com www.JudyCroon.com

Dave and Milt, adventurers bold and keen, Stepped into a time machine, a wondrous dream, Their destination set, the year was '82, With music as their guide, they found a place where seagulls flew.Heartlight by Neil Diamond, a song, they feared, would be a tragic and senseless assault on the ears.I Ran by A Flock Of Seagulls, it's musical insanity - and the dude's hair defied reason, taste, and yes, gravity.You Can Do Magic is America's song. But here's the thing: guess what, before long... the boys had to draw a line in the sand. It's only America's song 'cause that's the name of the band.Somebody's Baby by Jackson Browne is just so sweet, it's a song you might want to put on repeat. But you might want to try forget the flick... where a dude chooses a ball field to shag a young chick.Olivia Newton-John sang Heart Attack with grace, But the song - meh - it's just kinda taking up space.Cocker? I hardly know her. But Joe's voice enthralls... with a movie theme recalling Gere kicked in the balls. I Keep Forgettin', crooned Michael McDonald. His cool raspy voice into all ears he would tunnel. ... [Sorry but you try rhyming 'Mcdonald.']Eye In The Sky, The Alan Parsons Project's dream, is as dynamic as cold toast, as thin as Kareem.Jack & Diane, in John Cougar's nostalgic fog, still holds up well. Pass the chili dog.Who Can It Be Now? Asked the Men At Work. A cool Aussie rock band. You were expecting Bjork?

This episode Dan and Erik talk about music from Savoy Motel, Cruelster and Iowa City's Dave Helmer. We also talk about a zombie virus and Long Johns Silver's. Also, this is unrelated, but you may want to start trying to remember the exact date you last ate at Long John Silver's.

Morphine drummer Jerome Deupree is this weeks guest and we discuss the early days of Morphine, if Jerome ever expected to rejoin the band, the new vinyl reissues of The Night and Like Swimming, how to lock in the groove with a 2 string slide bass, touring the world with Vapors of Morphine, the bands long lasting legacy and much moreJerome/Morphinehttps://morphineband.comhttp://www.jeromedeupree.comhttps://www.instagram.com/morphine_bandhttps://www.facebook.com/MorphineBandOfficialPCHInstagram - www.instagram.com/powerchordhourTwitter - www.twitter.com/powerchordhourFacebook - www.facebook.com/powerchordhourYoutube - www.youtube.com/channel/UC6jTfzjB3-mzmWM-51c8LggSpotify Episode Playlists - https://open.spotify.com/user/kzavhk5ghelpnthfby9o41gnr?si=4WvOdgAmSsKoswf_HTh_MgDonate to help show costs -https://www.paypal.com/paypalme/pchanthonyhttps://cash.app/$anthmerchpowerchordhour@gmail.comCheck out the Power Chord Hour radio show every Friday night at 8 to 11 est/Tuesday Midnight to 3 est on 107.9 WRFA in Jamestown, NY. Stream the station online at wrfalp.com/streaming/ or listen on the WRFA app.

Have you noticed how the mind works sometimes? Sure, it works all the time but sometimes it amazes me how we couldn't have planned something to happen the way it actually happened. I wanted to start this one with Monkey Man from the Stones. It such a cool tune. So, I did. John Cougar attributed I Need A Lover to the Stones' Happy. I didn't know that until those two were put together and I was researching and writing notes. And Mick Jagger turned 80 recently. Maybe I'm the only one who appreciates the coincidences but there they are. Today you'll hear rock opera tunes from Tommy and David Byrne on Broadway. Great number from him and company. On my mind: Tales Vinyl Tells is on RadioFreeNashville.org at 103.7 & 107.1 FM Wednesdays at 5PM Central time. Replays and podcasts of the radio show and complete archives of the podcast are on StudioMillsWellness and most podcast apps. The Post Covid Outdoor Concert series is back! Day 3 of the Peacock is coming soon with Grand Funk Railroad, Loggins and Messina and The Rolling Stones. Days 1 & 2 are on the podcast. Last but not least, I hope you really get what we're doing on Tales Vinyl Tells. It's preservation and exposure of what I feel is the best music of the 20th century. The vinyls, many of them anyway, have endured and get play on my show. Digital copies are lacking character. In hopes to continue my mission above, I humbly ask for your financial support. My ask is here. When you read it, you'll understand why this is so important to me. Thank you for all support already offered and thank you for listening to TVT.

It was National Chili Dog Day a couple of days ago, and whenever I think of chili dogs, I think about John Cougar's 1980s classic, Jack and Diane. It's the song that made Tastee-Freez famous for those living across America. I grew up in the Midwest, enjoying hamburgers, chili dogs, and soft-serve from the Tastee-Freez. I even enjoyed a few meals there during my college years in Virginia. They were all over the country until one day, they just disappeared... Click Here To Subscribe Apple PodcastsSpotifyAmazon MusicGoogle PodcastsTuneIniHeartRadioPandoraDeezerBlubrryBullhornCastBoxCastrofyyd.deGaanaiVooxListen NotesmyTuner RadioOvercastOwlTailPlayer.fmPocketCastsPodbayPodbeanPodcast AddictPodcast IndexPodcast RepublicPodchaserPodfanPodtailRadio PublicRadio.comReason.fmRSSRadioVurblWe.foYandex jQuery(document).ready(function($) { 'use strict'; $('#podcast-subscribe-button-13292 .podcast-subscribe-button.modal-64f25dac23a37').on("click", function() { $("#secondline-psb-subs-modal.modal-64f25dac23a37.modal.secondline-modal-64f25dac23a37").modal({ fadeDuration: 250, closeText: '', }); return false; }); });

Todo un lujo la entrevista con g.a.t.o. para la posteridad para rematar la temporada y despedirnos hasta el primer martes (es el día que tenéis disponible nuestro podcast cada semana) del mes de septiembre). Nuestros invitados, ese dúo de ocasión (que, a lo mejor, tiene más recorrido y vida artística y pasa de ser una cosa puntual) que forman Yani Martinelli y Marcus Holdaway. Ella, venezolana, aparte de sus discos en solitario, como "Astral" o "Sweet silence" (por referirnos a obras recientes) ha sido habitual en los créditos de trabajos de Seasongs o Wild Honey o con Pepe Bermejo (Mamá y Happy Losers). Ël es componente de los High Llamas junto a Sean O ´Hagan. De la unión de dos multi-instrumentistas (Yani se trajo guitarra y Marcus, teclados, para la actuación en nuestro estudio) nace Colourway y este disco que nos presentan que se publicó a mediados de junio. Antes, en charla telefónica, nuestro interlocutor, fue Manuel Pnazo, director de Muzikalia, para comentar detalles de esa ramificación de la web musical que incluye edición de libros. Por eso, en el curso de la charla sonaron Lagartija Nick, Sr. Chinarro y Fernando Alfaro. Abrimos con música de Liz Phair ahora que sale la edición corregida y aumentada de "Exile in Guyville" para celebrar un aniversario redondo. Luego, el antecedente cercano del todo del que se desgajaron los proyectos Bon Iver, por un lado, y Megafaun, por otro. Entre entrevista y entrevista, más adelantos del retorno de El Faro, con Carlos Díaz al frente y el mundo spoken word cercano a Kate Tempest que construyen Laura Sam y Juan Escribano que cuentan con Abraham Boba de invitado. En la recta final el vigésimo disco de quien empezó siendo John Cougar y se trabsformò en John Mellencamp y el sexto álbum de la canadiense Shania Twin, tras cambiar de sello y superar problemas con su voz.

Ever find yourself reminiscing about the good old days when tunes from The Tragically Hip filled the airwaves? My pals, Tim and Pete, and I sure did, as we took a deep dive into their 6th studio album, Phantom Power. We discovered that our own past experiences and relationships managed to shape our views on this collection of radio hits, which seemed like a pivotal moment for the band. We weren't just content with superficially jamming out to the music. We dissected the unique sound and lyrical themes, compared them to previous Hip releases, and found ourselves swapping stories from past concerts. One standout memory was Tim being recognized by lead vocalist Gord Downie backstage. We also discussed the historical context of the album, like how its recording coincided with a major ice storm and a surprise tour that benefited a children's cancer camp. Stick around as we analyze some standout tunes like 'Poets' and its references to Gwen Jacobs' fight for women's equality. We also shared our thoughts on 'Fireworks' and how it reminded us of Canada's victory in the hockey series against Russia in 1972. So, whether you're a die-hard Hip fan or just love a good music chat, this episode is for you!TranscriptSpeaker 1 It's June of 1998 and I'm done with York University. To celebrate, my friends and I embarked on a camping trip to the Pinary Provincial Park just down the road from Grand Bend. It was just outside the liquor store in town that I heard a finished version of Pullets for the first time. Gord had long been one of my favorite Pullets, so to me this song resonated in a way that I can't quite describe. It was a feeling of euphoria and relief. This new record was going to be just fine, i thought to myself. Little did I know that several tracks on this record would stand the test of time and join the pantheon of great hip songs I still enjoy to this day, from the meandering escape is at hand to the traveling man, to the exquisite Bob Cajun and the downright delicious Emperor Penguin. Phantom power was right in the pocket, coming off of the exceptional trouble at the henhouse. As I got inside the truck to head back to the campsite I turned the volume up and just let Pullets sink into my brain. This was living. Today. We're going to hear from our friends Pete and Tim to check out what they think of Phantom power. Will it stack up? Find out today. On Getting Hip to the Hip. 0:01:41 - Speaker 2 Long sliced brewery presents Getting Hip to the Hip Hey it's JD here. 0:01:58 - Speaker 1 Welcome back to Getting Hip to the Hip. This week we are talking about Phantom Power, the sixth studio record by Seminole Canadian rock band, the Tragically Hip. I'm joined this week, as always, by my pals Tim and Pete Fellas. how are you doing? 0:02:19 - Speaker 3 Hey guys, hey guys, hey guys, glad to be here. Good to see you, i'm ecstatic to be here. 0:02:26 - Speaker 4 I'm ecstatic to be here right now. 0:02:27 - Speaker 1 Oh, I love it. 0:02:28 - Speaker 4 I love the energy This is happier than a pig and shit. 0:02:31 - Speaker 1 Oh boy, oh boy, that's pretty happy. I've seen some, some porcine creatures rolling in fecal matter and they sure love it. Okay, so if you are wanting to experience The Tragically Hip's music for the first time, tim and Pete are your avatars this week because they got to experience the record Phantom Power, which again is the sixth record produced by Steve Berlin, first record on Universal. But I guess I should tell you guys both. I guess I should say this to you both as honorary Canadians. Now, happy Canada Day. It's almost the 4th of July. It's July 3rd today, but it's July 4th tomorrow for you, but July 1st for us is Canada Day. So happy Canada Day, folks. 0:03:20 - Speaker 4 Wow, Yeah, Very close to the other 4th of July, which is America's Independence Day. In the UK they call that Thanksgiving. No, No, I had a. I took a flight one time on some shitty airline and the pilot was British and it was on the 4th of July and he was like so I just want to say you know, that's my shitty British accent Happy 4th of July was we call it. We're on from Thanksgiving. Enjoy Whatever. 0:03:57 - Speaker 1 That's great. Oh, anytime you can burn an American a little bit, it's. you know there's some fun. There's some fun there because you guys are so goddamn good at this shit, you know Anyway let's get into the record as a whole. Before we go into the song by song segment, let's just talk about this record, produced, like I said, by Steve Berlin. Five singles come from this record. All music rates at a three out of five Three. So there's that. What did you guys think? I want to know where you listen to it, how you listen to it and what your initial thoughts were, and you know, maybe, what they percolated up to. What do you say there, tim? 0:04:45 - Speaker 3 Well, there's a pause. I thought it was a three star album, kind of like all music I felt wasn't really sure. it felt a little bit deluded in a way. to me It felt a little bit, a little bit more generic from what I've heard in the past. But it also felt kind of expected for the whole catalog of albums this band has produced and the timeline going into the late 90s. You know this album felt like full of radio hits but at the same time I was missing a little bit of that raw kind of hip feeling. You know, i was wondering like, should I be okay with this album just being kind of fine? This was the turning point for me. I was really not sure. When I read kind of some reviews about it, i think there was some sentiment, some shared sentiment, and also some people were like it's my favorite album and some hip fans said it's their least favorite album. So this one's kind of a gray area for me. 0:06:00 - Speaker 1 It's funny. Well, I'll get into my, you know, sort of backgrounder on this for you guys after we hear from Pete. Pete, what did you think? 0:06:09 - Speaker 4 I hear you on the gray area, because I could totally see that. I could totally see how some hip fans are like this is the best album they did. Or this is not my favorite album. For me I listen to it everywhere. I listen to it in my office, so for my computer, with some some decent cans, i took it out running a lot. Probably. I think maybe the first time I listened to it was that took it in the car. It sounded great. The thing I found like I would say 3.5 for me, tim, instead of a 3. But you know I feel you on that My initial thoughts were that a lot of rawness of the hip was gone from this. In the first couple of listens it sounded very watered down. It was like somebody pulled Gord Downey aside and said Hey man, can we just like, kind of like the dude, can you, can, you fucking can you take it easy, man, you know, just like. Told him to just like chill out a little bit, and I don't know. The more I listen to it though, the more I dug into it and see how much work maybe not production, but just from the band themselves went into this record maybe changed my tune a lot Like I dig it. And Phantom Power, that was the coolest thing in the 90s, man Like because sometimes you didn't know what it was. If you never heard of Phantom Power before, it has a fucking cool name. If you had a guy that had like a condenser mic or something with Phantom Power, you're like dude, yeah, he's got a mic, that's got a Phantom Power. It was just like fucking. You were 17 and you heard that it was fucking cool. 0:08:00 - Speaker 3 Yeah, you know, i went and looked at a number of albums sold by a bunch of different bands, including the hip, and I was trying to kind of have this try to find this correlation of how many albums sold from the band start to like 10 years later, or 10 albums later, something like that. And I compared the hip with a bunch of bands And it's, it's. It's really all apples, oranges, of course, but when you look at how many albums they've sold and how they, you know, started off selling a ton and then just kind of went down to this million album mark. And then when I heard this album and I like UP, i listened to it all over the place. I listened to it on the plane I traveled, listened to it in the car, listened to it at home with the cans on. I mean I listened to it in more places than past listens because I was really trying to give it a go. I mean, it was the first time, upon first listened, that there were a couple songs where I was like okay, get it, i'm going to go to the next one, like I had not fast forwarded songs, you had her skipped ahead. So this, yeah, but but one of those songs that I skipped ahead on, sorry hip fans. You know I came back to and it's might be one of my most favorite on the album, so this this one like yeah, this one, this one to me like didn't grab me right away. Maybe it will more over time, maybe it's one of those types of albums, but well, i'll tell you what this record has. 0:09:36 - Speaker 1 An interesting, an interesting story, i think, and it it's my own headcanon This is. This is not like actual fact by any stretch, but in my opinion, trouble at the Henhouse, which is one of my absolute favorite records by the Tragically Hip or or or any other band, is, was maligned Like it, it, it, it, it both it and day for night didn't perform as well as fully, completely, and fully completely was very, if you recall, it was very polished, it was very produced. You know they went to London to record it. It was like a big deal. And then, following that, the next two records, they were sort of self-produced, with Mark Vreakin and Mark Howard on day for night and just Vreakin on fully, on Trouble at the Henhouse, and those records are sparse and they are. The core energy is, is there, it's, it's. It's like boiling hot magma, you know, and they're and they're forming these songs that are just age old now and and just wonderful, and then phantom power comes out and phantom power goes back to the like. To me it's sort of back to the back, to the basics. It's like back to really structured songs, really produced, and, like I always said, that this record was the baby of day for night and fully and completely, fully, completely, rather not fully and completely fully. It's sort of the baby of those two records. It's got the, it's got the production values, but it's still got songs. So I'll challenge you guys on that, because I think this record has songs and I think it has songs for days. You know what? 0:11:40 - Speaker 4 you are JD, let me tell you who you are. So when I was like 19 or 18, working with the movie theater, i dated this girl that that worked at the calendar place across the way And I just kind of went out with her because I was like really stoked. She gave me your number But I really wasn't that into her and all my friends were like, dude, she's really hot man, she's really amazing, and I just didn't see it. And so then like I stopped going out with her. We only went out a couple of times and that was that. And then I saw her again. I was like, damn, i really screwed that one up And that's kind of felt with this record, but I didn't want to like make that same mistake again. So like I, i'm sticking with it. I'm sticking with this being a solid album. Yeah, you know, yeah Masked it for, you know, a third and fourth date. 0:12:26 - Speaker 1 Yeah, i think, and I think three out of five stars is fair Like it's not it's not one of my. it's not my favorite record, but it's a lot of hit pants favorite record It's a lot Yeah, yeah. 0:12:39 - Speaker 3 That's that's what I found in my research. The covers are awesome. The covers are great. 0:12:43 - Speaker 1 They have that They actually have that panel in in their studio and bath, which is really cool. Yeah, so that's, you know this is. I want to say this is the second record they recorded at their studio. So they didn't go anywhere, you know, adventurous or anything like that, but they were at home. And what happened in 1998, i don't know if it made news anywhere else but Quebec and Ontario there was a major ice storm, yeah, major ice storm, and in Ontario it, like it absolutely shut down the city of Toronto. It shut down, you know, major thoroughfares. It was like devastating this ice storm. And we'll get into that a little bit more as we talk about the songs. But you know, they bring Berlin in and they're sort of trapped in the studio. You know like during during this, so really fascinating I think. 0:13:43 - Speaker 3 But yeah, it's a go ahead. Did you see this tour? Did you see them play on this tour? You want to hear a story Now? 0:13:52 - Speaker 1 people who listen to the movie and completely heard this. But the hip announced five secret shows that they were going to do, and all proceeds from these shows were going to go to a charity I forget which charity now at the oh, it was Camp Trillium. Camp Trillium, which is a camp for children with cancer, children that have cancer, and there's a location of that is near where I grew up And I'll show you when we, when you're in town for the finale. My friend's parents were on the committee for the cancer camp in our community, and so my friend Heather had intel and she she knew that they were going to go on sale at this time in this place in Hamilton, which is about an hour outside of Toronto, when traffic's good, and so we ended up getting third row center seats Wow, in this small theater in Hamilton, like 2000 people, and they blew the roof off the place. And a band called oh my goodness. They sang, come for a ride. Open for them, and they were tremendous as well. I forget the bands right now who open for them, but if you know it, send me an email. Jd at getting hip to the hipcom. So we're third row center. We watched the show, But the kicker here is is that Heather has got gifts to give the band And it's been arranged with the stage manager that we're going to go backstage afterwards to give. She's going to go backstage afterwards to give these gifts And she ended up inviting me along And so we got to go backstage and I introduced her to the tragic lab. So this was like this was like full circle for the two of us And it was just a wonderful experience. We went backstage after the show and they were all there and Gord had a. Gord Downey had a soccer ball And he was doing that thing where you flip it out, catch it and roll it back in your arms. Flip it out, catch it, roll it back in your arms And he just kept doing that And I remember at one point I must have looked silly or something, because somebody said and maybe it was Gord Downey said is everything all right? And I said, oh, everything is fucking perfect. I could go outside and get hit by a bus right now And it just wouldn't matter. And Gord Downey looked at me and he goes Oh, don't do that, jane. He called me Jane, only my mom calls me Jane. Like it was so cool It was cool. 0:16:37 - Speaker 4 How did I not know the story? How did I not know that you had interactions with Jesus? 0:16:44 - Speaker 1 Yeah, yeah, how was this? 0:16:45 - Speaker 4 coming up in episode. What fucking episode are we on. 0:16:48 - Speaker 1 Well, it was Tim asked me the question, yeah. 0:16:50 - Speaker 3 I don't know. We're like 15 minutes in. I think we could just call it. That was good enough. 0:16:55 - Speaker 1 Well, here's the kicker. Here's the kicker. I don't think I told this part on fully and completely, but the kicker is I had been dating a girl all through university and I broke up with her the summer of 98 and sewed my wild oats And this was all toward the end of the summer of 98. And she was in Hamilton to meet me after the show. So I'm backstage with the hip and they go Okay, well, we're going to go to the after party now in the next room over, because this was in the green room or whatever And we're going to go in the after party room and drink some beers. Do you guys want to join us? And I had to say no. I had to say no because my girlfriend was waiting outside for me. Now, in hindsight, what a boner move I made, because I wanted to get back together with her. Totally. It only lasted another two years after that, like I then absolutely blew up, but it was those. Those final two years were awful anyway, like they just weren't, you know, like both of us would agree to that now I'm sure the university years were wonderful, they were, they were great, but those those two years after our break up we're not so good And I blew a chance to go party with the hip. 0:18:15 - Speaker 3 You had a Davis Manning moment. 0:18:18 - Speaker 1 Yes, Yeah, yeah, absolutely. 0:18:22 - Speaker 3 He chose the girl over your fandom. 0:18:25 - Speaker 1 The hip lived between us. 0:18:27 - Speaker 3 They totally lived between you. They might still sorry, sorry, jess. 0:18:38 - Speaker 1 Well, folks, should we go song by song? 0:18:41 - Speaker 3 Yeah, let's do it, let's do it. 0:18:44 - Speaker 4 So I really liked this song. I really liked poets. This is probably the song I would say I have the least to say about. I really like the verse phrasing. I think it's probably the best part of this song, the way he phrases the verses. There's a part where the lines of a verse he kind of like carries into the next measure. It's really weird, like, like, like the mind, you think, okay, you sing the verse, then it's the next measure, but like he sings that verse over there Because it's when you look at it it's a complete line. I can't remember the line specifically, but it was. It was cool man. It's a hard thing to pull off man, but like that guy just does. It was so much, so much finesse. I liked the layered guitars in it, yeah. But I think, going back to what we're saying sort of at the beginning of the top of the show, it was, this song didn't punch me in the face Like right when I, right when I started listening, i dug it. I it was a soft open, it was a soft open. 0:19:59 - Speaker 1 All right, how'd you feel, tim? 0:20:01 - Speaker 3 I felt it was a harder open. I thought it was it. You know this. Like we've talked about before the cadence of songs and track orders. You know the first one I expect to really get me, bring me in, and this one did it. I thought it was pretty good. There's a fun kind of change over into the chorus It again I spoke about this a little bit before, but the kind of remind me of REM in REM's, like first half of the 90's albums, like they come on with like a punch of a song and then, like the cadence of the album kind of goes soft and then gets whoa, got a little dirty there, gets a little bit harder as time evolves. But yeah, this I thought this was a good start off. The themes you know I looked into a little bit of the song's meaning regarding lyrics and you know just talk about agriculture and super farms and like I don't know, ultimately fresh vegetables versus buying frozen and what that means. And this, this is the song that references Gwen Jacobs. Right, you know the story about her JD, and she was this woman who walked into town I think in Ontario topless and it created this whole. I don't have to look into this more, but I'm pretty sure this was the song about the Gwen Jacobs case. So Gwen was a woman who walked through town topless and was arrested and started this whole kind of woman's lib. You know movement with. You know making it okay to cut your lawn without a shirt on, just like the men do. That's kind of where the line in here from Gord comes from. It's a let's see. 0:22:02 - Speaker 1 Oh, that's great Lawn caught by breasted women. 0:22:04 - Speaker 3 Yeah, it's kind of this comment on pushing for women's equality and gender rights. So I thought that was fucking cool And that, to me also, is like really appropriate for the 90s or late 90s, you know it was. we were kind of circling back to, of course, some things we've had in North America before and prior decades. So I thought this song was cool. Again, it really reminded me of REM. I kind of went back and started looking at some of REM's albums and I wish, again, i wish I could know what the band listened to when they were traveling Me too. You know what they were sharing, what albums they were digging. you know if any of them were like Oh my God, did you hear REM's new one? We're going to put it in the the the buses stereo or whatever. Like I wish I could know what was influencing them, because I'm hearing, i'm hearing some some themes for sure. 0:22:57 - Speaker 1 Okay, earlier I was telling you about the ice storm. The next track, something on, was recorded and they literally were trapped in the studio. They were, you know, they couldn't leave the bath house, they couldn't leave the studio in bath. So they did what they do best They wrote a song and there's some lyrical content in there about the ice storm even And I think it's really wonderful lyricism. What did you guys think of something on? 0:23:33 - Speaker 3 I felt like, okay, i read about it, i read about this and I read about the ice storm and you know sounded awful. And for I hate to say this, but to go get stuck in a studio, for me that'd be like the time to really fuck things up, like really experiment. You know, you know, just hopefully somebody shows up with a huge bag of weed and somebody shows up with a bunch of acid and somebody shows up with a shit ton of beer and like this is when you like really go to town to experiment and what do we got out of it? We got like kind of a radio hit. So it was a little surprise to kind of hear the whole story and it just made me realize that maybe for this era, the guys were really I mean, they were at a point to where they could bust out a really good album, you know, and what, for me, that really good album is? like you go to a restaurant and it's like yo, that was a good meal. You know, everything was like satisfactory. 0:24:37 - Speaker 1 Well, yeah, it's a blooming onion man. 0:24:38 - Speaker 3 It's a blooming onion, Yeah, but to get stuck in a studio and ice storm, it's like I personally would want to just start going places. I haven't been before with my band, but you know this one's interesting take. Yeah, this one felt. This one felt a little radio felt a little you too, dave Matthews like splash of John Cougar melon camp or something like I don't know. Man, it felt, i know. I know, i know, i know. 0:25:10 - Speaker 1 And I was a big melon camp guy at one point. 0:25:13 - Speaker 4 But Dave, Matthews are regular. 0:25:16 - Speaker 1 Cougar and regular. 0:25:18 - Speaker 3 Yeah, like I couldn't get overly excited about this one. Well, again. 0:25:26 - Speaker 1 I think you were waiting for the follow up from the follow up to trouble at the house, and this isn't the follow up that you're expecting on a trajectory perspective. You know no no, i agree. 0:25:44 - Speaker 4 It's funny. You talk about getting trapped in the studio, like I mean, i don't know if I'd go like full steely Dan when they recorded the Albuquerque show, where, like you know, there maybe was not that much cocaine around, but I still agree with him, i would. I'd get really spacey, and I think they do it on a couple songs that we'll get into, but first time I heard this song got some heavy Jim Blossom's feels. Yeah yeah, Yes that's the first thing that hit me and I couldn't think of any of the band that it was like a buddy of mine used to play the band that they open for them a ton, and I was like the first band that came to mind like this Oh, and it was really poppy. And okay, my notes. Once you get past the repeated cheesiness of the chord progression and the vocal melody, it's not a bad song. 0:26:40 - Speaker 1 Oh dammit, with faint praise here. No, no, no, it's not a bad song. 0:26:44 - Speaker 4 I think it's a good song, but you know it's a good song. If, like you, take this song and go, is this a good song? Anybody will say it's a good song, but like you, said to me compared to the follow up of what you really wanted after trouble. Then else, and this was a song where I feel like Gord sounded a bit like he was put in the cage Like whoever was a universal when this record was getting recorded, put baby in the corner. And this is a song where really I feel like you know he's, he wants to be himself, but somebody's like, hey, man, just could you like you don't have to do it all the songs, but like at least on this one could you just, fucking, you know, tone it down a little bit. And I was just like, ah, where's my fucking, where's my lead singer. 0:27:33 - Speaker 3 Yeah, I totally agree, Because you know it's still a good song, because it's still all the guys and it still has themes, because it's Gord, you know you're still going to get one liners that are amazing. I feel like probably no matter what in any hip song there's going to be some standout lyric to me, some standout part like to the core fan. That's. That's really what I'm imagining. The line that stood out in this one for me was your imaginations having puppies, I mean yeah, yeah. I've had so many letters of puppies, you guys. It's like I'm just, i've got puppies all over the place. It's like. 0:28:11 - Speaker 4 I was a cool. I really like that one. Yeah, like that, like that video for new recruits or something. 0:28:17 - Speaker 3 Yeah, so I like identified in it. You know, at that personal level, which I think they're able to do just about on any song which is fucking amazing for a band to do, because I could probably name 10 bands right now. What that does not happen to me, yeah, so you know. So, in that regard, like hip fans, you know I'm, i'm I'm not really trying not to be the bad guy here, but we this, this, this just made this song, just made me keep going So into save the planet. I mean, i got to this one, arrived at this one, and I was like, is this the band's fucking Earth Day song? or stretch their reach to get on the farm aid bill, like what is going on here? I felt like I don't know, there's a flute in there. Who's playing the flute? 0:29:09 - Speaker 1 Who plays the flute? You know, i don't. I don't have the liner notes handy And on the wiki page it is remarkably barren in terms of additional players. Yeah, it doesn't, it doesn't have them, so I need people to write in. 0:29:25 - Speaker 3 If people know, let us know, because there's some flute in there And it made me wonder like what else? 0:29:31 - Speaker 1 there's keys all over this record. 0:29:33 - Speaker 3 Yeah, what else have I been missing in the background that maybe other people are participating in? But I felt, like you know this song, in the placement we were, we were filling, we were filling in the gaps on the menu And you're like, no, I had a burger yesterday. No, I'm not in the mood for that. Oh, I could really use some lasagna. Here we go. That's that's how Save the Planet felt, felt very time appropriate. This is, like you know, the millennial song. 0:30:02 - Speaker 1 Okay. 0:30:03 - Speaker 4 All right. So if anybody's got a line on the flute player, email Tim getting hip to the hip, talk there you go. Right, i copy Pete at getting hip Yeah. Save the Planet. I thought it was a banger. I really dug it. I at first I saw that too, but then I kind of look past the name of it And just look at the song itself. There's a. There's two references in this album to Crossing the Street, to pedestrian crossings. Yes, i'll point out the other one. This is the first one Fucking solo bangs in this. I thought the flute at the end was cool because it was so random. 0:30:47 - Speaker 3 I was like well, what the fuck is that? Yeah? 0:30:50 - Speaker 4 Same. 0:30:52 - Speaker 1 There's. You just can't imagine listening to road apples and having a flute right Like. It's just not part of this band. You know like and and and it works It works well, no, right? 0:31:05 - Speaker 4 Yeah, you know, if they went into that I'd be like, well, what the fuck's going on? 0:31:10 - Speaker 3 But I'll just quickly, quickly add that I'm okay with the flute. Like sometimes, the flute really is awesome. Oh, i think it's great. So you know, like some people like hear the flute and they're like oh why You know, but it works. 0:31:24 - Speaker 4 No, i dug it And this is again. This is not the first song, or not the only song in this record where I got some heavy Alanis vibes. The phrasing on if the bathwater is clear and my ears underwater, it's a tolerant hum from the core. Carry the water Like that the way he phrases that shit, it's just. I don't know if I see because it's a Canadian band, if I see everything through the lens of like Canadian pop artists. But like it's just the vibe I got from this and it's a great tune to get out and move your feet to get running. It's a fucking cool song to run. 0:32:09 - Speaker 3 All right, i'll put it on my point first I hear your Alanis vibes marry and up with my Michael Stipe vibes. I think those are in sync for sure, for sure. 0:32:20 - Speaker 1 I think there's a nice correlation between the hip and REM, like I think you're right, like they both have that enigmatic front man, you know, who is really literate and really interesting in the way they sort of phrase things and put things together. 0:32:39 - Speaker 4 They both went bold too, halfway through the careers, that's right, that's a fair point. 0:32:45 - Speaker 1 Fair point, fair point, all right, we're getting in the car right now and we are cruising northeast of here and we're going to Bob Cajun. I left your house this morning. 0:33:40 - Speaker 7 It was quarter after nine. I left your house this morning. I left your house this morning. I drove back to town this morning This morning with working on my mind, i thought I'd maybe try to leave an ear behind. I went back to bed this morning and it's time pulling down the blind. Yeah, the sky was dull, it was high but never come. And morning went down at a time that night in Toronto And I was jacking boardboards, riding on horseback and keeping order restored. Tell the men they couldn't hide. Step to the mic and sign and their voices rang with the area of time. To your house this morning. It was quarter after nine. In the middle of that riot I couldn't get you off of my mind. To your house this morning. It was just a little hour tonight Cause it was in my page on the rossard and constellation, but they themselves won't starve at time. To your house this morning It's a little after nine Cause it was in my page on the rossard and constellation, but they themselves won't starve at time. 0:37:32 - Speaker 5 Tell the men they couldn't hide, they didn't choose your bones and bones. They're all south of the wind and down the lawn to the lake For as long as it takes. 0:38:05 - Speaker 7 I don't want to be a hill of the birds last hour. I don't want the last words out of my mouth to be stained Out of my way. 0:38:16 - Speaker 4 Okay, I fucking love this tune. I got some heavy and Tim, yes or yes. If I hear no, I'm just I'm off this podcast Got some really strong G love special sauce vibes from this. Yes, Just the way they owe up. Am I my GD? 0:38:42 - Speaker 1 I don't know, i think I think I'm very familiar. 0:38:46 - Speaker 3 I did not go there, but I will Okay. 0:38:51 - Speaker 4 Right, i mean the. there's a oh dude that it could have been Willie, could have been the wine. I heard that song. The first time I heard that song I was. I took it out for a run and I came home and I like I listened to it again because I just thought it was such a good fucking song, because it's a weed. reference to may not necessarily be about them listening to Willie Nelson. It's like they were smoking weed or they were drinking wine, absolutely Yeah. The opening, like spacey guitar licks The dobro which I think he's playing. there's a dobro in there that he's playing which kind of gets sort of like a banjo slash guitar vibe. Oh God, just. 0:39:40 - Speaker 1 I feel like that lyric that you just quoted, though, could have been the Willie Nelson, could have been the wine. That's like one, like when he wrote that he should have just put the book down, put on a fedora, long overcoat, grabbed his briefcase, just went home for the day, that's. That's the days. That's the day at the office, that's a fucking. Exactly. 0:40:00 - Speaker 4 That's just a great lyric Exactly dude, no, 100%, it's so good. I was like you know. You know, a line is a good line when you hear it and it's so good you think you've heard it before. Meaning like I'm like right, i mean because it just sounds like it belongs on this in the history of life, Like like someone has, like if someone hadn't said it, they sure as shit should have said it. Does that make sense? Yeah, you know, it sounds like it's just. It's a great fucking line. I thought I maybe quit that line. It's just. It's really the part of this song where Gord starts coming out of the cage. On this record, i feel like that was the moment Somebody gave, somebody unlocked the door of the cage and he's starting to come out, and then the song ends on a random minor chord, which is so weird, it's such a happy, spacey song that ends on this minor chord. 0:41:09 - Speaker 3 I loved that. I loved that about it. So for me this one it felt a little Out of the gates. I need to listen to the beginning of it to see your G-Love reference. But out of the gates. It felt to me a little bit country and a little bit like are we reaching again for some crossover fans Along? the southern belt of the US. Like where are we? What's happening here? You know there's some slide guitar, but is it a song about lost love? You know looking up at the stars waiting for a reveal. You know there's synth work in here again, so there's some sort of keyboard happening, which is fucking cool. And to me, the first lesson I had all those kind of questions going through my head And then I thought at one moment like this is actually a fucking beautiful song. Like it's a little bit of an odd man out on the album, but it's actually a beautiful song. There's this long ending with no singing. It's just mysterious. Like you said, pete, the last five seconds or so, or this just bizarre tune out. It's like I found one quote when Gord was asked about this song. He said this was an interview in 2004,. He said this one asks the question evil in the open or evil just below the surface? That was his comment about this song. So it's like this song to me was super mysterious Yeah, super mysterious song which I fucking love, like I don't need literal storytelling every single song you know. Social themes, i don't know all these different things, i don't need that. Every single song I love you know kind of the knuckleball that comes in. You're like whoa okay, this is reeling me back in to the album in a good way, a way that I'm looking for, you know, i'm hoping for, but still, again, this one felt a little bit odd, man, just the way it fits into the album. They've done this before. They've gotten. 0:43:15 - Speaker 4 They lose green man. 0:43:16 - Speaker 3 Yeah, they've gone on this path of like okay, this one, now we're going to turn off the highway and head down this two-lane road and we're going to stop at this farm and we're going to have an afternoon barbecue with this family, and you know, i don't know, like it's just this one's off the highway. 0:43:35 - Speaker 1 Cool. What do you guys think of the bridge? It makes my arm hair stand up That night in Toronto with the checkerboard floors. There's a bar in Toronto that's famous legendary in fact called the Horseshoe and that references the Horseshoe, the checkerboard floors. Oh shit, that's one of the first big gigs they played in Toronto. 0:43:55 - Speaker 4 Can I get taken to that bar when I come visit Toronto? 0:43:57 - Speaker 1 Absolutely. Let's do it. Sure shit hopes so man. 0:44:00 - Speaker 4 That would be cool. This song is actually the most listened to hip song on Spotify. 0:44:07 - Speaker 1 Oh, wow Yeah. 0:44:09 - Speaker 3 Surpasses. I read something about that as well. 0:44:13 - Speaker 4 What was the one that it surpassed? 0:44:16 - Speaker 1 I can't remember Anyway yeah Well, so it's a hit all around Pop Cage. 0:44:21 - Speaker 3 Yeah, it was a fucking interesting song, right? This is. 0:44:25 - Speaker 1 So we shift gears now in a well, not in a huge way, because this is sort of low tempo or slower tempo. We go to Thompson Girl and you're both hesitating to start Thompson Girl. 0:44:41 - Speaker 4 Go ahead Tim. 0:44:42 - Speaker 3 Yeah, well, you know what's the story about here. I don't know. It's the story potentially about where is it here, This town in Manitoba, thompson, yeah, or it's. You know it's potentially about a nickel mining company up there. You know it's got this kind of sweet, forlorn grunt work somewhere between dream and duty, poking through with all them shoots of beauty. I mean, what is that about? You know, this is kind of a cute, in a way stripped down acoustic song. There's some banjo in there. You know, i've kind of been waiting for, I had been waiting for this type of stripped down, simpler song that you know it's kind of this forlorn, sad song to me at the same time. 0:45:42 - Speaker 1 Probably Pete. 0:45:44 - Speaker 4 I loved it. I thought it was cool. I think I don't know if it's consistent with you and I, tim, but like I really try not to look too deep into the lyrics because oftentimes I'm disappointed, that's why I don't do it. I know you do it a lot more than I do I totally do. 0:46:03 - Speaker 3 I mean it's because of Gord, like Gord Gord. for me, gord merits it. 0:46:09 - Speaker 4 I get intrigued though, but like dude so does. I mentioned Celie Daner earlier. Like Donald Fagan's lyrics are notoriously cool as fuck. But have you ever asked that guy like what he you know what's, what's the meaning of? you know Dr Woo or whatever, like he'll be, like I don't know man, we're on so much cocaine. Back in the day I was just getting shipped to prime or whatever you know like, and I know that's not really the case here. But that line, the way he goes up so high with grunt work, i can't. I'm not even gonna fucking try lest I fucking destroy your listener base JD by singing that line. But when he goes grunt work time between dream and duty the melody is so fucking good It's then there's a part. Um, i don't know if it's like, i don't know, i wouldn't call it the bridge, but it is a bit of a some sort of key change to the regular chord progression. When he goes really high and then the mandolin starts to come in fucking dug that. And then the piano kind of comes in at the end as well, it's fucking cool. I really dig it. Yeah, i liked it First. I didn't like it. I didn't like the chord progression. It just seemed to like, like you said, tim, acoustic. It's sending, like it was like this should be an acoustic song. 0:47:30 - Speaker 3 Keep it that way. Yeah, yeah. But then it grew on me real quick, which is maybe something I would potentially envision. From a stuck in the studio couple days, you know, you'd get to a point to where everybody's kind of burned out and you pick up the acoustic and somebody says to the piano and you talk about is it INCO, inco and the fucking nickel mining, and I, you know, i looked at it a little bit into that in Manitoba and was like, oh geez, here's, here's a historical. You know, just rabbit hole that I can't go down right now. But it just this, to me, is just one of those, one of those songs that fits in well with this whole album And it's something we haven't really had in the past. So it's kind of happy to hear it. Next one membership Who's who's singing backups Somebody found, is it Gord Is? 0:48:28 - Speaker 1 it Gord over. Usually it's Paul Angla, usually Well. 0:48:32 - Speaker 3 I don't think it's Paul. It might be doubled. If you, if you go in and listen again, check out membership and listen to the backups, because it sounds like a woman to me and it sounds really familiar, like I've heard this voice before And I've looked and looked and looked but I can't find anything. It might be one of the guys, just you know, editing it in post or something, i don't know. But there's, there's some beautiful backup happening. This one, though you know it's wasn't my favorite on the album, i'm not going to put it on the playlist There's kind of a big change after the three minute mark with, like this new chorus. Of course it has my fade out at the end. You know there's there's kind of this bigger start to the song, but it's kind of slow in a way. I don't know. It's maybe about addiction, it's kind of a ballad. you know this, this one, it just felt like it didn't really fit in, didn't really wasn't really sure how it was working and it it made me consider you know I've done this a few times that it made me consider the band and what they were feeling you know they're coming in on 2000 here What they were feeling after 10 years, which is long for any band to retain some amount of success 10 years of playing and predominantly being popular in their home country and not even gaining a huge you know the level they deserved in the neighboring USA. So this this kind of made me think about all those things. I just didn't know if it was like about power abuse of power addiction or longing loss, i don't know. This song was kind of all over the map for me, but ultimately the chorus bugged me and it stuck in my head for a little while. I was like, oh, i need, i need some other, i need some other hip song stuck in my head and that's kind of where, honestly, that's where, like blow a high dough, just comes and takes over my brain. So that's what happened. 0:50:50 - Speaker 4 on membership, I you know I have a ton to say about this song. It's kind of like I put in the same categories Poets. It wasn't my favorite song in the record. I liked it, felt it like it was a very drone rock with a chord progression. It's the way it sounded. I love the harmonies. Tim mentioned the harmonies being drawn along by it. Like that line with the harmonies come in The middle, guitar solo where they kind of tease you with the guitar solo helps build the song kind of cool. But then, yeah, the fade out at the end is just like to me. It felt like they maybe didn't have, they didn't nail everything down with this one. That's all I'll say, you know, but yeah we can move on if you want, let's slide over to fireworks. 0:51:46 - Speaker 7 You like fireworks? Yeah, me neither. The frustrating part Never back in old 72 Without school, just a gun, without a gun or trigger. I don't remember a reason. Set me sight of you. You said I couldn't get a fuck about the party. Never heard something true back before You held my hand. We were on the long way Loosing in my grip on Bobby Moore. Never heard anything wrong before I blushed. When these ever sensations get in your way, no doubt this shit me spurred right now By your shoulder, and that an amazing what you can't accomplish now I'm not together every single moment. That's what we thought. We'd be married. We both do deep with the grip of art, of fish chaos, believing in the country, me and you. Christ has a faith in Christ, the sinner cramming Yeah, we've heard all this before It's winter time. The house is solid to the bones, loosing in our grip on this fake cold war. Is it an amazing and a better accomplish When we don't let no nation get in our way? No doubt this shit me spurred right now By your shoulder, and that an amazing what you can't accomplish now, next to your comrades in the nation of fitness, the program regarding some eternal past time, clopping to the mind in a fit of laughter, showing no patience, no tolerance, no respect By your words, next to the distance, contemplating towering, towering star By your words. And in late, never, till there are no stars anymore By your words. And in, straight in heaven, contemplating towering, towering star, till there are no stars shining up in heaven, till there are no stars anymore. Isn't it an amazing and a better accomplish When we don't let no nation get in our way? No doubt this shit me spurred right now By your brand of error, shining up in heaven, contemplating towering, towering star. I think this one thing never goes away And this ones thing's always supposed to stop. Oh, this funny thing doesn't have to go away, and I'm gonna lie. 0:55:41 - Speaker 4 Oh fuck, How much time you got, then Fucking song, this song, i just have the word. It's this fucking rush, rush, rush, rush, rush. Just so much rush in this song. Really, there's a couple of rush references on this record and this is number one. I would say that is it. Gord Sinclair, yeah, so like and I think he would agree with me, because I don't know that I don't know any bass player in Canada, let alone the entire world, would put them up against Geddy Lee. So I can't like, true, Like. I don't think the bass in this song was supremely rushed, but the chord progression, the structure of the song, the lyrics, isn't it amazing? anything's accomplished Is fucking. It's so fucking dude, it's fucking rush, completely Fucking. It's like they should have just made a record with one song on it and sent it to Rush and been like this is for you guys, we love you guys. And dude, i'm not saying anything remotely like they jocked anything. It's an homage in the sweetest sense. It's fucking beautiful. I fucking listened to the song so many times. There's I don't know if he's playing a Les Paul or a Hamer Rob Baker, but it's got some hollow tone electric guitar. There's a line in there Christ in the Kremlin. I'm fucking. The words in this song are fucking spectacular. I bet it just destroyed. Destroyed. The crowd live Like. I mean if they played this fucking live you'd have to close with this or I don't know what you'd play with this. I mean it's just fuck. What's the other line Next year? comrades in the National Fitness Program caught in some external flex arm hang dropping the mat. Dude the lot. This that the way he speeds up that verse and fits all those fucking words into that, and then he goes back to the normal cadence, like when I say cadence I mean like the tempo, not a modal cadence, but like tempo. He goes back to that. I just bet when they, when they all listened to this track after it was mixed, or they all recorded everything, they all just fucking high-fived and hugged each other and had a big old fucking circle 100% Yeah. Dude, it's a fucking. It's one of my favorite fucking hip songs period. 0:58:23 - Speaker 3 Oh, you know what they. You know what they said after they recorded this. They were like this is going to be an every jukebox across Canada. I mean, it's a jukebox song. I mean, really, this is like play something by the tragically hip. Okay, i'm at the jukebox. Stick in a quarter. Oh, here's fireworks. Everybody loves this song. You know, that's that's. I couldn't agree more, pete. I just felt like this could be put on a seven inch only and out in the world. You know it was one of the first songs in a while where, like, i immediately just started snapping my fingers. It was like, okay, this, this song's, this song's moving. I completely agree with the rush references I love. I so identified with this girl. There was actually a girl who said she didn't give a fuck about hockey. I never heard a girl swear and I've never heard someone say that before. It was like there was some whole other world out there which is hard to fathom at times. I don't follow hockey. I totally identify with this. When I go on Facebook and it's like near the weekend it's mostly fucking NFL comments from people I know in Southern California. It's like, god damn, i wish I had a sports filter on my life because I don't really follow any sports. So the hockey the hockey comment, i was like yes, i, i want to hang out with you, let's go drink beers. You know, i probably follow that. It's whatever I just I just identify with that part, it's. You know this, though, you're right, pete, isn't it amazing you could do anything when the notion isn't in your way, believing in the country of me, and you, ah, you know, it's just, it's, it's, this is, it's more. It's more than an anthem. 1:00:17 - Speaker 4 You know, the crazy is so it's so, Getty Lee, though man. 1:00:21 - Speaker 1 Yeah, yeah, for sure, for sure. What's? 1:00:24 - Speaker 4 this, it's, it's spirit of the radio. Okay. That's the song thing you have in so many ways. Yeah, i mean, and I don't think any musician in the band would say like they can you know drum? like Neil Pert? I think the guitar is pretty. It's got some solid Alex life and vibes. like you could fucking compare that guitar wise. but like bass and drums, you can't fucking come close to those, like it's just. but sorry, tim, i didn't mean to interrupt you, but it's just a fucking. 1:00:55 - Speaker 3 That's good. Good, it's such a JD. What JD, what? what were your thoughts on the song? Do you have, do you have memories of hearing the song, or anything, or like? 1:01:03 - Speaker 1 I think it's, I think it's a romantic song, Like. I think it's like the firework of like meeting somebody that is just, you know, absolutely the sparkle of your eye, you know, sort of thing. The context, to give you some context, the goal that he's talking about, the goal that everyone remembers, is when Canada beat the Soviets in 1972. And that was, that was during the Cold War. So it was a big deal, that series, Canada playing hockey against Russia. you know a few games here in Canada and a few games in Moscow. It was a big deal, Like for these Canadian hockey players to go to Russia. Like at that time Russia was so mysterious And there was a very famous goal that won the series by Paul Henderson that everyone remembers. It's one of those moments in Canada, the, if you're of the right age or generation I'm not, I'm born in 74. So it's over my head, But if you were there then it's one of those like you know where you were moments. you know what I mean. 1:02:10 - Speaker 3 It's huge huge moment in sports history. 1:02:13 - Speaker 1 So for him to be just blown away. Like you know, loosening my grip on Bobby Orr, like I just picture, the 16 year old who's in love with Bobby Orr has the hockey cards on the wall, you know, he's just tremendous and all of a sudden he just oh, there's girls out there. Oh, and there's this particular girl who doesn't give a fuck about what, like whoa fireworks, you know. 1:02:40 - Speaker 3 Yeah, great song, Great song. This. yeah, I could have had this song, you know, and had a satisfied meal and went to bed. 1:02:49 - Speaker 1 You and your food All right. Go next to vapor trails. 1:02:58 - Speaker 3 So vapor trails, like I started this one and paused and had to come back to it, i didn't keep going like this, this, this, this was one of the breaks. And now for me, where I was like, okay, i'm not, either not in it enough or not focused enough, let's come back to it and didn't hold your attention. He would not not at the get go, but eventually it did. Oh, eventually it did bring me in. It totally was one of those songs that I wasn't so sure about, but over time was like humming it while walking around the house. You know, there's just to me it has some mysticism to it. There's this mysterious not to say it again but backup singer, whoever is in there. I mean there's some really good backup singing happening, but I just love some of the lyrics. There's nothing uglier than a man hitting a stride. 1:04:00 - Speaker 1 What a great lyric, right Dude And just the way he says it as well. There's nothing uglier than a man hitting a stride, yeah. 1:04:09 - Speaker 3 I can't wait to use that some point in life. You know, watching something happen, yeah, chords, use that line, throw away the rudder, float away, like they portrayals. You know, i get this. It's like, it's this feeling of like giving up. You know, at some point we all, everyone, i think everyone has contemplated, you know, life being different or serious change, or giving up, or you know, we've all had these heavy times in our lives and maybe the song kind of hits on that. There's amazing guitar riffing just towards four minute mark. It felt, you know, just to kind of wrap it up. For me it felt like a produced ending. You know, the fade out was like it wasn't just let's wrap the song up, let's just fade it out, it was like let's produce the fade out. So it was a little, i don't know a little more, a little more orchestrated. But yeah, it's, this song is. This song was a banger. I think it was really good for the spot in the album. I think it was like really fitting. 1:05:27 - Speaker 1 Yeah, because we're well into the second side now. Yeah yeah. Second track, second side, if you're playing by those roles, It has a good place, good place in the album. What do you think of APR Trail's Pete? 1:05:39 - Speaker 4 Well, this is the other thing that I thought was it's not. It's not a Rush reference, but I actually think there's a possibility that Rush's 2001 record Vapor 12, vapor Trails was perhaps, maybe, an homage to Tragically Hip. Wow, i don't know, that's my, that's my in my dream world. I don't know if that's really true, but and I saw them on that tour and they were fucking just amazing. Saw them at the Irvine Meadows man. 1:06:18 - Speaker 1 Such a great show. 1:06:19 - Speaker 4 Never saw. 1:06:20 - Speaker 1 Rush. I was supposed to see Rush on a tour in 93 and guess who was opening for them? Who, tragically Hip Jesus Christ. Wow, on Road Apples. Yeah, dude. 1:06:30 - Speaker 4 I don't know what's a bigger fail That or not partying with them. 1:06:34 - Speaker 1 Oh God, it's the, that's the, that's the fail. 1:06:36 - Speaker 3 They're close. Not partying, I think. 1:06:39 - Speaker 4 Well, we, let's put it this way, we, we, we showed to that concert, i think, and they were they, we were at that time. It's strange, real quick, because I know. but during that time, because 2001 was coming out of the Napster years and years, right And into, like I think it was right where the iPods came out, um, so people started buying music online again, sort of. So bands didn't have money to pay for opening bands during that time, so a lot of bands would tour and be like who's opening? And like there's nobody opening. So we assumed that somebody was opening, for Rush happened to me with pavement one time, but that's another story Um, and we walked, we're, we're racing through the parking lot Because we hear a spirit of the radio, but right into Red Bar Chat after that and just fucking made my, made my life. But to the song. Paper Trails. Um, the fucking vocal melody in the opening verse same. I got the same cadence, Tim. I don't know if you mentioned this as Thompson girl. Um, but the song I loved it. I imagine when they sung this song live, that when Gord sings the line you can throw away the rudder. He probably blows out either part of the low end or part of the mid end frequencies in the fucking speakers at this this, this house, his voice is just at that frequency where, if he really punches it like he could, he could break. He could break some fucking windows, because it's, it's just fucking just the way he delivers that shit. Throw away the rudder, um, uh, what else? Yeah, just that line to me was worth buying the fucking record. Pulled the car over. There's nothing uglier. Yeah. Then a man hitting his stride. Yeah, there's a transition from the bridge back to the chord progression. That's super abrupt And it's so cool because there's no transition. It's just like boom, boom, they go right back into the chord progression and it's fucking cool. I'm not, can't think of any band that I've heard do that. And then the last thing is the line, and it's it's. It's maybe Rob Baker, i don't know who's singing the backup, but Mexicans dressed in beige shirts Crazy line, yeah. 1:09:16 - Speaker 1 Yeah, I've never heard that Mexicans dressed in beige shirts. 1:09:19 - Speaker 4 It's. It's like almost whispered. 1:09:25 - Speaker 3 Wow references you know references, folks who spend their life picking the strawberries and raspberries. 1:09:31 - Speaker 1 We, i believe, Yeah, I would guess so. 1:09:37 - Speaker 3 I believe it does So yeah. 1:09:39 - Speaker 4 Are we going to? 1:09:40 - Speaker 1 rules. You got it, dude. 1:09:48 - Speaker 4 I love the song. It was so fucking cool and so chill. This starts out with those huge cymbal crashes in the beginning. This is the second song in the record that references a pedestrian crossing, talks about a crossing guard not doing their job. 1:10:04 - Speaker 1 So yeah, it's really reference of and the second reference of super farmer. Uh-huh Right. 1:10:11 - Speaker 3 In that same in that same Stan's line. Got some agricultural themes happening. Probably the third agricultural theme. 1:10:21 - Speaker 4 Yeah, I don't know I just the phrasing was beautiful. I'm wondering what a bard is. B-a-r-d. 1:10:28 - Speaker 3 There's a couple of references with that. One is it has to do with a Shakespeare reference. 1:10:35 - Speaker 1 That's what I thought, yeah. 1:10:36 - Speaker 3 Yeah, and then the other one is I'm not going to butcher it, the other one has to do with fighting. I have to look it up. 1:10:46 - Speaker 1 Let's just go with Shakespeare. 1:10:48 - Speaker 3 Yeah, it's some Shakespeare reference. 1:10:52 - Speaker 4 And then to the line about the vacuum's got a guarantee. I just that line hooked me in so much because it was so random that I was like really in just pay super close attention to what he said. And the next line that he delivers, which is it could suck a virus, an ancient virus from the sea, is like what the like again put on the hat, put on your jacket, close the briefcase. Fucking. Done your job today. 1:11:23 - Speaker 1 Leave the office, gordon, that's right Punch out or whatever. 1:11:27 - Speaker 4 The whole, that whole stand is fucking amazing. There's a table slide And then oh, by the way, this song, and fuck, there was one other song. God damn this song. and one other song at the record. on the record It's earlier. I want to say it may be something on or say the planet. at the very end of it You hear the word somebody in the studio is cool. Yeah, so it doesn't feel so and there was one other two, one other song on the record that they did, so I was like they did that twice. 1:12:05 - Speaker 1 That's cool. I'm going to need access to your premium sound system. 1:12:10 - Speaker 4 Well, I mean GD, that's. We know this is not stuff we just hand on. It's kind of like you know top secret Clarence, There's a lot involved, A lot of screaming All right, all right, all right. 1:12:22 - Speaker 3 He passed. He's done it. Yes, true, yes, we're adjourning my current, for he's had it. Yeah, i heard the song and I thought Pete loves this song so much And when we come talk about it on the pod it's going to be all Pete. 1:12:43 - Speaker 1 You know how much to say. 1:12:44 - Speaker 3 I thought it was kind of a yonder. I got you know some, some from it, But you know I was like this. The song isn't for me. I thought it was kind of a yonder. I was going to leave it to Pete. 1:12:58 - Speaker 1 We're going to come back in a year because it's going to be a grower for you. I guarantee this song will be a grower for you. 1:13:04 - Speaker 3 If it's not, you guys both have to buy me beers. I can live with that, Yeah, yeah. 1:13:11 - Speaker 1 Okay. Well then let's slide into Sugar and Falls Ohio. 1:13:15 - Speaker 4 Take it Timbo. 1:13:17 - Speaker 3 Yeah, so Sugar and Falls. So this song I thought was basically a huge fuck off to corporate man, to the man. I thought this is like. This song is driving some culture into the fan base. It's probably, you know, was played a lot on the radio. I thought this one you know I could be wrong, but this song to me felt like on the verge of angry a little bit more than usual. I'd maybe really wonder about it live, if this got more raucous, if it got a little bit more I don't know violent feeling. And I think it's because it thematically, which is where I'm going to go, not so much with music on this one, but thematically it Sugar and Falls, in my research. That's the headquarters of Clear Channel, which at the time Clear Channel Corporation was slowly taking over media, especially North America. Yeah, so that's a lot of the references to Grand Falls. You know where the unknown won't even go. Because at this point I mean that line to me says if you're an artist and you're trying to make it like, avoid your Grand Falls, avoid Clear Channel, you know, be careful with what radio you're sending your tapes to your CDs to like this. This is that song that is kind of the band's shout to the world of, you know, corporate media is taking over the airwaves, you know, be aware So that that to me the song has like a mission. It felt like the first time I listened to it. When I got to you know, three quarters, two thirds of the way through, i thought is this song like over five minutes? you know it felt long, but it didn't feel long in a bad way, like it felt like a good, just a really well written song. Like I was kind of digging through Grand Falls, it felt like a five minute song, but it's not a five minute song. I didn't look up live versions of it but I definitely want to find something. 1:15:47 - Speaker 1 Yeah, get the answers to your questions. I can't, unfortunately, answer because I saw them on that tour and I don't remember if they played it, but I can't. 1:15:57 - Speaker 3 It was somewhat rare. I feel like it was probably going to be a rare rarely. 1:16:01 - Speaker 1 Yeah, it would be one that would be, you know, gosh. Well, let me just quickly look up how many times they played it. 1:16:09 - Speaker 3 I mean for people that don't know, Clear Channel took over corporate. I mean took over FM radio. Over time, like so many stations became Clear Channel stations and became programmed. And I remember hearing the transition because, as a big radio listener, being bored in 71, you know, i listened to radio for like 20 years, 15 at least, 20 years and they just completely took over And I remember hearing DJs demeanor changing from independent radio station to now being put into this box And I feel like that's what the band is trying to talk about in this song And I think it's their fuck you to this corporate system of being in a band and trying to make it and just to inspire people to be independently minded. 1:17:08 - Speaker 4 Yeah, it's funny you mentioned Clear Channel only because I want to talk about the song, because I feel a little bit different about the song in some ways than you do, tim, and it's funny, like Tim, i didn't do fucking a pubic here. The research you did for this fucking song. I had to look up where Chagrin Falls was but, and I dug it. But yeah, that's when there used to be a great station in classic rock station in LA called Arrow 93. And they went over to that Jack. You know that Jack format Jack FM, which is just, it's just a guy who like record something and it's like a cheesy line and he

Welcome to the intermission of our First-Name Basis season -- in which we're contemplating important songs with more than one name in them, and ranking them, too! And while this ep is dropping in the middle of the season, we actually recorded it first, so if it seems like we're working through our metrics for what's iconic when it comes to name songs...we are! Time is a flat pop chart! We're also talking about disco murder ballads, the underrepresentation of men's names in this season, why John Cougar is like Erica Kane, Gap khakis, song prequels, and justice for Cotton-Eye Joe. Before you write your congressperson a letter about banishing the word "dump" from pop songs, listen to our latest episode! Our intro is [deep breath] Elliott Smith, Ben Folds, Andrew Byrne, Laura Barger, AND Jack Baldelli, and our outro is Billy Pilgrim. For more information/to become a patron of the show, visit patreon.com/mastas. SHOW NOTES Not sure what's going on here? Start at the beginning of the season America's Damp 40, Episode 1 Episode 146: John Cougar, "Pink Houses"

Ever find yourself reminiscing about the good old days when tunes from The Tragically Hip filled the airwaves? My pals, Tim and Pete, and I sure did, as we took a deep dive into their 6th studio album, Phantom Power. We discovered that our own past experiences and relationships managed to shape our views on this collection of radio hits, which seemed like a pivotal moment for the band. We weren't just content with superficially jamming out to the music. We dissected the unique sound and lyrical themes, compared them to previous Hip releases, and found ourselves swapping stories from past concerts. One standout memory was Tim being recognized by lead vocalist Gord Downie backstage. We also discussed the historical context of the album, like how its recording coincided with a major ice storm and a surprise tour that benefited a children's cancer camp. Stick around as we analyze some standout tunes like 'Poets' and its references to Gwen Jacobs' fight for women's equality. We also shared our thoughts on 'Fireworks' and how it reminded us of Canada's victory in the hockey series against Russia in 1972. So, whether you're a die-hard Hip fan or just love a good music chat, this episode is for you!TranscriptSpeaker 1 It's June of 1998 and I'm done with York University. To celebrate, my friends and I embarked on a camping trip to the Pinary Provincial Park just down the road from Grand Bend. It was just outside the liquor store in town that I heard a finished version of Pullets for the first time. Gord had long been one of my favorite Pullets, so to me this song resonated in a way that I can't quite describe. It was a feeling of euphoria and relief. This new record was going to be just fine, i thought to myself. Little did I know that several tracks on this record would stand the test of time and join the pantheon of great hip songs I still enjoy to this day, from the meandering escape is at hand to the traveling man, to the exquisite Bob Cajun and the downright delicious Emperor Penguin. Phantom power was right in the pocket, coming off of the exceptional trouble at the henhouse. As I got inside the truck to head back to the campsite I turned the volume up and just let Pullets sink into my brain. This was living. Today. We're going to hear from our friends Pete and Tim to check out what they think of Phantom power. Will it stack up? Find out today. On Getting Hip to the Hip. 0:01:41 - Speaker 2 Long sliced brewery presents Getting Hip to the Hip Hey it's JD here. 0:01:58 - Speaker 1 Welcome back to Getting Hip to the Hip. This week we are talking about Phantom Power, the sixth studio record by Seminole Canadian rock band, the Tragically Hip. I'm joined this week, as always, by my pals Tim and Pete Fellas. how are you doing? 0:02:19 - Speaker 3 Hey guys, hey guys, hey guys, glad to be here. Good to see you, i'm ecstatic to be here. 0:02:26 - Speaker 4 I'm ecstatic to be here right now. 0:02:27 - Speaker 1 Oh, I love it. 0:02:28 - Speaker 4 I love the energy This is happier than a pig and shit. 0:02:31 - Speaker 1 Oh boy, oh boy, that's pretty happy. I've seen some, some porcine creatures rolling in fecal matter and they sure love it. Okay, so if you are wanting to experience The Tragically Hip's music for the first time, tim and Pete are your avatars this week because they got to experience the record Phantom Power, which again is the sixth record produced by Steve Berlin, first record on Universal. But I guess I should tell you guys both. I guess I should say this to you both as honorary Canadians. Now, happy Canada Day. It's almost the 4th of July. It's July 3rd today, but it's July 4th tomorrow for you, but July 1st for us is Canada Day. So happy Canada Day, folks. 0:03:20 - Speaker 4 Wow, Yeah, Very close to the other 4th of July, which is America's Independence Day. In the UK they call that Thanksgiving. No, No, I had a. I took a flight one time on some shitty airline and the pilot was British and it was on the 4th of July and he was like so I just want to say you know, that's my shitty British accent Happy 4th of July was we call it. We're on from Thanksgiving. Enjoy Whatever. 0:03:57 - Speaker 1 That's great. Oh, anytime you can burn an American a little bit, it's. you know there's some fun. There's some fun there because you guys are so goddamn good at this shit, you know Anyway let's get into the record as a whole. Before we go into the song by song segment, let's just talk about this record, produced, like I said, by Steve Berlin. Five singles come from this record. All music rates at a three out of five Three. So there's that. What did you guys think? I want to know where you listen to it, how you listen to it and what your initial thoughts were, and you know, maybe, what they percolated up to. What do you say there, tim? 0:04:45 - Speaker 3 Well, there's a pause. I thought it was a three star album, kind of like all music I felt wasn't really sure. it felt a little bit deluded in a way. to me It felt a little bit, a little bit more generic from what I've heard in the past. But it also felt kind of expected for the whole catalog of albums this band has produced and the timeline going into the late 90s. You know this album felt like full of radio hits but at the same time I was missing a little bit of that raw kind of hip feeling. You know, i was wondering like, should I be okay with this album just being kind of fine? This was the turning point for me. I was really not sure. When I read kind of some reviews about it, i think there was some sentiment, some shared sentiment, and also some people were like it's my favorite album and some hip fans said it's their least favorite album. So this one's kind of a gray area for me. 0:06:00 - Speaker 1 It's funny. Well, I'll get into my, you know, sort of backgrounder on this for you guys after we hear from Pete. Pete, what did you think? 0:06:09 - Speaker 4 I hear you on the gray area, because I could totally see that. I could totally see how some hip fans are like this is the best album they did. Or this is not my favorite album. For me I listen to it everywhere. I listen to it in my office, so for my computer, with some some decent cans, i took it out running a lot. Probably. I think maybe the first time I listened to it was that took it in the car. It sounded great. The thing I found like I would say 3.5 for me, tim, instead of a 3. But you know I feel you on that My initial thoughts were that a lot of rawness of the hip was gone from this. In the first couple of listens it sounded very watered down. It was like somebody pulled Gord Downey aside and said Hey man, can we just like, kind of like the dude, can you, can, you fucking can you take it easy, man, you know, just like. Told him to just like chill out a little bit, and I don't know. The more I listen to it though, the more I dug into it and see how much work maybe not production, but just from the band themselves went into this record maybe changed my tune a lot Like I dig it. And Phantom Power, that was the coolest thing in the 90s, man Like because sometimes you didn't know what it was. If you never heard of Phantom Power before, it has a fucking cool name. If you had a guy that had like a condenser mic or something with Phantom Power, you're like dude, yeah, he's got a mic, that's got a Phantom Power. It was just like fucking. You were 17 and you heard that it was fucking cool. 0:08:00 - Speaker 3 Yeah, you know, i went and looked at a number of albums sold by a bunch of different bands, including the hip, and I was trying to kind of have this try to find this correlation of how many albums sold from the band start to like 10 years later, or 10 albums later, something like that. And I compared the hip with a bunch of bands And it's, it's. It's really all apples, oranges, of course, but when you look at how many albums they've sold and how they, you know, started off selling a ton and then just kind of went down to this million album mark. And then when I heard this album and I like UP, i listened to it all over the place. I listened to it on the plane I traveled, listened to it in the car, listened to it at home with the cans on. I mean I listened to it in more places than past listens because I was really trying to give it a go. I mean, it was the first time, upon first listened, that there were a couple songs where I was like okay, get it, i'm going to go to the next one, like I had not fast forwarded songs, you had her skipped ahead. So this, yeah, but but one of those songs that I skipped ahead on, sorry hip fans. You know I came back to and it's might be one of my most favorite on the album, so this this one like yeah, this one, this one to me like didn't grab me right away. Maybe it will more over time, maybe it's one of those types of albums, but well, i'll tell you what this record has. 0:09:36 - Speaker 1 An interesting, an interesting story, i think, and it it's my own headcanon This is. This is not like actual fact by any stretch, but in my opinion, trouble at the Henhouse, which is one of my absolute favorite records by the Tragically Hip or or or any other band, is, was maligned Like it, it, it, it, it both it and day for night didn't perform as well as fully, completely, and fully completely was very, if you recall, it was very polished, it was very produced. You know they went to London to record it. It was like a big deal. And then, following that, the next two records, they were sort of self-produced, with Mark Vreakin and Mark Howard on day for night and just Vreakin on fully, on Trouble at the Henhouse, and those records are sparse and they are. The core energy is, is there, it's, it's. It's like boiling hot magma, you know, and they're and they're forming these songs that are just age old now and and just wonderful, and then phantom power comes out and phantom power goes back to the like. To me it's sort of back to the back, to the basics. It's like back to really structured songs, really produced, and, like I always said, that this record was the baby of day for night and fully and completely, fully, completely, rather not fully and completely fully. It's sort of the baby of those two records. It's got the, it's got the production values, but it's still got songs. So I'll challenge you guys on that, because I think this record has songs and I think it has songs for days. You know what? 0:11:40 - Speaker 4 you are JD, let me tell you who you are. So when I was like 19 or 18, working with the movie theater, i dated this girl that that worked at the calendar place across the way And I just kind of went out with her because I was like really stoked. She gave me your number But I really wasn't that into her and all my friends were like, dude, she's really hot man, she's really amazing, and I just didn't see it. And so then like I stopped going out with her. We only went out a couple of times and that was that. And then I saw her again. I was like, damn, i really screwed that one up And that's kind of felt with this record, but I didn't want to like make that same mistake again. So like I, i'm sticking with it. I'm sticking with this being a solid album. Yeah, you know, yeah Masked it for, you know, a third and fourth date. 0:12:26 - Speaker 1 Yeah, i think, and I think three out of five stars is fair Like it's not it's not one of my. it's not my favorite record, but it's a lot of hit pants favorite record It's a lot Yeah, yeah. 0:12:39 - Speaker 3 That's that's what I found in my research. The covers are awesome. The covers are great. 0:12:43 - Speaker 1 They have that They actually have that panel in in their studio and bath, which is really cool. Yeah, so that's, you know this is. I want to say this is the second record they recorded at their studio. So they didn't go anywhere, you know, adventurous or anything like that, but they were at home. And what happened in 1998, i don't know if it made news anywhere else but Quebec and Ontario there was a major ice storm, yeah, major ice storm, and in Ontario it, like it absolutely shut down the city of Toronto. It shut down, you know, major thoroughfares. It was like devastating this ice storm. And we'll get into that a little bit more as we talk about the songs. But you know, they bring Berlin in and they're sort of trapped in the studio. You know like during during this, so really fascinating I think. 0:13:43 - Speaker 3 But yeah, it's a go ahead. Did you see this tour? Did you see them play on this tour? You want to hear a story Now? 0:13:52 - Speaker 1 people who listen to the movie and completely heard this. But the hip announced five secret shows that they were going to do, and all proceeds from these shows were going to go to a charity I forget which charity now at the oh, it was Camp Trillium. Camp Trillium, which is a camp for children with cancer, children that have cancer, and there's a location of that is near where I grew up And I'll show you when we, when you're in town for the finale. My friend's parents were on the committee for the cancer camp in our community, and so my friend Heather had intel and she she knew that they were going to go on sale at this time in this place in Hamilton, which is about an hour outside of Toronto, when traffic's good, and so we ended up getting third row center seats Wow, in this small theater in Hamilton, like 2000 people, and they blew the roof off the place. And a band called oh my goodness. They sang, come for a ride. Open for them, and they were tremendous as well. I forget the bands right now who open for them, but if you know it, send me an email. Jd at getting hip to the hipcom. So we're third row center. We watched the show, But the kicker here is is that Heather has got gifts to give the band And it's been arranged with the stage manager that we're going to go backstage afterwards to give. She's going to go backstage afterwards to give these gifts And she ended up inviting me along And so we got to go backstage and I introduced her to the tragic lab. So this was like this was like full circle for the two of us And it was just a wonderful experience. We went backstage after the show and they were all there and Gord had a. Gord Downey had a soccer ball And he was doing that thing where you flip it out, catch it and roll it back in your arms. Flip it out, catch it, roll it back in your arms And he just kept doing that And I remember at one point I must have looked silly or something, because somebody said and maybe it was Gord Downey said is everything all right? And I said, oh, everything is fucking perfect. I could go outside and get hit by a bus right now And it just wouldn't matter. And Gord Downey looked at me and he goes Oh, don't do that, jane. He called me Jane, only my mom calls me Jane. Like it was so cool It was cool. 0:16:37 - Speaker 4 How did I not know the story? How did I not know that you had interactions with Jesus? 0:16:44 - Speaker 1 Yeah, yeah, how was this? 0:16:45 - Speaker 4 coming up in episode. What fucking episode are we on. 0:16:48 - Speaker 1 Well, it was Tim asked me the question, yeah. 0:16:50 - Speaker 3 I don't know. We're like 15 minutes in. I think we could just call it. That was good enough. 0:16:55 - Speaker 1 Well, here's the kicker. Here's the kicker. I don't think I told this part on fully and completely, but the kicker is I had been dating a girl all through university and I broke up with her the summer of 98 and sewed my wild oats And this was all toward the end of the summer of 98. And she was in Hamilton to meet me after the show. So I'm backstage with the hip and they go Okay, well, we're going to go to the after party now in the next room over, because this was in the green room or whatever And we're going to go in the after party room and drink some beers. Do you guys want to join us? And I had to say no. I had to say no because my girlfriend was waiting outside for me. Now, in hindsight, what a boner move I made, because I wanted to get back together with her. Totally. It only lasted another two years after that, like I then absolutely blew up, but it was those. Those final two years were awful anyway, like they just weren't, you know, like both of us would agree to that now I'm sure the university years were wonderful, they were, they were great, but those those two years after our break up we're not so good And I blew a chance to go party with the hip. 0:18:15 - Speaker 3 You had a Davis Manning moment. 0:18:18 - Speaker 1 Yes, Yeah, yeah, absolutely. 0:18:22 - Speaker 3 He chose the girl over your fandom. 0:18:25 - Speaker 1 The hip lived between us. 0:18:27 - Speaker 3 They totally lived between you. They might still sorry, sorry, jess. 0:18:38 - Speaker 1 Well, folks, should we go song by song? 0:18:41 - Speaker 3 Yeah, let's do it, let's do it. 0:18:44 - Speaker 4 So I really liked this song. I really liked poets. This is probably the song I would say I have the least to say about. I really like the verse phrasing. I think it's probably the best part of this song, the way he phrases the verses. There's a part where the lines of a verse he kind of like carries into the next measure. It's really weird, like, like, like the mind, you think, okay, you sing the verse, then it's the next measure, but like he sings that verse over there Because it's when you look at it it's a complete line. I can't remember the line specifically, but it was. It was cool man. It's a hard thing to pull off man, but like that guy just does. It was so much, so much finesse. I liked the layered guitars in it, yeah. But I think, going back to what we're saying sort of at the beginning of the top of the show, it was, this song didn't punch me in the face Like right when I, right when I started listening, i dug it. I it was a soft open, it was a soft open. 0:19:59 - Speaker 1 All right, how'd you feel, tim? 0:20:01 - Speaker 3 I felt it was a harder open. I thought it was it. You know this. Like we've talked about before the cadence of songs and track orders. You know the first one I expect to really get me, bring me in, and this one did it. I thought it was pretty good. There's a fun kind of change over into the chorus It again I spoke about this a little bit before, but the kind of remind me of REM in REM's, like first half of the 90's albums, like they come on with like a punch of a song and then, like the cadence of the album kind of goes soft and then gets whoa, got a little dirty there, gets a little bit harder as time evolves. But yeah, this I thought this was a good start off. The themes you know I looked into a little bit of the song's meaning regarding lyrics and you know just talk about agriculture and super farms and like I don't know, ultimately fresh vegetables versus buying frozen and what that means. And this, this is the song that references Gwen Jacobs. Right, you know the story about her JD, and she was this woman who walked into town I think in Ontario topless and it created this whole. I don't have to look into this more, but I'm pretty sure this was the song about the Gwen Jacobs case. So Gwen was a woman who walked through town topless and was arrested and started this whole kind of woman's lib. You know movement with. You know making it okay to cut your lawn without a shirt on, just like the men do. That's kind of where the line in here from Gord comes from. It's a let's see. 0:22:02 - Speaker 1 Oh, that's great Lawn caught by breasted women. 0:22:04 - Speaker 3 Yeah, it's kind of this comment on pushing for women's equality and gender rights. So I thought that was fucking cool And that, to me also, is like really appropriate for the 90s or late 90s, you know it was. we were kind of circling back to, of course, some things we've had in North America before and prior decades. So I thought this song was cool. Again, it really reminded me of REM. I kind of went back and started looking at some of REM's albums and I wish, again, i wish I could know what the band listened to when they were traveling Me too. You know what they were sharing, what albums they were digging. you know if any of them were like Oh my God, did you hear REM's new one? We're going to put it in the the the buses stereo or whatever. Like I wish I could know what was influencing them, because I'm hearing, i'm hearing some some themes for sure. 0:22:57 - Speaker 1 Okay, earlier I was telling you about the ice storm. The next track, something on, was recorded and they literally were trapped in the studio. They were, you know, they couldn't leave the bath house, they couldn't leave the studio in bath. So they did what they do best They wrote a song and there's some lyrical content in there about the ice storm even And I think it's really wonderful lyricism. What did you guys think of something on? 0:23:33 - Speaker 3 I felt like, okay, i read about it, i read about this and I read about the ice storm and you know sounded awful. And for I hate to say this, but to go get stuck in a studio, for me that'd be like the time to really fuck things up, like really experiment. You know, you know, just hopefully somebody shows up with a huge bag of weed and somebody shows up with a bunch of acid and somebody shows up with a shit ton of beer and like this is when you like really go to town to experiment and what do we got out of it? We got like kind of a radio hit. So it was a little surprise to kind of hear the whole story and it just made me realize that maybe for this era, the guys were really I mean, they were at a point to where they could bust out a really good album, you know, and what, for me, that really good album is? like you go to a restaurant and it's like yo, that was a good meal. You know, everything was like satisfactory. 0:24:37 - Speaker 1 Well, yeah, it's a blooming onion man. 0:24:38 - Speaker 3 It's a blooming onion, Yeah, but to get stuck in a studio and ice storm, it's like I personally would want to just start going places. I haven't been before with my band, but you know this one's interesting take. Yeah, this one felt. This one felt a little radio felt a little you too, dave Matthews like splash of John Cougar melon camp or something like I don't know. Man, it felt, i know. I know, i know, i know. 0:25:10 - Speaker 1 And I was a big melon camp guy at one point. 0:25:13 - Speaker 4 But Dave, Matthews are regular. 0:25:16 - Speaker 1 Cougar and regular. 0:25:18 - Speaker 3 Yeah, like I couldn't get overly excited about this one. Well, again. 0:25:26 - Speaker 1 I think you were waiting for the follow up from the follow up to trouble at the house, and this isn't the follow up that you're expecting on a trajectory perspective. You know no no, i agree. 0:25:44 - Speaker 4 It's funny. You talk about getting trapped in the studio, like I mean, i don't know if I'd go like full steely Dan when they recorded the Albuquerque show, where, like you know, there maybe was not that much cocaine around, but I still agree with him, i would. I'd get really spacey, and I think they do it on a couple songs that we'll get into, but first time I heard this song got some heavy Jim Blossom's feels. Yeah yeah, Yes that's the first thing that hit me and I couldn't think of any of the band that it was like a buddy of mine used to play the band that they open for them a ton, and I was like the first band that came to mind like this Oh, and it was really poppy. And okay, my notes. Once you get past the repeated cheesiness of the chord progression and the vocal melody, it's not a bad song. 0:26:40 - Speaker 1 Oh dammit, with faint praise here. No, no, no, it's not a bad song. 0:26:44 - Speaker 4 I think it's a good song, but you know it's a good song. If, like you, take this song and go, is this a good song? Anybody will say it's a good song, but like you, said to me compared to the follow up of what you really wanted after trouble. Then else, and this was a song where I feel like Gord sounded a bit like he was put in the cage Like whoever was a universal when this record was getting recorded, put baby in the corner. And this is a song where really I feel like you know he's, he wants to be himself, but somebody's like, hey, man, just could you like you don't have to do it all the songs, but like at least on this one could you just, fucking, you know, tone it down a little bit. And I was just like, ah, where's my fucking, where's my lead singer. 0:27:33 - Speaker 3 Yeah, I totally agree, Because you know it's still a good song, because it's still all the guys and it still has themes, because it's Gord, you know you're still going to get one liners that are amazing. I feel like probably no matter what in any hip song there's going to be some standout lyric to me, some standout part like to the core fan. That's. That's really what I'm imagining. The line that stood out in this one for me was your imaginations having puppies, I mean yeah, yeah. I've had so many letters of puppies, you guys. It's like I'm just, i've got puppies all over the place. It's like. 0:28:11 - Speaker 4 I was a cool. I really like that one. Yeah, like that, like that video for new recruits or something. 0:28:17 - Speaker 3 Yeah, so I like identified in it. You know, at that personal level, which I think they're able to do just about on any song which is fucking amazing for a band to do, because I could probably name 10 bands right now. What that does not happen to me, yeah, so you know. So, in that regard, like hip fans, you know I'm, i'm I'm not really trying not to be the bad guy here, but we this, this, this just made this song, just made me keep going So into save the planet. I mean, i got to this one, arrived at this one, and I was like, is this the band's fucking Earth Day song? or stretch their reach to get on the farm aid bill, like what is going on here? I felt like I don't know, there's a flute in there. Who's playing the flute? 0:29:09 - Speaker 1 Who plays the flute? You know, i don't. I don't have the liner notes handy And on the wiki page it is remarkably barren in terms of additional players. Yeah, it doesn't, it doesn't have them, so I need people to write in. 0:29:25 - Speaker 3 If people know, let us know, because there's some flute in there And it made me wonder like what else? 0:29:31 - Speaker 1 there's keys all over this record. 0:29:33 - Speaker 3 Yeah, what else have I been missing in the background that maybe other people are participating in? But I felt, like you know this song, in the placement we were, we were filling, we were filling in the gaps on the menu And you're like, no, I had a burger yesterday. No, I'm not in the mood for that. Oh, I could really use some lasagna. Here we go. That's that's how Save the Planet felt, felt very time appropriate. This is, like you know, the millennial song. 0:30:02 - Speaker 1 Okay. 0:30:03 - Speaker 4 All right. So if anybody's got a line on the flute player, email Tim getting hip to the hip, talk there you go. Right, i copy Pete at getting hip Yeah. Save the Planet. I thought it was a banger. I really dug it. I at first I saw that too, but then I kind of look past the name of it And just look at the song itself. There's a. There's two references in this album to Crossing the Street, to pedestrian crossings. Yes, i'll point out the other one. This is the first one Fucking solo bangs in this. I thought the flute at the end was cool because it was so random. 0:30:47 - Speaker 3 I was like well, what the fuck is that? Yeah? 0:30:50 - Speaker 4 Same. 0:30:52 - Speaker 1 There's. You just can't imagine listening to road apples and having a flute right Like. It's just not part of this band. You know like and and and it works It works well, no, right? 0:31:05 - Speaker 4 Yeah, you know, if they went into that I'd be like, well, what the fuck's going on? 0:31:10 - Speaker 3 But I'll just quickly, quickly add that I'm okay with the flute. Like sometimes, the flute really is awesome. Oh, i think it's great. So you know, like some people like hear the flute and they're like oh why You know, but it works. 0:31:24 - Speaker 4 No, i dug it And this is again. This is not the first song, or not the only song in this record where I got some heavy Alanis vibes. The phrasing on if the bathwater is clear and my ears underwater, it's a tolerant hum from the core. Carry the water Like that the way he phrases that shit, it's just. I don't know if I see because it's a Canadian band, if I see everything through the lens of like Canadian pop artists. But like it's just the vibe I got from this and it's a great tune to get out and move your feet to get running. It's a fucking cool song to run. 0:32:09 - Speaker 3 All right, i'll put it on my point first I hear your Alanis vibes marry and up with my Michael Stipe vibes. I think those are in sync for sure, for sure. 0:32:20 - Speaker 1 I think there's a nice correlation between the hip and REM, like I think you're right, like they both have that enigmatic front man, you know, who is really literate and really interesting in the way they sort of phrase things and put things together. 0:32:39 - Speaker 4 They both went bold too, halfway through the careers, that's right, that's a fair point. 0:32:45 - Speaker 1 Fair point, fair point, all right, we're getting in the car right now and we are cruising northeast of here and we're going to Bob Cajun. I left your house this morning. 0:33:40 - Speaker 7 It was quarter after nine. I left your house this morning. I left your house this morning. I drove back to town this morning This morning with working on my mind, i thought I'd maybe try to leave an ear behind. I went back to bed this morning and it's time pulling down the blind. Yeah, the sky was dull, it was high but never come. And morning went down at a time that night in Toronto And I was jacking boardboards, riding on horseback and keeping order restored. Tell the men they couldn't hide. Step to the mic and sign and their voices rang with the area of time. To your house this morning. It was quarter after nine. In the middle of that riot I couldn't get you off of my mind. To your house this morning. It was just a little hour tonight Cause it was in my page on the rossard and constellation, but they themselves won't starve at time. To your house this morning It's a little after nine Cause it was in my page on the rossard and constellation, but they themselves won't starve at time. 0:37:32 - Speaker 5 Tell the men they couldn't hide, they didn't choose your bones and bones. They're all south of the wind and down the lawn to the lake For as long as it takes. 0:38:05 - Speaker 7 I don't want to be a hill of the birds last hour. I don't want the last words out of my mouth to be stained Out of my way. 0:38:16 - Speaker 4 Okay, I fucking love this tune. I got some heavy and Tim, yes or yes. If I hear no, I'm just I'm off this podcast Got some really strong G love special sauce vibes from this. Yes, Just the way they owe up. Am I my GD? 0:38:42 - Speaker 1 I don't know, i think I think I'm very familiar. 0:38:46 - Speaker 3 I did not go there, but I will Okay. 0:38:51 - Speaker 4 Right, i mean the. there's a oh dude that it could have been Willie, could have been the wine. I heard that song. The first time I heard that song I was. I took it out for a run and I came home and I like I listened to it again because I just thought it was such a good fucking song, because it's a weed. reference to may not necessarily be about them listening to Willie Nelson. It's like they were smoking weed or they were drinking wine, absolutely Yeah. The opening, like spacey guitar licks The dobro which I think he's playing. there's a dobro in there that he's playing which kind of gets sort of like a banjo slash guitar vibe. Oh God, just. 0:39:40 - Speaker 1 I feel like that lyric that you just quoted, though, could have been the Willie Nelson, could have been the wine. That's like one, like when he wrote that he should have just put the book down, put on a fedora, long overcoat, grabbed his briefcase, just went home for the day, that's. That's the days. That's the day at the office, that's a fucking. Exactly. 0:40:00 - Speaker 4 That's just a great lyric Exactly dude, no, 100%, it's so good. I was like you know. You know, a line is a good line when you hear it and it's so good you think you've heard it before. Meaning like I'm like right, i mean because it just sounds like it belongs on this in the history of life, Like like someone has, like if someone hadn't said it, they sure as shit should have said it. Does that make sense? Yeah, you know, it sounds like it's just. It's a great fucking line. I thought I maybe quit that line. It's just. It's really the part of this song where Gord starts coming out of the cage. On this record, i feel like that was the moment Somebody gave, somebody unlocked the door of the cage and he's starting to come out, and then the song ends on a random minor chord, which is so weird, it's such a happy, spacey song that ends on this minor chord. 0:41:09 - Speaker 3 I loved that. I loved that about it. So for me this one it felt a little Out of the gates. I need to listen to the beginning of it to see your G-Love reference. But out of the gates. It felt to me a little bit country and a little bit like are we reaching again for some crossover fans Along? the southern belt of the US. Like where are we? What's happening here? You know there's some slide guitar, but is it a song about lost love? You know looking up at the stars waiting for a reveal. You know there's synth work in here again, so there's some sort of keyboard happening, which is fucking cool. And to me, the first lesson I had all those kind of questions going through my head And then I thought at one moment like this is actually a fucking beautiful song. Like it's a little bit of an odd man out on the album, but it's actually a beautiful song. There's this long ending with no singing. It's just mysterious. Like you said, pete, the last five seconds or so, or this just bizarre tune out. It's like I found one quote when Gord was asked about this song. He said this was an interview in 2004,. He said this one asks the question evil in the open or evil just below the surface? That was his comment about this song. So it's like this song to me was super mysterious Yeah, super mysterious song which I fucking love, like I don't need literal storytelling every single song you know. Social themes, i don't know all these different things, i don't need that. Every single song I love you know kind of the knuckleball that comes in. You're like whoa okay, this is reeling me back in to the album in a good way, a way that I'm looking for, you know, i'm hoping for, but still, again, this one felt a little bit odd, man, just the way it fits into the album. They've done this before. They've gotten. 0:43:15 - Speaker 4 They lose green man. 0:43:16 - Speaker 3 Yeah, they've gone on this path of like okay, this one, now we're going to turn off the highway and head down this two-lane road and we're going to stop at this farm and we're going to have an afternoon barbecue with this family, and you know, i don't know, like it's just this one's off the highway. 0:43:35 - Speaker 1 Cool. What do you guys think of the bridge? It makes my arm hair stand up That night in Toronto with the checkerboard floors. There's a bar in Toronto that's famous legendary in fact called the Horseshoe and that references the Horseshoe, the checkerboard floors. Oh shit, that's one of the first big gigs they played in Toronto. 0:43:55 - Speaker 4 Can I get taken to that bar when I come visit Toronto? 0:43:57 - Speaker 1 Absolutely. Let's do it. Sure shit hopes so man. 0:44:00 - Speaker 4 That would be cool. This song is actually the most listened to hip song on Spotify. 0:44:07 - Speaker 1 Oh, wow Yeah. 0:44:09 - Speaker 3 Surpasses. I read something about that as well. 0:44:13 - Speaker 4 What was the one that it surpassed? 0:44:16 - Speaker 1 I can't remember Anyway yeah Well, so it's a hit all around Pop Cage. 0:44:21 - Speaker 3 Yeah, it was a fucking interesting song, right? This is. 0:44:25 - Speaker 1 So we shift gears now in a well, not in a huge way, because this is sort of low tempo or slower tempo. We go to Thompson Girl and you're both hesitating to start Thompson Girl. 0:44:41 - Speaker 4 Go ahead Tim. 0:44:42 - Speaker 3 Yeah, well, you know what's the story about here. I don't know. It's the story potentially about where is it here, This town in Manitoba, thompson, yeah, or it's. You know it's potentially about a nickel mining company up there. You know it's got this kind of sweet, forlorn grunt work somewhere between dream and duty, poking through with all them shoots of beauty. I mean, what is that about? You know, this is kind of a cute, in a way stripped down acoustic song. There's some banjo in there. You know, i've kind of been waiting for, I had been waiting for this type of stripped down, simpler song that you know it's kind of this forlorn, sad song to me at the same time. 0:45:42 - Speaker 1 Probably Pete. 0:45:44 - Speaker 4 I loved it. I thought it was cool. I think I don't know if it's consistent with you and I, tim, but like I really try not to look too deep into the lyrics because oftentimes I'm disappointed, that's why I don't do it. I know you do it a lot more than I do I totally do. 0:46:03 - Speaker 3 I mean it's because of Gord, like Gord Gord. for me, gord merits it. 0:46:09 - Speaker 4 I get intrigued though, but like dude so does. I mentioned Celie Daner earlier. Like Donald Fagan's lyrics are notoriously cool as fuck. But have you ever asked that guy like what he you know what's, what's the meaning of? you know Dr Woo or whatever, like he'll be, like I don't know man, we're on so much cocaine. Back in the day I was just getting shipped to prime or whatever you know like, and I know that's not really the case here. But that line, the way he goes up so high with grunt work, i can't. I'm not even gonna fucking try lest I fucking destroy your listener base JD by singing that line. But when he goes grunt work time between dream and duty the melody is so fucking good It's then there's a part. Um, i don't know if it's like, i don't know, i wouldn't call it the bridge, but it is a bit of a some sort of key change to the regular chord progression. When he goes really high and then the mandolin starts to come in fucking dug that. And then the piano kind of comes in at the end as well, it's fucking cool. I really dig it. Yeah, i liked it First. I didn't like it. I didn't like the chord progression. It just seemed to like, like you said, tim, acoustic. It's sending, like it was like this should be an acoustic song. 0:47:30 - Speaker 3 Keep it that way. Yeah, yeah. But then it grew on me real quick, which is maybe something I would potentially envision. From a stuck in the studio couple days, you know, you'd get to a point to where everybody's kind of burned out and you pick up the acoustic and somebody says to the piano and you talk about is it INCO, inco and the fucking nickel mining, and I, you know, i looked at it a little bit into that in Manitoba and was like, oh geez, here's, here's a historical. You know, just rabbit hole that I can't go down right now. But it just this, to me, is just one of those, one of those songs that fits in well with this whole album And it's something we haven't really had in the past. So it's kind of happy to hear it. Next one membership Who's who's singing backups Somebody found, is it Gord Is? 0:48:28 - Speaker 1 it Gord over. Usually it's Paul Angla, usually Well. 0:48:32 - Speaker 3 I don't think it's Paul. It might be doubled. If you, if you go in and listen again, check out membership and listen to the backups, because it sounds like a woman to me and it sounds really familiar, like I've heard this voice before And I've looked and looked and looked but I can't find anything. It might be one of the guys, just you know, editing it in post or something, i don't know. But there's, there's some beautiful backup happening. This one, though you know it's wasn't my favorite on the album, i'm not going to put it on the playlist There's kind of a big change after the three minute mark with, like this new chorus. Of course it has my fade out at the end. You know there's there's kind of this bigger start to the song, but it's kind of slow in a way. I don't know. It's maybe about addiction, it's kind of a ballad. you know this, this one, it just felt like it didn't really fit in, didn't really wasn't really sure how it was working and it it made me consider you know I've done this a few times that it made me consider the band and what they were feeling you know they're coming in on 2000 here What they were feeling after 10 years, which is long for any band to retain some amount of success 10 years of playing and predominantly being popular in their home country and not even gaining a huge you know the level they deserved in the neighboring USA. So this this kind of made me think about all those things. I just didn't know if it was like about power abuse of power addiction or longing loss, i don't know. This song was kind of all over the map for me, but ultimately the chorus bugged me and it stuck in my head for a little while. I was like, oh, i need, i need some other, i need some other hip song stuck in my head and that's kind of where, honestly, that's where, like blow a high dough, just comes and takes over my brain. So that's what happened. 0:50:50 - Speaker 4 on membership, I you know I have a ton to say about this song. It's kind of like I put in the same categories Poets. It wasn't my favorite song in the record. I liked it, felt it like it was a very drone rock with a chord progression. It's the way it sounded. I love the harmonies. Tim mentioned the harmonies being drawn along by it. Like that line with the harmonies come in The middle, guitar solo where they kind of tease you with the guitar solo helps build the song kind of cool. But then, yeah, the fade out at the end is just like to me. It felt like they maybe didn't have, they didn't nail everything down with this one. That's all I'll say, you know, but yeah we can move on if you want, let's slide over to fireworks. 0:51:46 - Speaker 7 You like fireworks? Yeah, me neither. The frustrating part Never back in old 72 Without school, just a gun, without a gun or trigger. I don't remember a reason. Set me sight of you. You said I couldn't get a fuck about the party. Never heard something true back before You held my hand. We were on the long way Loosing in my grip on Bobby Moore. Never heard anything wrong before I blushed. When these ever sensations get in your way, no doubt this shit me spurred right now By your shoulder, and that an amazing what you can't accomplish now I'm not together every single moment. That's what we thought. We'd be married. We both do deep with the grip of art, of fish chaos, believing in the country, me and you. Christ has a faith in Christ, the sinner cramming Yeah, we've heard all this before It's winter time. The house is solid to the bones, loosing in our grip on this fake cold war. Is it an amazing and a better accomplish When we don't let no nation get in our way? No doubt this shit me spurred right now By your shoulder, and that an amazing what you can't accomplish now, next to your comrades in the nation of fitness, the program regarding some eternal past time, clopping to the mind in a fit of laughter, showing no patience, no tolerance, no respect By your words, next to the distance, contemplating towering, towering star By your words. And in late, never, till there are no stars anymore By your words. And in, straight in heaven, contemplating towering, towering star, till there are no stars shining up in heaven, till there are no stars anymore. Isn't it an amazing and a better accomplish When we don't let no nation get in our way? No doubt this shit me spurred right now By your brand of error, shining up in heaven, contemplating towering, towering star. I think this one thing never goes away And this ones thing's always supposed to stop. Oh, this funny thing doesn't have to go away, and I'm gonna lie. 0:55:41 - Speaker 4 Oh fuck, How much time you got, then Fucking song, this song, i just have the word. It's this fucking rush, rush, rush, rush, rush. Just so much rush in this song. Really, there's a couple of rush references on this record and this is number one. I would say that is it. Gord Sinclair, yeah, so like and I think he would agree with me, because I don't know that I don't know any bass player in Canada, let alone the entire world, would put them up against Geddy Lee. So I can't like, true, Like. I don't think the bass in this song was supremely rushed, but the chord progression, the structure of the song, the lyrics, isn't it amazing? anything's accomplished Is fucking. It's so fucking dude, it's fucking rush, completely Fucking. It's like they should have just made a record with one song on it and sent it to Rush and been like this is for you guys, we love you guys. And dude, i'm not saying anything remotely like they jocked anything. It's an homage in the sweetest sense. It's fucking beautiful. I fucking listened to the song so many times. There's I don't know if he's playing a Les Paul or a Hamer Rob Baker, but it's got some hollow tone electric guitar. There's a line in there Christ in the Kremlin. I'm fucking. The words in this song are fucking spectacular. I bet it just destroyed. Destroyed. The crowd live Like. I mean if they played this fucking live you'd have to close with this or I don't know what you'd play with this. I mean it's just fuck. What's the other line Next year? comrades in the National Fitness Program caught in some external flex arm hang dropping the mat. Dude the lot. This that the way he speeds up that verse and fits all those fucking words into that, and then he goes back to the normal cadence, like when I say cadence I mean like the tempo, not a modal cadence, but like tempo. He goes back to that. I just bet when they, when they all listened to this track after it was mixed, or they all recorded everything, they all just fucking high-fived and hugged each other and had a big old fucking circle 100% Yeah. Dude, it's a fucking. It's one of my favorite fucking hip songs period. 0:58:23 - Speaker 3 Oh, you know what they. You know what they said after they recorded this. They were like this is going to be an every jukebox across Canada. I mean, it's a jukebox song. I mean, really, this is like play something by the tragically hip. Okay, i'm at the jukebox. Stick in a quarter. Oh, here's fireworks. Everybody loves this song. You know, that's that's. I couldn't agree more, pete. I just felt like this could be put on a seven inch only and out in the world. You know it was one of the first songs in a while where, like, i immediately just started snapping my fingers. It was like, okay, this, this song's, this song's moving. I completely agree with the rush references I love. I so identified with this girl. There was actually a girl who said she didn't give a fuck about hockey. I never heard a girl swear and I've never heard someone say that before. It was like there was some whole other world out there which is hard to fathom at times. I don't follow hockey. I totally identify with this. When I go on Facebook and it's like near the weekend it's mostly fucking NFL comments from people I know in Southern California. It's like, god damn, i wish I had a sports filter on my life because I don't really follow any sports. So the hockey the hockey comment, i was like yes, i, i want to hang out with you, let's go drink beers. You know, i probably follow that. It's whatever I just I just identify with that part, it's. You know this, though, you're right, pete, isn't it amazing you could do anything when the notion isn't in your way, believing in the country of me, and you, ah, you know, it's just, it's, it's, this is, it's more. It's more than an anthem. 1:00:17 - Speaker 4 You know, the crazy is so it's so, Getty Lee, though man. 1:00:21 - Speaker 1 Yeah, yeah, for sure, for sure. What's? 1:00:24 - Speaker 4 this, it's, it's spirit of the radio. Okay. That's the song thing you have in so many ways. Yeah, i mean, and I don't think any musician in the band would say like they can you know drum? like Neil Pert? I think the guitar is pretty. It's got some solid Alex life and vibes. like you could fucking compare that guitar wise. but like bass and drums, you can't fucking come close to those, like it's just. but sorry, tim, i didn't mean to interrupt you, but it's just a fucking. 1:00:55 - Speaker 3 That's good. Good, it's such a JD. What JD, what? what were your thoughts on the song? Do you have, do you have memories of hearing the song, or anything, or like? 1:01:03 - Speaker 1 I think it's, I think it's a romantic song, Like. I think it's like the firework of like meeting somebody that is just, you know, absolutely the sparkle of your eye, you know, sort of thing. The context, to give you some context, the goal that he's talking about, the goal that everyone remembers, is when Canada beat the Soviets in 1972. And that was, that was during the Cold War. So it was a big deal, that series, Canada playing hockey against Russia. you know a few games here in Canada and a few games in Moscow. It was a big deal, Like for these Canadian hockey players to go to Russia. Like at that time Russia was so mysterious And there was a very famous goal that won the series by Paul Henderson that everyone remembers. It's one of those moments in Canada, the, if you're of the right age or generation I'm not, I'm born in 74. So it's over my head, But if you were there then it's one of those like you know where you were moments. you know what I mean. 1:02:10 - Speaker 3 It's huge huge moment in sports history. 1:02:13 - Speaker 1 So for him to be just blown away. Like you know, loosening my grip on Bobby Orr, like I just picture, the 16 year old who's in love with Bobby Orr has the hockey cards on the wall, you know, he's just tremendous and all of a sudden he just oh, there's girls out there. Oh, and there's this particular girl who doesn't give a fuck about what, like whoa fireworks, you know. 1:02:40 - Speaker 3 Yeah, great song, Great song. This. yeah, I could have had this song, you know, and had a satisfied meal and went to bed. 1:02:49 - Speaker 1 You and your food All right. Go next to vapor trails. 1:02:58 - Speaker 3 So vapor trails, like I started this one and paused and had to come back to it, i didn't keep going like this, this, this, this was one of the breaks. And now for me, where I was like, okay, i'm not, either not in it enough or not focused enough, let's come back to it and didn't hold your attention. He would not not at the get go, but eventually it did. Oh, eventually it did bring me in. It totally was one of those songs that I wasn't so sure about, but over time was like humming it while walking around the house. You know, there's just to me it has some mysticism to it. There's this mysterious not to say it again but backup singer, whoever is in there. I mean there's some really good backup singing happening, but I just love some of the lyrics. There's nothing uglier than a man hitting a stride. 1:04:00 - Speaker 1 What a great lyric, right Dude And just the way he says it as well. There's nothing uglier than a man hitting a stride, yeah. 1:04:09 - Speaker 3 I can't wait to use that some point in life. You know, watching something happen, yeah, chords, use that line, throw away the rudder, float away, like they portrayals. You know, i get this. It's like, it's this feeling of like giving up. You know, at some point we all, everyone, i think everyone has contemplated, you know, life being different or serious change, or giving up, or you know, we've all had these heavy times in our lives and maybe the song kind of hits on that. There's amazing guitar riffing just towards four minute mark. It felt, you know, just to kind of wrap it up. For me it felt like a produced ending. You know, the fade out was like it wasn't just let's wrap the song up, let's just fade it out, it was like let's produce the fade out. So it was a little, i don't know a little more, a little more orchestrated. But yeah, it's, this song is. This song was a banger. I think it was really good for the spot in the album. I think it was like really fitting. 1:05:27 - Speaker 1 Yeah, because we're well into the second side now. Yeah yeah. Second track, second side, if you're playing by those roles, It has a good place, good place in the album. What do you think of APR Trail's Pete? 1:05:39 - Speaker 4 Well, this is the other thing that I thought was it's not. It's not a Rush reference, but I actually think there's a possibility that Rush's 2001 record Vapor 12, vapor Trails was perhaps, maybe, an homage to Tragically Hip. Wow, i don't know, that's my, that's my in my dream world. I don't know if that's really true, but and I saw them on that tour and they were fucking just amazing. Saw them at the Irvine Meadows man. 1:06:18 - Speaker 1 Such a great show. 1:06:19 - Speaker 4 Never saw. 1:06:20 - Speaker 1 Rush. I was supposed to see Rush on a tour in 93 and guess who was opening for them? Who, tragically Hip Jesus Christ. Wow, on Road Apples. Yeah, dude. 1:06:30 - Speaker 4 I don't know what's a bigger fail That or not partying with them. 1:06:34 - Speaker 1 Oh God, it's the, that's the, that's the fail. 1:06:36 - Speaker 3 They're close. Not partying, I think. 1:06:39 - Speaker 4 Well, we, let's put it this way, we, we, we showed to that concert, i think, and they were they, we were at that time. It's strange, real quick, because I know. but during that time, because 2001 was coming out of the Napster years and years, right And into, like I think it was right where the iPods came out, um, so people started buying music online again, sort of. So bands didn't have money to pay for opening bands during that time, so a lot of bands would tour and be like who's opening? And like there's nobody opening. So we assumed that somebody was opening, for Rush happened to me with pavement one time, but that's another story Um, and we walked, we're, we're racing through the parking lot Because we hear a spirit of the radio, but right into Red Bar Chat after that and just fucking made my, made my life. But to the song. Paper Trails. Um, the fucking vocal melody in the opening verse same. I got the same cadence, Tim. I don't know if you mentioned this as Thompson girl. Um, but the song I loved it. I imagine when they sung this song live, that when Gord sings the line you can throw away the rudder. He probably blows out either part of the low end or part of the mid end frequencies in the fucking speakers at this this, this house, his voice is just at that frequency where, if he really punches it like he could, he could break. He could break some fucking windows, because it's, it's just fucking just the way he delivers that shit. Throw away the rudder, um, uh, what else? Yeah, just that line to me was worth buying the fucking record. Pulled the car over. There's nothing uglier. Yeah. Then a man hitting his stride. Yeah, there's a transition from the bridge back to the chord progression. That's super abrupt And it's so cool because there's no transition. It's just like boom, boom, they go right back into the chord progression and it's fucking cool. I'm not, can't think of any band that I've heard do that. And then the last thing is the line, and it's it's. It's maybe Rob Baker, i don't know who's singing the backup, but Mexicans dressed in beige shirts Crazy line, yeah. 1:09:16 - Speaker 1 Yeah, I've never heard that Mexicans dressed in beige shirts. 1:09:19 - Speaker 4 It's. It's like almost whispered. 1:09:25 - Speaker 3 Wow references you know references, folks who spend their life picking the strawberries and raspberries. 1:09:31 - Speaker 1 We, i believe, Yeah, I would guess so. 1:09:37 - Speaker 3 I believe it does So yeah. 1:09:39 - Speaker 4 Are we going to? 1:09:40 - Speaker 1 rules. You got it, dude. 1:09:48 - Speaker 4 I love the song. It was so fucking cool and so chill. This starts out with those huge cymbal crashes in the beginning. This is the second song in the record that references a pedestrian crossing, talks about a crossing guard not doing their job. 1:10:04 - Speaker 1 So yeah, it's really reference of and the second reference of super farmer. Uh-huh Right. 1:10:11 - Speaker 3 In that same in that same Stan's line. Got some agricultural themes happening. Probably the third agricultural theme. 1:10:21 - Speaker 4 Yeah, I don't know I just the phrasing was beautiful. I'm wondering what a bard is. B-a-r-d. 1:10:28 - Speaker 3 There's a couple of references with that. One is it has to do with a Shakespeare reference. 1:10:35 - Speaker 1 That's what I thought, yeah. 1:10:36 - Speaker 3 Yeah, and then the other one is I'm not going to butcher it, the other one has to do with fighting. I have to look it up. 1:10:46 - Speaker 1 Let's just go with Shakespeare. 1:10:48 - Speaker 3 Yeah, it's some Shakespeare reference. 1:10:52 - Speaker 4 And then to the line about the vacuum's got a guarantee. I just that line hooked me in so much because it was so random that I was like really in just pay super close attention to what he said. And the next line that he delivers, which is it could suck a virus, an ancient virus from the sea, is like what the like again put on the hat, put on your jacket, close the briefcase. Fucking. Done your job today. 1:11:23 - Speaker 1 Leave the office, gordon, that's right Punch out or whatever. 1:11:27 - Speaker 4 The whole, that whole stand is fucking amazing. There's a table slide And then oh, by the way, this song, and fuck, there was one other song. God damn this song. and one other song at the record. on the record It's earlier. I want to say it may be something on or say the planet. at the very end of it You hear the word somebody in the studio is cool. Yeah, so it doesn't feel so and there was one other two, one other song on the record that they did, so I was like they did that twice. 1:12:05 - Speaker 1 That's cool. I'm going to need access to your premium sound system. 1:12:10 - Speaker 4 Well, I mean GD, that's. We know this is not stuff we just hand on. It's kind of like you know top secret Clarence, There's a lot involved, A lot of screaming All right, all right, all right. 1:12:22 - Speaker 3 He passed. He's done it. Yes, true, yes, we're adjourning my current, for he's had it. Yeah, i heard the song and I thought Pete loves this song so much And when we come talk about it on the pod it's going to be all Pete. 1:12:43 - Speaker 1 You know how much to say. 1:12:44 - Speaker 3 I thought it was kind of a yonder. I got you know some, some from it, But you know I was like this. The song isn't for me. I thought it was kind of a yonder. I was going to leave it to Pete. 1:12:58 - Speaker 1 We're going to come back in a year because it's going to be a grower for you. I guarantee this song will be a grower for you. 1:13:04 - Speaker 3 If it's not, you guys both have to buy me beers. I can live with that, Yeah, yeah. 1:13:11 - Speaker 1 Okay. Well then let's slide into Sugar and Falls Ohio. 1:13:15 - Speaker 4 Take it Timbo. 1:13:17 - Speaker 3 Yeah, so Sugar and Falls. So this song I thought was basically a huge fuck off to corporate man, to the man. I thought this is like. This song is driving some culture into the fan base. It's probably, you know, was played a lot on the radio. I thought this one you know I could be wrong, but this song to me felt like on the verge of angry a little bit more than usual. I'd maybe really wonder about it live, if this got more raucous, if it got a little bit more I don't know violent feeling. And I think it's because it thematically, which is where I'm going to go, not so much with music on this one, but thematically it Sugar and Falls, in my research. That's the headquarters of Clear Channel, which at the time Clear Channel Corporation was slowly taking over media, especially North America. Yeah, so that's a lot of the references to Grand Falls. You know where the unknown won't even go. Because at this point I mean that line to me says if you're an artist and you're trying to make it like, avoid your Grand Falls, avoid Clear Channel, you know, be careful with what radio you're sending your tapes to your CDs to like this. This is that song that is kind of the band's shout to the world of, you know, corporate media is taking over the airwaves, you know, be aware So that that to me the song has like a mission. It felt like the first time I listened to it. When I got to you know, three quarters, two thirds of the way through, i thought is this song like over five minutes? you know it felt long, but it didn't feel long in a bad way, like it felt like a good, just a really well written song. Like I was kind of digging through Grand Falls, it felt like a five minute song, but it's not a five minute song. I didn't look up live versions of it but I definitely want to find something. 1:15:47 - Speaker 1 Yeah, get the answers to your questions. I can't, unfortunately, answer because I saw them on that tour and I don't remember if they played it, but I can't. 1:15:57 - Speaker 3 It was somewhat rare. I feel like it was probably going to be a rare rarely. 1:16:01 - Speaker 1 Yeah, it would be one that would be, you know, gosh. Well, let me just quickly look up how many times they played it. 1:16:09 - Speaker 3 I mean for people that don't know, Clear Channel took over corporate. I mean took over FM radio. Over time, like so many stations became Clear Channel stations and became programmed. And I remember hearing the transition because, as a big radio listener, being bored in 71, you know, i listened to radio for like 20 years, 15 at least, 20 years and they just completely took over And I remember hearing DJs demeanor changing from independent radio station to now being put into this box And I feel like that's what the band is trying to talk about in this song And I think it's their fuck you to this corporate system of being in a band and trying to make it and just to inspire people to be independently minded. 1:17:08 - Speaker 4 Yeah, it's funny you mentioned Clear Channel only because I want to talk about the song, because I feel a little bit different about the song in some ways than you do, tim, and it's funny, like Tim, i didn't do fucking a pubic here. The research you did for this fucking song. I had to look up where Chagrin Falls was but, and I dug it. But yeah, that's when there used to be a great station in classic rock station in LA called Arrow 93. And they went over to that Jack. You know that Jack format Jack FM, which is just, it's just a guy who like record something and it's like a cheesy line and he

We're not done talking drummers! There was so much to cover that we broke this discussion into two parts! Join host Lyndsey Parker (Yahoo Music Entertainment Editor) as she welcomes back legendary drummers Chad Smith (Red Hot Chili Peppers) and Kenny Aronoff to talk the best and the most underrated drummers of the '80s decade, their thoughts on drumming and singing at the same time and The Muppet Show's Animal and his place in the pantheon.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome to the John Cougar Appreciation episode. The boys do a new segment, "Cougars in the Wild". We get a phone call from Randy's brother in law and John Stamos drops in to give some cuddling advice. Stand up comedian Matt Rife plays the Blue Oyster Lounge as well as John Cougar Mellencamp singing that hitter "Cherry Bomb". ====================================== Buy the boys a beer https://www.buymeacoffee.com/cominginhot  Submit your funny videos, TikToks, questions and topics you'd like to hear on the podcast to: comingnhotcast@gmail.com  Hit the Hotline - (213) 347-5003 New merch - cominginhotpodcast.com ====================================== Music: John Cougar Comedian: Matt Rife ======================================  Support our sponsors: https://www.naturallight.com/  ====================================== Patrons of the show: Jer Blane, Andy Hickle, Steph H, Jenni with a I, Randy Wilkerson, Ohera, Kate, Big Rich and Ja-cob coming in last at only 99 cents. --- Support this podcast: https://anchor.fm/cominginhot/support

Lindsay Adams, Kyle Ayers, Maggie Maye, and JoAnn Schinderle join Brido on the panel.  We talk about Spanish, the Oscar nominations, the Razzies, Alec Baldwin, and the top songs of 1982. Plus a ton more. Video and extras are on the Patreon. www.patreon.com/brido. 

Sam Moore and Dave Prater were known as Sam & Dave, a huge soul act from the late 60's.  They were known as The Sultans of Sweat, The Dynamic Duo, and Double Dynamite.  This album is their second studio album out of Stax Records, also called Double Dynamite.Sam & Dave are considered one of the greatest live acts out of the 60's, and a lot of musicians cite their influence on their work, including some you would expect like Al Green and Michael Jackson.  There are also a lot of musicians who were influenced who were significantly removed from the R&B genre like Tom Petty, Elvis Costello, Bruce Springsteen, Billy Joel, and Steve Winwood.Sam & Dave got their start in church in gospel choirs.  They met on the gospel music circuit and sang together in small clubs where they developed their sound based on a call-and-response approach to music from the gospel tradition.  They were discovered at the King of Hearts nightclub in Miami in the early 60's, and signed to Marlin Records at first.  They eventually made it to Atlantic Records in 1964 from which they were loaned out to Memphis-based Stax Records.  Stax had a lot of offer Sam & Dave, including the Stax horn section called the Mar-Keys, and their house band, Booker T. and the M.G.'s.Bruce brings us this icon of soul, and friend of the show John Lynch joins us for this discussion. You Got Me Hummin'Leading off the album, this single was written by Isaac Hayes and David Porter.  Sam & Dave took this hit to number 8 on the R&B charts, and number 77 on the Billboard Hot 100.  A number of other groups would do this song, including Freddie Fender and the Pointer Sisters.  Its highest charting on the Billboard Hot 100 was number 52 by Cold Blood.Just Can't Get EnoughThis is a deeper cut, though I imagine just about any Sam & Dave song could be familiar with the number of covers or singers inspired by their songs.  This one has some lyrics that might be difficult to sing today - "The more I get the more I want.  It makes me feel good 'cause you never say don't.  I just cant get enough."  Sweet PainsThis track is another deep cut.  This one takes a description comparing love to pain, a path that would be echoed in John Cougar's "Hurts So Good," and Sade's "Sweetest Taboo."  "Sweet pains, feels good."When Something Is Wrong with My BabyThe big hit off the album was their only ballad single.  Hayes and Porter wrote it, and you have both Booker T and the MG's and the Mar-Keys horns playing on it.  A bunch of people have covered this song, including Jonny Gill, Charlie Rich, and in 1990 Linda Ronstadt and Aaron Neville did well with it. ENTERTAINMENT TRACK:Marching Theme to the motion picture "Follow Me, Boys!"This Boy Scout themed movie starring a young Kurt Russel was the last film Disney Studios released prior to Walt Disney's death.   STAFF PICKS:Mellow Yellow by DonovanRob kicks off the staff picks with a psychedelic hit.  Scottish singer-songwriter Donovan took this song to number 2 on the Billboard Hot 100.  Some thought the song was about a type of drug, but it was actually about a...well, let's just say it is an adult toy.Talk Talk by The Music MachineWayne's staff pick is a garage band one-hit wonder.  This song would use some techniques which were novel at the time, including the use of a fuzz box on the bass line, and tuning the instruments down a half step to produce a heavier sound.  If I Were a Carpenter by Bobby Darin Brian brings us a song written by Tim Hardin and popularized by Bobby Darin.  It hit number 8 on the Billboard Hot 100, Darin's first hit in three years.  The lyrics question whether an elegant woman would be satisfied with a man who was merely a carpenter.  Darin had passed on two songs, "Do You Believe In Magic" and "Summer in the City," both of which would be hits for the Lovin' Spoonful. You Keep Me Hangin' On by The SupremesFriend of the show John Lynch brings us a big hit for Diana Ross and the Supremes.  It would also be a hit for a long list of cover artists including Vanilla Fudge, Phil Collins, Kim Wilde, and Rod Stewart. NOVELTY TRACK:Winchester Cathedral by The New Vaudeville BandThis novelty song doubles up as Bruce's staff pick.  It was a number 1 hit in the United States and would win the Grammy for the best contemporary song in 1967, beating out singles from the Monkees, the Beach Boys, and the Beatles.

The first episode in a new Pod Series from the Men in Blazers Media Network in which Rog and Brendan Hunt, Coach Beard from "Ted Lasso," celebrate the rich history of men's soccer in America. In this episode, our 1930 semi-final appearance, 1950 glory over England, 1994's Big Denim energy, and a catastrophic 1998 campaign. Plus, let's have John Cougar design the kits. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome to the Sounds On Vinyl Show, brought to you by BoozeHound Entertainment. Sounds On Vinyl Returns with an all-new format! We've got the news, fan feedback, and Malin from the band Acorise stops by with new music. NEWSLinks Mentioned In The ShowOZZY OSBOURNE Says '13' 'Wasn't Really A BLACK SABBATH Album' - BLABBERMOUTH.NET - OZZY OSBOURNE Says '13' 'Wasn't Really A BLACK SABBATH Album' "Not really, because, to be perfectly honest, I didn't really get a charge from the album. Although [producer] Rick Rubin is a good friend of mine, I wasn't really… I was just singing. It was like stepping back in time, but it wasn't a glorious period. Though Geezer [Butler, BLACK SABBATH bassist] did a lot of lyric writing for me, which he's very, very good at. It wasn't an earth-shattering experience for me." He did say he regrets Bill Ward not being a part of the final album, and has said that Sabbath is done. We'll see. DAVID LEE ROTH Shares Newly Recorded Version Of VAN HALEN's 'Dance The Night Away' - BLABBERMOUTH.NET - David Lee Roth is releasing lounge lizard versions of old VH songs: Dance the night away, Panama & Ain't talking 'bout love. Kind of reminds me a little of John Cougar. Like something he'd do.KURDT VANDERHOOF Says METAL CHURCH Has Found Replacement For MIKE HOWE; New Album To Arrive In 2023 - BLABBERMOUTH.NET - Metal Church has hired a new singer to replace Mike Howe They aren't saying who it is, but it's not a Mike Howe or David Wayne clone, so it will be interesting to see who it is and what they sound like, and how they will influence the music. "I had written a new record and Mike and I had just begun the process before he passed," he explained. "So I had a lot of material on hand. I also wanted to complete the album in honor of him. I have written a batch of additional material and it's going in a more aggressive direction."ACORISE INFOMalin Dahlström (Acorise) Malin Dahlström 's Facebook page Malin Dahlström on YouTube Other Show InfoFAN FEEDBACKCameron from Nashville, Tennessee writes in and says:"When I listen to music, it's usually on my iPhone or in the car using Car Play, or sometimes the radio.After listening to your show, I've been thinking about giving vinyl a try. Is there a good starter turntable I should get? I don't have a huge budget so something cheap would be great. Thanks, Cameron.---Links:Extended show notes @ SoundsOnVinyl.comPlaylists: https://soundsonvinyl.com/playlists Videos: https://soundsonvinyl.com/video Episode Collections:https://soundsonvinyl.com/collections If you really dig what we're doing and would like to support our show, please visit

Episode 40 went out live on 6 Oct 2022 at 19h00 on rebel Rock radio.  We kicked off with The Who and 'I'm Free' which was fitting seeing as I have just finished nearly three years of study and now have a lot more time to dedicate to The Story of Rock and Roll.  It was a pretty laid-back start by TSORR standards featuring stuff by John Cougar, Black Stone Cherry, and Jimmy Barnes.  The pace picked up with Motörhead and when we went to Germany to visit Rammstein and Scorpions with ‘Zwitter' and ‘Wild Child' respectively.   The next part of the show covered some classic '70 and '80s stuff from Golden Earring and Pat Benetar.  Instead of KISS we took a listen to a Gene Simmons track called ‘Living in Sin.  We changed pace with some Billy Talent (no he is not singing “I gave my life to Satan” :-), listen carefully) and Matthew Good Band out of Canada.  From there a good dose of Serbian Metal from Claymorean and then my current favourite thrash band out of San Franciso, Hell Fire, by now no strangers to this radio show.  Check out their new album Reckoning.The Punk came courtesy of The Clash, Die Toten Hosen, and Rancid, Carnival in Rio (Punk Was) went down very, very well.  Pairing George Lynch and Jeff Beck back to back was a great idea, listen out for those solos on the Lynch Mob and Ozzy tracks.   We hit the final straight with some great new SA stuff, another band out of the Devo Oosthuizen stable, this week a band called Forth Son South, and then we had Code 106 from their Alium EP.  From there some Springbok Nude Girls and classic Fokofpolisiekar.  A highlight of the show was a quick little tribute to the amazing Eddie Van Halen who passed away 2 years ago to the day.  You'll always be special to me Eddie RIP and thank you for everything. The ending was also very cool, we went acoustic with Rush, off Rush in Rio, and a track called 'Resist' and then Live with ‘Overcome', recorded live in Amsterdam at the Paradiso.  we then finished off with a bit of Neil Young and out with Megadeth off the new album The Sick, The Dying.......and The Dead.   Artists featured:  The Who, Fozzy, Black Sabbath, Jimmy Barnes, John Cougar, Black Stone Cherry, Motörhead, Rammstein, Great White, Scorpions, Pat Benetar, Seether, Stone Sour, Gene Simmons, Golden Earring, Billy Talent, Matthew Good Band, Pixies, Claymorean, Hell Fire, Led Zeppelin, Nibs Van Der Spuy, Eddie Van Halen, Van Halen, Die Toten Hosen, The Clash, Rancid, Kid Rock, Lynch Mob, Ozzy Osbourne, Kane Roberts, Fourth Son South, Code 106, Springbok Nude Girls, Fokofpolisiekar, My Chemical Romance, Linkin park, Rush, Live, Neil Young, Asphyx, Megadeth      

On this day in 1982, the number 1 song in America was John Mellencamp's (then John Cougar) iconic song, Jack & Diane! It would spend 4 weeks at number on the Billboard chart and go on to sell more than 1 million copies! With me to dive deeper into the song is the wonderful Dave and Holly from the What Difference Dows It Make Podcast! 

I'm going to do something annoying. Or rather, I'm going to do something that I found annoying when I was fallen away from belief. This won't be annoying to those who have faith, but it will to those who don't. I am going to take a non-Christian movie and talk about it in terms of Christian redemption and rebirth. That's the annoying thing I'm going to do. As I said, this won't irritate everyone, only some. Those in the choir won't mind, but those outside the church will find it irritating. While I was cavorting in the fields of unbelief, after falling away from faith, if I heard someone interpret a movie as a Christian film or explain how a character was a “type” of Jesus figure, I cringed. During that time, I felt that the Christians encroached on pop culture by twisting characters and plots into parallels that didn't actually exist. I felt the Christians were desperately trying to remain relevant in a culture that had moved on. Furthermore, I felt that the pop culture should not be interfered with in this way. Now I see irony in this reaction. When I believed that I had no religion, I was offended that the art and film of secular culture was being somehow attacked. Every hit movie that came out would soon result in some Christian “zealot” interpreting the story as a suffering and redemption plot that explained why we needed a savior. (Notice how we only call religious people zealots, but we reserve the term for when they observe their actual beliefs? We never call secular people zealots, even though they follow their set of beliefs openly and browbeat others who don't as wrong. This may also have to be a topic for future episodes.) In particular, I recall this interpretation happening with the movie, The Matrix. As soon as Christians watched this movie, articles about the parallels between Neo and Christ emerged. The Christians seized upon it, borrowing the movie's success for use in evangelizing sci-fi fans. This irritated me a great deal, mostly because the parallels were obvious, but I didn't want to admit it. Let's look at the high points, without going too far into it. The name Neo is a scrambling of the word “One.” Neo is the savior of the world. His sidekick girlfriend is named Trinity. The place they are trying to get to is called Zion. The ship is named Nebuchadnezzar. There's a small band of believers, a betrayal, and an evil force. There are demonic agents that can appear and disappear. There is a death and even a resurrection. There are so many other Biblical references that it doesn't take a genius or even a stretch of the brain muscle to map the Matrix movie to Jesus' life, death, and resurrection. Christian writers have always looked for signs of Christ in works of art, and will always do so, just as atheist and humanist and scientist and communist writers will try to do the same for their worldview. For every author that supports Christianity, there is another trying to tear it down. All is fair in love and war, but also in ideology and propaganda, as every side will have defenders that cross lines of decency and employ every logical fallacy and stoke fears like a furnace. Not every debate is as charitable and honest as say, Jimmy Akin vs. Bart Ehrman, where we get to see the best of the defenders sparring in kindness and putting forth their best argument.Let's get started. In the next few episodes, I'm going to talk about the movie Jumanji! (the 2017 version) and the character named “Mouse” Finbar, and somehow I'm going to tie that over to Moses and Nicodemus. Anyone annoyed yet? I hope not. I have a long ways to go. Let's get going. In the movie, Jumanji!, four high school kids of different cliques are magically brought into a video game where they must survive by collaboration to escape. Jumanji (2017 version) is where The Breakfast Club meets The Hunger Games. In fact, it's worth pausing here to mention that if you want to write a hit book or movie, you might do well to combine several prior hits in a new way, but you must use high school age kids or no one will buy it or read it. Jumanji did a nice job of this, as did The Hunger Games, which to me seemed to be a remix of The Most Dangerous Game and The Lottery. High school age kids make more interesting characters than middle-aged men and women, because everyone has their own coming of age story, whereas not everyone has their own mid-life crisis story (yet). I'm going to focus on Kevin Hart's character. In the video game, Kevin Hart's character “Mouse” is upset to learn that “strength is his weakness.” This comment is tossed off as a comic one-liner in the movie, but I would like to suggest that this is what the whole movie is about. Kevin Hart's character in the video game is the opposite of his real world self. In the real world, the actor Ser'Darius Blain plays Anthony "Fridge" Johnson, who is a high school football stud. He's handsome, he's got youth, he's got looks, and most of all, he is strong. Even his name and nickname sound powerful, and he only selects his video game character because he misread the nickname as “Moose,” only to learn that the actual name of the character is Franklin “Mouse” Finbar. A pixelated TV screen made the word difficult to read, causing him to misread Mouse as Moose. Once inside the video game, Fridge is in disbelief upon discovering his character's skills and weapons. One of his weaknesses is “strength.” He says, “Strength is my weakness. Hey, can I...quick question. How is strength my weakness? Somebody explain that to me.”The whole movie goes on to explain that to Fridge, so that when he returns to the world, he understands that line better than he ever dreamed. He's changed. He's not the same person. It's like he has been re-born. We've heard this story before. That is what the movie is about. The movie is explaining this to all of us. While we laugh at Kevin Hart's perfect timing and way of telling jokes, the message of how strength can be your greatest weakness is being broadcast and decoded to us through body humor.Strength is his weakness. Why? Because in the "Fridge" character we see a high school life where he uses his strength as a hammer to get what he wants, to have his way. He has a weakling do his homework for him. He is above the crowd because of his athletic prowess. All four characters in the movie have something similar happening, but Fridge is my focus here, even though I can relate to any of them. The story is a process of purgation of the high schoolers' flawed thinking. Jumanji is a story about recognizing our weaknesses and coming to live with them, to embrace our inadequacies, to be at peace with our flaws without celebrating our flaws. In religious terms, this is called sin. Yes, we're already going there. The movie is explaining to us why we need redemption, why we need salvation. Sorry, I had to go there - to the “s” word - sin. But if you've listened to any of this series, you know the “s” word is going to come up every time. We don't like the word "sin" today, but whatever euphemism is used, the best word to describe our weaknesses and flaws is sin. Why is that? Because these weaknesses all drive the behavior of the high school students to do things that they don't want to do. They are all hiding behind some smokescreen to tell themselves and the world that they have no weakness. None are being honest and open, none want to be exposed, and these weaknesses bring all of them to after-school detention, which is a metaphor for how we put ourselves in our own prisons through our identity lies. We choose to live in hell because of what we cannot give up, or refuse to admit. Jumanji is similar to Dante's experience in the Inferno. The characters must go all the way down, all the way to the bottom of self-knowledge, in order to get to the mountain. They cannot discover their weakness, their flaw, their fig leaf, unless they experience humiliation and learn that what they have been gripping so tightly is a handle attached to nothing.Finally, I can get to the Jesus part, because obviously I've been leading up to it for some time. Yes, Jumanji and Jesus. We've arrived. There are two scenes that I'm going to tie together where the question of “how is strength my weakness?” is answered. The first is with Moses in the desert, the second is with Jesus and Nicodemus. In his clandestine meeting with Nicodemus, Jesus explains what he is here on earth to accomplish. This is the conversation which surrounds the famous verse known as John 3:16, perhaps the only Bible verse that many American football fans have memorized or are at least aware of by chapter and verse. Keith Urban also has a song quoting this verse, titled John Cougar, John Deere, John 3:16, so it's the kind of Bible verse that both cafeteria Christians and diehard Biblical scholars can chat about together. It's good common ground. The Moses story is less well-known, but it goes directly along with the conversation with Nicodemus. In this conversation, Jesus drops a reference to a scene from the Old Testament book of Numbers. The story is one where the people of Israel have rejected God, and God has sent fiery snakes to bite them as punishment. So we're off to a good plot right away because we have whining, rejection, anger, conflict, betrayal, complaining, and writhing pain. The Israelites in the desert have similarities to the video game exiles in Jumanji. Since Nicodemus is a well-read Pharisee, he knows the story. Jesus just has to mention this snaky scene and he knows what the reference means. But we need to go into it a bit, since it's not as well known today. This snake biting story in Numbers has everything that makes for a good HBO series, but it's much better because all of this happens in about five to ten sentences. Also, there are only three characters, so we don't have to waste twenty hours of our lives getting through a three year slow-burning series that could have been one episode. I think that's what I like about the Bible more and more. So much is said in terse, short verses, because the ancient sacred writers didn't have endless paper or scrolling screens to waste words on. The sacred writers had to be concise, unlike me. In their suffering, the bitten people ask Moses for help. The snake bites are killing them. Moses is instructed by God to put a bronze statue of a “fiery serpent” onto a “pole,” and the pole is lifted up for all to see, and those who look upon the statue will live. Now a pole in ancient times had to be wood, since they didn't have steel or aluminum, so yes, it's a piece of wood….like…the cross. But I won't go there. Let's just leave that part alone for now. Moving on. Lifting a bronze serpent on a wood pole, hmm…this seems strange. This feels like an idol of some kind. We have a statue lifted up on a pole. The people look to a statue, and it's a statue of a snake, and they are healed. We're all quite familiar with what snakes tend to represent in the Bible. A serpent is the evil one in the Garden of Eden, although I've read that a better translation might be “shiny one.” Whatever animal talked to Eve, the best representation of it seems to be a snake or a serpent. And now Moses is telling people to…look at a snake to be healed? This scene in Numbers was very confusing to me. But when read along with the conversation of Nicodemus in John 3, I can start to understand the layers of meaning in both of these stories. I'll probably spend far too long (as usual) linking Jumanji to Nicodemus to Moses, but here we are, and now I have to keep going. First, what is happening in the desert with Moses and these fiery serpents? (Numbers 21:4-9)The fiery serpents bite and kill many of the Israelites in the desert, who were complaining about God, and were wondering (once again) why Moses has brought them to the desert in the first place. This is like the leitmotif of the Old Testament, like a background song on a long movie, singing, “Why God? Why Moses? Why didn't we just stay in Egypt and eat and drink and remain slaves?” The people forget quickly, like they always do, because the draw of comfort and ease makes them angry at God. Whenever any difficulty arises, they reject God or they blame God for their troubles. However, some of the people appeal to Moses for help, because these snakebites are killing them. It's really bad. But they appeal to Moses in an important way. God shows mercy, and tells Moses to construct a serpent out of bronze and raise it up on a pole. Those who were bitten by snakes are to look up at the pole, and they will be healed. What? Come again?This is one of the strangest Old Testament stories of all to me. This was one of those bizarre stories that eroded my faith because in about two paragraphs, this story seems to toss out a lot of magical, confusing, weird, and conflicting messages. Its seemed as stable as Uranium-239. I just could never make sense of this bronze serpent story. This “serpent-on-pole” is often depicted in art as a cross with a snake draped over it. This could make sense. To hold the serpent on a pole, if it was just set on the pole, it would need a kind of crossbar to hold it, or obviously it would just fall to the ground. However, it's not clear because the text says, "set it on a pole." This could mean literally a long stick that the serpent is wrapped around, but could also mean a cross shape. Obviously, in my bias, I would prefer to think of this image as a cross with the serpent hung upon it, but I'm not sure that the book of Numbers says that. In any case, I don't think it matters, because the meaning of what the story is about dovetails with what Jesus talks about with Nicodemus. That is what's important. The shape of the pole is speculation and not necessary for me to dwell on. This is a common danger for me, to start interpreting things when I have no language background and not enough Biblical knowledge. Sometimes I can get drawn into symbols more than I should, because digging into the religious truth is where the Eureka! moment usually happens. These discoveries of meaning in the text are more important than certain details. I enjoy the allegory and historical and literal reading, because all are necessary to read the Bible, but to me those often are arrows and clues to the timeless religious truths, and perhaps most importantly as the pointers to Jesus, and our ultimate need for a savior. When the Israelites are bitten by the poisonous snakes, they suffer. Many of them die. In pain, they cry out for help. The venom is in them, causing fever or swelling or some kind of medical emergency. They are stuck in a kind of hell that has no escape and no cure. The snakes were sent as a punishment from God, which modern people always loathe to read because it seems like the petty punishing God, and not the merciful magnanimous God. What I love about these stories is the movement along the slider bar of justice and mercy, where we can see both in play. We want the God who tells us, “It's easier to get forgiveness than permission.” Of course we do! Who doesn't want that? I remember eating a freezy-pop as a kid before asking if I could have one. Or I would have a cookie halfway eaten, and then stand near a hall corner to ask for permission to eat a cookie, holding the cookie behind my back like crossed fingers. Plus, I was going to eat the rest of it regardless of whether or not I had permission to do so. However the situation came to be for the Israelites, there is suffering and they are desperate for relief. Let's just focus on that. There is pain. There is suffering, and this is just like the world that we live in. We can relate to this pain, even if ours did not come from a snakebite. We are in the situation of suffering and pain. We all experience this, we feel it. We wish things were otherwise. Some pain is more acute, some is more chronic, but we all have it. The question is: what do we do about it? There is no escape, there is no free pass, and there is pain enough for all. This is what the characters in Jumanji come to realize, very quickly, once the game is eating them. They can't escape, they can't hide behind their muscles, or phones, or education, or uniqueness. They can't hide at all. To do nothing is to die. They first learn that their instinct for survival is strong. Of course, this problem of pain is the number one argument against believing in a loving God, which is the same today as when the Israelites were bitten in the desert by the fiery snakes. This has not changed. Suffering makes us question a loving, creator God just as much today as it did 3,000 years ago. So what happens with the snakes?The snakes bite the people and there is much suffering. The people go to Moses and they ask him for help. What's important is to realize how they ask for help. They say, "We have sinned, for we have spoken against the Lord." In other words, they ask with humility. Recognizing their error, is the most important step here. The suffering in the desert has shown their weakness in faith for God. So that is the first weakness. But the snakes have given them far more pain, and renders them desperate. They are weaker than they ever realized. When they were in comfort, they were able to be bold and bossy. When they felt strong, they rejected God. That's what we tend to do. When we have success, we congratulate ourselves on our good deeds and skills. When there is some discomfort, we lose patience and blame God. But when the real pain begins, we realize how small and helpless we are. When the surgery fails, we need help beyond human hands. When the plane is about to crash, we need a savior. When our best laid plans fall to pieces, we realize that our former struggles were like mosquito bites compared to the deadly snake venom. What seemed difficult before appears minor in hindsight. The hardships in the desert were discomforts. The snake bites are death. We reject God when we feel strong enough to carry on by ourselves, but we run to God when we have nowhere else to turn. In the desert, it is their perceived strength that causes them to reject God, but oddly enough, it is the awareness of their weakness that draws them to the truth, to the light. Knowledge of our weaknesses can become our greatest strength and, unfortunately, suffering is sometimes the only way to become alerted to the illusion of strength. All of the characters in Jumanji must become opened to their shortcomings. They must shed their idea of personal salvation, of their illusory faith in pure individualism. I would go so far as to say it dives into the problem of an old heresy called Pelagianism, because what the characters learn in the game is that they were hiding in the real world. They believed their imagined comfort was protecting them, but it was really a kind of prison. They thought their strengths were guarding them but they were shackling them. What they valued in the real world of high school was perfectly useless in the video game. They learned that they cannot save themselves. They are suffering…but they are not suffering alone. They are together. Each person finds that his worldly strength is suddenly his biggest weakness. This is what happens to the Israelites who are bitten by the snakes in the desert. They cannot save themselves from suffering. No one can do that.How can they be saved? First, they have to believe that the game is real. They have to have a faith that this is life and death at stake. They have to realize that this game doesn't require registration and fees. No, this game will eat them if they don't play. They are in the pit and the dragon is real. So by the threat of losing their lives, they begin to play, particularly once they learn there is only a few do-overs. There is mercy, but only three times. They have three lives before they are stuck there forever, or dead and gone completely. Second, they need to work together to be saved. There are several turning points in the movie where instead of trying to dominate each other, they submit to one another. This is where they stop hating each other and start to slowly love one another.But there is a third thing, something beyond their own willpower and skills. There is something beyond their cooperation. Even as a group they cannot leave the game without some mysterious force to grant them their exit.Jumanji is not only about self-discovery of flaws. It's not only about loving one another. The key element that is less obvious is that there is a mystery. There is something higher and unexplained in the movie. Even when they are able to restore the jewel to the sacred mountain, they can't save themselves. In fact, it's not even really clear how the magic works that brought them into the game. There is something else at work.Yes, they have to perform heroic actions to escape, but more importantly they must believe that the actions will save them, that the steps they follow will return them to their high school real-world lives. They cannot get out of this hell without faith in whatever created the game. They must believe in some power that is never fully known or shown in the movie. They must truly believe that they cannot reach home again unless they get a sacred jewel to a religious shrine on a mountain. Once this single jewel is in it's rightful place, it's proper place, then they have to shout a sacred word. They have to believe it, do it, and only then will they be saved. The game is the same as life and we cannot be our own saviors, neither by ourselves, nor in a group. There must be something higher to save us. But we'll never know that unless we experience suffering. Without pain, we never see the way, never understand the problem. Jesus tells Nicodemus: “For God did not send his Son into the world to condemn the world, but that the world might be saved through him.”Could this statement not also be swapped with “fiery snakes”? Because in the desert, God sent the fiery snakes - it explicitly says that God sent the snakes to bite the people, to cause them to suffer. Why? Because otherwise they would never understand that their imagined strength was their biggest weakness. They must be weak, and know it in their bones, in order to believe, in order to escape the pain. This is what is so hard to accept today, but it was just as hard to accept back then. God sent the snakes, which seems kind of cruel. But then he tried a more direct method. He came down here himself, not to bite us but to show us. He came to save us. The painful snakebite method worked, but we so quickly forgot that he had to keep sending signs and prophets, and still we failed to understand. He tried telling us through various efforts and signs. The snakes in the desert is just one of his attempts to reach us, but we always choose to reject him as soon as things settle down. The fear model works, but was not effective for the long term. The plan all along was love. He showed us the way, and it was intended to reach everyone on earth. He sent his Son to show love and mercy. Instead of him biting us, he allowed us to bite him. And bite we did. He came to us in love, like the loving father running out to meet the Prodigal Son. We learned that it's far easier to understand this message through seeing Jesus on the cross than through trying to understand snakebites in the desert. But instead of embracing God when he came to us, like an angry mob, we arrested and tortured and killed him, only to realize that whether he bites us, or we bite him, he loses no power. He cannot be defeated. Whether he is the biter or the one bitten, in either direction, God is always the healer, the redeemer, the savior, and the answer to everything we are searching for. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.whydidpetersink.com

Dan rides solo and returns to his adolescence via song with a variety of connections along the way. The ride ends with a couple real criers, as we process through poetry and song the recent tragic death of a child in Mankato . Included: The Mixtures, John Cougar, Joni Mitchell and Paul McCartney.

Jessica is back for round 4. This time her and I are getting a bit local. John Mellencamp was born, raised and still lives here in Indiana. When he had his massive breakout in “Hurts So Good” off his American Fool album, he was just John Cougar. Here about his name evolutions as well as […]

Great news! On today's show, the way-back machine is fixed. Shawn and Mark also discuss the band Heart, 70s and 80s fashion, and some new Taco Bell menu items. Then the guys look at songs with people's names in the title and rank them in Rule or Drool. The fellas wrap it up with a look at movies from 1982. And as always the Maroon of the Week will leave you scratching your head, and a feel good story to brighten your day. Re-brand your week with some absolute nutter nonsense. Subscribe and tell your friends about another funny episode of Randomosity with Shawn and Mark.

Our listeners Top 5 The Cure songs, 'Foreign Language' classics from Kaoma and Falco and a Top 5 of 1982 songs.Songs are memories, music is therapy. Join us for, "You, Me, the 80s and 90s" podcast with Wayne and Emma.

"American Fool" ist das fünfte Studioalbum von John Mellencamp. Veröffentlicht hat er es 1982 unter dem Namen "John Cougar". Mit der Platte gelang ihm der große Durchbruch.  In Deutschland allerdings wurde er auch mit dieser Platte nicht wirklich erfolgreich. Bis auf seinen größten Hit “Jack And Diane”, der lief auch bei uns im Radio. Neben dem großen Hit gab es auf dem Album aber noch viel mehr tolle Songs, die sich angefühlt haben, wie Musik von Bruce Springsteen oder auch Tom Petty. Das liegt nicht alleine an der Art und Weise, wie die Songs produziert worden sind, sondern auch an der Themenauswahl, um die es in den Songs geht. Songs aus der echten Arbeiterklasse. Dass die in den USA gut angekommen sind, erscheint schon fast logisch. In den USA wurde das Album sogar fünf Mal mit Platin ausgezeichnet. Über 100 Wochen lang konnte sich “American Fool” in den amerikanischen Top 100 Billboard Album Charts halten. In Deutschland hat es die Platte nicht einmal in die Top 100 geschafft. Das liegt vermutlich auch daran, dass “American Fool” ein durch und durch amerikanisches Album ist. Geschrieben von einem jungen Mann mit einer schweren Kindheit, der mitten in Amerika – genauer gesagt Indiana – geboren und aufgewachsen ist, kann John Mellencamp eben auch genau diese Arbeiterklasse-Songs schreiben, die die Amerikaner bis heute so gerne hören. Eine der spannendsten Geschichten rund um John “Cougar” Mellencamp, Johnny Cougar oder Cougar Mellencamp, ist natürlich die um seinen Namen. Woher kommt dieses “Cougar”? Und warum überhaupt? Die Antwort auf diese Frage gibt es im Podcast. __________ Über diese Songs vom Album “American Fool” wird im Podcast gesprochen: 06:34 Mins – “Jack And Diane” 11:17 Mins – “Hurts So Good” 14:54 Mins – “Hand To Hold On To” 16:23 Mins – “Weakest Moments” 17:56 Mins – “American Fool” __________ Links zum Podcast: Review zu “American Fool” von Stephen Thomas Erlewine https://www.allmusic.com/album/american-fool-mw0000189519 Review zu “American Fool” von Ken Emerson https://www.allmusic.com/album/american-fool-mw0000189519  Musikvideo zu “Hand To Hold On” https://www.youtube.com/watch?v=0LyUCy3eOvs __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Schreibt uns an: meilensteine@swr.de

On this episode of THE CLASSIC METAL SHOW, Neeley and Chris talk about the band Chicago and an autograph that Neeley signed pretending he was in the band. They then talk about John Mellencamp's awful new album and singing voice, and finally talk about Bryan Adams new album.

Welcome to Episode #11 of the Last Call Trivia Podcast! Join in as the Podcast Trivia Team first kicks things off with a round of general knowledge Trivia questions. As usual, the questions in Round Two are themed towards a specific topic, and today's theme is Famous “Kings.”Round OneLet's get the ball rolling with a Toys Trivia question about a brand that was all the rage in the 1980s and early 1990s.Next up, a Technology Trivia question takes us back to the early days of YouTube. Specifically, the very first video ever posted on the platform.Round One concludes with a Lyrics Trivia question about an early 1980s song by John Mellencamp. Or "John Cougar," as he was then performing as.Bonus QuestionWe're moving right along to the Bonus Question and you better protect your wallets, because today we're talking about wedding costs! Several members of the Trivia Team have very recent experience with wedding planning, but will that be enough to help them determine what the average wedding cost was in 2021?Round TwoAs usual, Round Two is themed after a particular topic, and today's theme of choice is Famous “Kings.” Be sure to take note of those quotation marks, because you won't find the likes of Henry VIII or Charlemagne in these questions!Round Two starts with a Literature Trivia question about Stephen King (see what we did there). The Trivia Team brainstorms all of the King novels they can think of to try to determine which one may have once come in a limited-edition version that was bound in asbestos.Next up, we have a People Trivia question about a former aide to Martin Luther King who went on to have a career in politics, finishing as runner-up in the 1988 Democratic Primary.Round Two concludes with a Movies Trivia question about one of Disney's most popular properties of all time, The Lion King.Final QuestionIt's time to wrap up the game with a multi-part Final Question in the category of Astronomy. Warm up those telescopes, fellow stargazers!In today's Final Question, the Trivia Team is asked to place five specific celestial objects in order of size from largest to smallest. The Team pulls from a number of references to determine the order they lock in, but will it be enough to land on the correct answer? Listen in and find out!

Episode 5 of Season 5 took to the airwaves on Rebel Rock Radio at 19h00 on 3 Feb 2022.  It was thoroughly enjoyable and flowed really nicely.  I felt like I didn't have enough time right from the very start which is unusual and a good sign.   We kicked off with an instrumental track from In Flames called 'Man Made God'.  That early '2000s period was where I fell in love with In Flames and this track off the deluxe edition of Colony shows exactly why.  From there it was a bit of Audioslave and some Godsmack and we hit stride with L.A. Guns off their new album Checkered Past.  The death of Meatloaf a few weeks ago highlighted to me how much Bat Out of Hell had meant to me growing up and it took his death for me to fall in love with it all over again.  That led to me thinking there are a lot of excellent bands that were so ubiquitous at a period in time that do not get a lot of love on TSORR.  Journey is one of those bands so we checked out 'Feeling That Way' off Infinity.  There was a great little bit where we checked out Metallica and then directly after two of their influences in the form of King Diamond and the totally underrated British NWOBHM band Demon.  We had Southern Rock from John Cougar and Kid Rock and then two young SA bands, Drumfish and Future Radio.  The latter has done a very powerful and interesting version of Dylan's 'Master of War'.  Check it out, very cool. A highlight of the show was the Punk section, Stiff Little Fingers' debut album Inflammable Material was released 43 years ago this week so we took a listen to 'Law & Order', then The Clash, and finally a song that I can't believe hasn't been I haven't played before on TSORR; 'Down in the Tube Station at Midnight by The Jam.  Tony Martin's new album Thorns went down very well and we closed out with a focus on Bruce Kulick's acoustic solo on Kiss' track 'Forever' and one of the greatest songs ever, a track called 'Learning to Fall by Chickenfoot. Check it out, hope you enjoy it.  Artists featured:  In Flames, Audioslave, Godsmack, L.A. Guns, Those Damn Crows, Journey, Thin Lizzy, Slash feat Iggy Pop, Saxon, W.A.S.P., HIM, Live, Greta Van Fleet, The Doors, Jimmy Barnes, Metallica, King Diamond, Demon, John Cougar, Kid Rock, Drumfish, Future Radio, Johnathan Martin, Joe Bonamassa, Motörhead, Iron Maiden, Stiff Little Fingers, The Clash, The Jam, Ryan Adams, Tony Martin, Helloween, Junkyard, The Rolling Stones, Kiss, Chickenfoot, Van Halen. 

Matt and Jeff are discussing John Mellencamp's new album, the press he has been doing around it (which you should listen to) and why Brian Boone (longtime friend of the podcast) needs to come on to discuss John Mellencamp. There's a new Patreon for the show which you can read about here, where we're planning to share materials related to the podcast in addition to some fun pop culture stuff. Check out further details here and thanks for digging what we do! P.S. Matt meant to plug Mike Joseph's conversation with Glen Phillips on Detoxicity (which he teases while mentioning Glen's conversation with Brian Koppelman). Since that didn't happen, go and listen to Mike's conversation with Glen. It's an essential listen.Cassingle Notes:John Mellencamp - Strictly a One-Eyed JackJohn Mellencamp and Brian BooneAdvice from circa-1982 "John Cougar."John Mellencamp on Marc MaronJohn Mellencamp on The Moment with Brian KoppelmanJohn Mellencamp - GQ profileHas Jeff listened to the new Mellencamp yet?Mellencamp's voiceWhy you should listen to John Mellencamp's new album.John Mellencamp - "Driving in the Rain"Reader mailThe origin of Meat Loaf's name (for Judd)There are many different variations on the origins of Meat Loaf's name.Peter Lubin (who joined us for our John Hiatt episode) will join us again to share further stories from the music biz (including Jim Steinman stories)Meat Loaf and Jim Steinman.Jim Steinman's legacy extends way beyond his work with Meat Loaf.Thanks to Jason Hare and Scott Malchus for the episode/podcast feedbackDragnet (1987). How did this happen?A stray mention of Dick Tracy (1990)Why did Jeff go to see Dragnet?You can watch Dragnet on Amazon Prime for the low, low price of $2.99The Dragnet guys go to the zoo.The genius of Tom Hanks on displayCast Away (2000)Samm Henshaw - Untidy Soul (thanks to Mike Joseph for the heads up!)Greensky Bluegrass - Stress DreamsSomebody Somewhere on HBOPatreon and a new feature, At the Gig.Subscribe and view the episode archive here.Next episode: George Marinelli (Bonnie Raitt, Bruce Hornsby) is our guest!

Squeeze came out of the mid-70's New Wave scene in the UK, but would cross genres into Rockabilly, R&B, and Psychedelia by the early 80's.  In 1982 they released Singles - 45's and Under as a compilation album of their biggest hits.  Squeeze was led by two singer songwriters, Chris Dilford (rhythm guitar and vocals) and Glenn Tilbrook (keyboards, lead guitar, vocals) who composed most of their material.  At the time of the release of this “greatest hits” album, the band had broken up, leaving only Dilford and Tilbrook as a duet.  The pair would normally work with Dilford writing the lyrics and Tilbrook writing and singing the music.  Squeeze was inspired by the Kinks, the Beatles, David Bowie, and Elvis Costello (who co-produced their breakthrough album, East Side Stories).  They started when Dilford stole money from his mom's pocketbook to place an ad for a guitarist "for his band," which didn't exist.  Tilbrook was the only one who responded, and the rest, as they say, was history.The group wove stories with their songs, usually lighthearted, with a healthy sense of humor.  While Wayne and Bruce are away, friends of the show Todd Hendricks and Bill Cook join Rob and Brian for this album feature. TemptedThe first commercial breakthrough comes from their fourth studio album, “East Side Story.” It is unusual because it features Paul Carrack on lead vocals rather than Glenn Tilbrook or Chris Dilford.  The sound was inspired by The Temptations, and the lyrics were inspired from Dilford's experiences in touring North America.Up the JunctionThis deeper cut was originally released in 1979 on their second album "Cool for Cats."  Glenn Tilbrook takes on his normal role as lead singer.  This is a little bit of working class humor about a man living with a woman who becomes pregnant.  The song is unusual in that it doesn't have a chorus, but tells the story in a "stream of consciousness" style.Pulling Mussels (from the Shell)Originally released on their third studio album, Argybargy, this track is an audio snapshot of a British budget holiday camp by the sea.  It did not hit the US charts, but got airplay on College radio stations.  "Pulling Mussels" is British slang for sex.  There are lots of humorous lyrics in this story.Black Coffee in BedThe first single from the fifth Squeeze album, "Sweets from a Stranger," and was a hit on the US Mainstream Chart - the only song to chart from that album.  Elvis Costello and Paul Young sing backing vocals on this track about a lost love. ENTERTAINMENT TRACK:Main Theme from the television series "St. Elsewhere”This hospital-centered show debuted in October 1982.  The stories centered around a Catholic hospital named Saint Eligius.  Howie Mandel would get his big break as a member of this cast. STAFF PICKS:Jack & Diane by John CougarBrian brings us a famous “little ditty” about high school romance by John Cougar before he took on his real last name.  Though some thought it was autobiographical, John Mellencamp has said that it is a story about what he observed in small town America.  Mellencamp didn't like the song at first and didn't want to release it, but was fortunately convinced to do so by others.Abracadabra by the Steve Miller BandBill Cook (aka “Lil‘ Wayne”) features a hit from Miller's 12th studio album.  Though we're not convinced that this is Miller's best work (and the video is horrible), the “breathy synthesizer” and pop sensibilities gave it significant airplay on both pop and rock stations. The lyrics were inspired by Diana Ross.Somebody's Baby by Jackson BrowneSpecial guest Todd Hendricks' staff pick was the last Jackson Browne song to chart.  It didn't appear on any Browne album until years later on a "Greatest Hits" album.  It was released on the soundtrack from "Fast Times at Ridgemont High."  Browne was originally known as a songwriter before he rolled out his solo work.When the War Is Over by Cold ChiselRob's closes out the staff picks with a track recommended by Mark Whyte, a friend of the show from Australia.  Cold Chisel is a very popular band in Australia, but is not well known in the United States. This is off their 1982 album, "Circus Animals" and features multiple singers taking turns on lead vocals. INSTRUMENTAL TRACK:Spunky by Bob JamesThis week's podcast closes out with a jazz instrumental from James' 1982 album "Hands Down."

Ross Copperman does it all. He writes hit songs. He produces hit records. He nurtures the next wave of musical superstars through his philanthropic work. And somehow he also finds the time to be a husband and father. From his early days as a reluctant eight year old banging away on an upright piano, Ross eventually flirted with a solo career across the pond before returning to the States, where he became one of Nashville's most in-demand players. A chart-topping songwriter and producer with twenty-nine number one hits to his name, the upcoming release of his newest EP brings Ross' career full circle, returning him to his pop music roots. Hang out in the virtual studio with Nick and Ross as they weigh in on a wide range of topics, from the differences between songwriting for yourself and for other artists, to the seismic changes that have leveled the playing field in the music industry.   HIGHLIGHTS:   [02:08] The song "I Hope", performed and written by Gabby Barrett, and produced by Ross, is nominated for Single Of The Year by the Academy Of Country Music [02:50] Ross explains how he came to meet and work with Gabby [05:40] Ross' obsession with songwriting took him from Virginia to the clubs of New York [07:35] From his success in New York, Ross was signed by a British label and put out his first album [09:36] In England, Ross learned a great deal about producing records [10:19] The title for Ross' album, "Welcome To Reality", came to him in a dream [10:56] Although he's back in the US, Ross still has professional ties to England [11:49] Ross has a series of new EPs coming out, starting with "Somewhere There's A Light On" [13:31] Ross' creative energy is invigorated by his focus on his new songwriting and recording [15:18] The pandemic and social media have completely changed the live music business [16:15] Ross' goal in the coming year is to play a theater, but maintain his new recording streak [17:16] Leaving England for Nashville, Ross found himself taking advantage of all the opportunities that came his way [20:29] Ross' big break in Nashville came when he met his life-long friend and mentor Josh Van Valkenburg [21:44] Once he was established in Nashville, Ross had a decade-long string of country hits with artists like Keith Urban, Kenny Chesney, and Blake Shelton [23:29] Some artists like collaborating with Ross over Zoom, but some enjoy working in the same space [25:57] The song "John Cougar, John Deere, John 3:16" was inspired by the vignettes of American life that Ross remembered and loved [27:06] Ross' songwriting skills have evolved, and his strengths have changed over the years [28:26] Every song Ross writes starts in his home studio, but the real recording happens in a professional set-up [30:30] Ross' musical talents weren't inherited, they came from his own personal drive [31:19] Ross doesn't write to chase musical trends or social events, he just writes [32:32] Nashville is changing positively in many cultural and social ways [33:59] There is so much new music being release today, it's almost impossible to keep up with it all [35:39] Ross' non-profit Song Farm focuses on teaching high school kids how to make and record music   Thanks for listening! Tune in next week and don't forget to take a minute to review the podcast. In this incredibly competitive podcasting world, every piece of feedback helps. Follow our social media channels for last-minute announcements and guest reveals @theradicalpod on Instagram and Facebook.   Find out more about today's guest, Ross Copperman. Find out more about your host, Nick Terzo   MENTIONED IN THIS EPISODE: @GabbyBarrett_ @ACMawards @taylorswift13 @kennychesney @KeithUrban @MarenMorris @kanyewest @johnlegend @MarkRonson @TheWho @Pete_Townshend @rogerdaltry @RobertPlant @robbiewilliams @shanemcanally @bmaloufmix @KevinKadish @DierksBentley @BitterEndNYC @ColumbiaRecords @kevinmgriffin @betterthanezra @natashabdnfield @thescript @guyachambers @vanvalk13 [Josh Van Valkenburg, Ross' friend and mentor] @jeremyzucker @chelseacutler @thompsonsquare @oasis @amywinehouse @RCARecords  @PhotoFinish [Photo Finish Records] @edsheeran Song Farm Ashley Gorley

Using humor, unique insights, and brotherly love, The Derringer Brothers debate the merits of John Cougar compared with John Mellencamp.  Dave fights for Cougar while Paul defends Mellencamp.  Along the way, they discuss John's best songs and albums; his 35+ years spearheading Farm Aid; and whether or not John jumped the shark! The songs in this episode are featured on Cougar & Mellecamp's Best Playlist - Derringer Discoveries #007. Contact Paul & Dave at derringerdiscoveries@gmail.com and follow Derringer Discoveries on your favorite digital platform. Derringer Discoveries' theme song, Your Sister's Room, is by the band Ho Jo Fro.  The post-episode playout also features a snippet of the song Brother from Ho Jo Fro's 2019 album Hope Springs Eternal.  Support a struggling artist by adding a song or two of theirs to your favorite playlist!

Aaron gives Danny Felts a hypothetical