Podcast appearances and mentions of pete pete

*from the desk of Pete* Pete would like to apologize for picking another long film but not too much because this movie was great. Our " Come What May," month kicked us right in the goodie bits and we lost an episode. Whatever, shit happens. So instead of a horror movie we bring you an action movie....again. When this film dropped in late April 2025, Pete was excited to see that director Shinji Higuchi (Shin Godzilla) was at the helm and he did NOT disappoint. Admittedly, the film could have shaved a solid 35 minutes off without losing any excitement or story but the gang loved it. As always, please watch the movie before you listen. It's worth your time!

Welcome to Anime watch club, a bi-weekly group discussion and review where the hosts of the what do you say anime podcast, nominate and vote on shows either that we haven't seen or shows that will hopefully lead to a great discussion. On todays episode, we will be reviewing the 2004 anime, Rozen MaidenSocial/Discord - https://linktr.ee/whatdoyousayanime0:00 - Intro1:07 - First impressions13:53 - Synopsis and background16:09 - Why Rozen Maiden did not resonate with Pat25:18 - The heels continue their beatdown with Cat (Cat's issues)31:43 - RM gets the hot tag to start their comeback with Pete (Pete's positives)35:55 - Jay keeps the momentum going for the babyfaces (Jay's defense of RM)40:06 - Miles climbs the cage and continues to straddle atop it (Miles seeing both sides)46:12 - Favorite cast members58:55 - Studio Nomad's take on Jun's backstory and resolution1:04:16 - Final thoughts and scores1:15:30 - What we're watching next

Producer Chris Stone takes over as host and puts Pete in the hot seat with some fun and interesting questions. Pete chats about his most embarrassing sales rep moments, shares practical tips for tackling Market, and drops some solid advice for anyone dreaming of opening their own mattress store. He dives into the importance of networking, taking customer feedback seriously, and constantly learning from the pros. Plus, get a sneak peek at Pete's upcoming book and discover how to step up your sales game. Whether you're new to the industry or have been around the block, Pete's insights and stories are sure to inspire and entertain you.   ✅We are proud partners with Mattress Industry Network: https://www.facebook.com/groups/mattressindustrynetwork  ✅The Mattress Industry Network's core values are helping others to Build, Market, Sell and Succeed in the Mattress Industry  

One of a kind delight. A fictional band from a fictional television show creates a very-real compendium of sonic pleasure. Plus, we put the Hermanos Cansecos into action and show what happens to members of Boogie Chitz bands that quit.

For our 2nd annual "Tricks & Treats" episode, we explore three more TV Halloween specials. This time we decided to focus on something we're intimately familiar with… 90's Nickelodeon programming.  On this week's episode… Join the crew as we discuss pumpkin headed preteens in Pete & Pete, the addictive nature of candy in Rocko's Modern Life, and how you can't believe everything you hear on the radio in Hey Arnold! Now clam it and press play, GUT-BUCKETS!   Show Notes: Housekeeping (5:15) Pete & Pete: Halloweenie (11:23) Rocko's Modern Life: Sugar Frosted Frights/Ed is Dead (43:44) Hey Arnold: Arnold's Halloween (71:00) What We've Been Watching (97:44) Hotline Scream: (111:50)   Connect with us: Support us on Patreon Website Facebook Instagram Twitter YouTube Shop

Summer's over, Goosebuddies. How did you spend it? Were you hunting for buried cars at the beach? Attacking the pool lifeguard with psychic damage? Or tracking down a beloved but lonely ice cream man? The Goosebuddies check out The Adventures of Pete & Pete's classic episode "How I Spent My Summer Vacation", arguably one of the best in the series. And Michael Stipe is there! Episode discussion: 17:30 Off-Topics: Secret Level, Crying Support Goosebuds to get access to bonus episodes, join our secret Discord, and more at patreon.com/goosebuds   Dress your skeleton with Goosebuds apparel at goosebuds.store   Email: goosebuds@gmail.com Twitter: @GoosebudsPod Edited by Kevin Cole (@RealKevinCole) Music by Seth Earnest (sethearnest.net) Cover art by Brock Gallagher (@brockadile)

1881 Men by Cerruti (1990) + Will McRobb and Chris Viscardi's The Adventures of Pete & Pete (1991-96) with Yeerk P of Bistro Californium 8/29/24 S6E65 To hear this episode and the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

Children of the 80s and 90s, we're ready to dive into your nostalgia (and educate anyone who was born in subsequent decades, of course). It's a brand new episode of Tights and Fights!Hal and Danielle are joined by Danny Tamberelli– He's been in tons of classics including The Mighty Ducks and “The Adventures of Pete & Pete” and “All That” on Nickelodeon. His latest book is entitled The Road Trip Rewind. Together our panel will discuss their favorite wrestling toys from over the years and why the tropes of romantic comedies aren't that different from the tropes of wrestling.Buy your WWE Man-Pons!The Main Event“The Macho Man” Randy Savage is an absolute legend of wrestling. Iconic voice, great look and an all-around icon. We get into why he was so great and is still remembered all these years laterHosted by Hal Lublin, Danielle Radford and  Danny Tamberelli.Produced by Julian Burrell for Maximum Fun.The music for our new promo is provided by Incompetech.comIf you want to talk about more wrestling throughout the week be sure to join us on Facebook, BlueSky and Instagram. PLUS! Check out our Tights and Fights Discord!If you liked the show, please share it with your friends and be sure to leave us a quick review on Apple Podcasts or wherever you get podcasts.

Please visit breakerwhiskey.com for more information or to send a message to Whiskey's radio. Breaker Whiskey is an Atypical Artists production created by Lauren Shippen. If you'd like to support the show, please visit patreon.com/breakerwhiskey. As a patron, you will also receive each week's episodes as one longer episode every Monday. ------ [TRANSCRIPT] [click, static] I'll—I'll get to your latest in a second but first… I'm already having a hard enough time ordering my thoughts—talking out loud on the radio and spending my days talking to Harry…it's like my brain is more active than it's been in months and I feel like I'm bouncing from thought to thought with no order or intention.  And it's so much worse than usual right in this moment because Harry just told me something that… I don't know why she didn't tell me this a year ago—maybe because when she first confessed everything I refused to hear more about it. But I talked to her about what I was saying yesterday, the messed up logic of her view of me and her view of Pete and she—she said it was different. Because what Pete did was cold blooded murder, not an accident, not an escalation of a confrontation. And I didn't buy that, how could she know, she wasn't there and she— It was his partner. Um, two of the people who died—one was a teller who refused to open the vault and the other was um— (pause) was a seventeen year old boy who tried to take Pete's gun away. And that's—I mean, I didn't expect one of them to be just a kid—but I figured that's what happened, that something went wrong, someone tried to interfere, a gun went off and— But the third person was Pete's partner. His…mentee, his protege. The two of them, after they did get into the vault, after they—well, they, um, snuck out through the back and Pete—Pete shot him point blank in the head and left him in the alley behind the bank. Which…does put the other killings in a different light. Suddenly the death of the teller doesn't seem like a robbery gone wrong, but instead… It's different. That's what she said. I mean, she also said that she doesn't want to kill Junior, that she doesn't think that's a way to solve anything, but that she's had to think it all through anyway. She had to consider it, because if it was the way to make things right with me, then she would— But she knows it's not. She knows it wouldn't fix anything, especially since she already learned that taking extreme action to protect yourself from the possibility of harm can lead to something so much worse. Because that's why she turned Pete in. Because she felt it was just a matter of time until he did what he did to his old mentee again, but this time to me. She didn't think she could convince me that he'd ever hurt me—and…she's probably right about that—so she…made a different choice.  And now I have to live with this knowledge and figure out how it changes my entire world view and feelings about one of the most significant relationships in my life.  [click, static] So…I've had some things to process. Clearly. But I'm not—I'm not ignoring you, especially since what you said— “I'll transmit safe location”. That's what you said. Birdie does this mean…are we going to meet? I assume you mean a safe location for you to…leave me something, or somewhere Fox can't find us or…I don't know. I know what I'm hoping for and I also know that I need to hold that hope tightly so it doesn't grow out of control.  I don't know how you plan to transmit a location without Fox or Junior hearing it, but I have no doubt you'll come up with something.  So for now I'll just…wait. I'll wait and I'll keep going North.  [click, static]

Get in formation, Goosebuddies! Your hosts Chad Quandt, Paul Ritchey, and Kevin Cole watch another classic The Adventures of Pete & Pete episode, "Day of the Dot". As Big Pete's marching band competes in the Regional Championship, he struggles with affections for Ellen and a tyrannical teacher. Meanwhile Little Pete is trapped on an endless school bus as Bus Driver Stu wrestles with a broken heart. This is a sweet indie episode and we're inspired by the discussion. Enjoy! Episode Discussion begins: 18:18 OFF-TOPICS: SpongeBob SuperBowl, Perfect High School, Doctorin', Wolf C.I.A., You Can Desaturate Your Phone Screen, Chad's Take On Sonic 2 (The Movie) You can support Goosebuds, get access to bonus episodes, join our secret Discord, and more at patreon.com/goosebuds   Dress your skeleton with Goosebuds apparel at goosebuds.store   Email: goosebuds@gmail.com   Twitter: @GoosebudsPod   Edited by Kevin Cole (@RealKevinCole)   Music by Seth Earnest (sethearnest.net)

This interview is with an old friend and boss of mine; Pete Mickartz who is currently the Director of Sales at Veraset, the leading global location data provider enabling companies to innovate with anonymized GPS location data.Throughout the first half of my discussion with Pete we delve into the story of his sales consulting venture, ZeroToTwenty. We explore Pete's leap of faith from a stable, full-time role to the unknown realm of entrepreneurship which was driven not just by ambition, but also by a bit of destiny. Listen to the interview and I promise you're going to gain some very invaluable insights as Pete shares his firsthand experiences, from pioneering a solo sales consultancy to scaling Tenbound's practice with a team of consultants. During the back half of the talk we run through some hot topics such as the transformative power of AI in sales, the evolving dynamics of remote versus onsite work environments, and the future trajectory of sales development. We wrap up with Pete's candid opinions on the significance of social selling, thought leadership, and the delicate balance between individual talent and organizational culture. #salesconsultantpodcast #salesconsultant #salesconsulting #consulting #entrepreneurship #aiinsales #ai #remotework #onsitework #salesdevelopment #futureofsales #predictions #socialselling #culture #b2bsales #salesmanagementTime Stamps:[2:90] - We unravel the inception of Pete's consulting venture, ZeroToTwenty. It unfolded almost serendipitously, as if he were summoned to consulting. This serves as a lesson to other budding entrepreneurs: heed the signs and opportunities that present themselves.[6:20] - Pete walks us through his thought process from a monetary standpoint with regard to leaving a full-time gig with a solid salary to starting his practice from zero (pun intended).[13:00] - For the first time on the show we talk through what it's like to lead a group of sales consultants, myself included.[22:00] - We discuss what it's like and the thought process involved in switching from consulting to a full-time sales leadership role. Pete shares stories about building Tenbound's practice and the workload that came with which leads to discussing pivotal moments that led to his return to full-time employment.[33:30] - Pete shares a wonderful personal story about a book that his mother wrote for him while he was coming up which she gave to him when he turned 30.[38:30] - I ask Pete his perspective on AI in Sales: is it more noise or a real game-changer?[40:40] - We chat about Onsite vs Remote Work and which mode works best in his opinion when a company is rapidly growing.[43:50] - The next topic is “the future of Sales Development”: will it continue to grow or is it a dying model? Pete shares what he thinks.[49:30] Is social selling and thought leadership a ‘nice to have' or is it essential to a sales strategy? Pete gives is a very open and honest answer to this one.[55:00] - Lastly we talk about what's more impactful on a sales team's success, individual talent or environmental conditions.Connect with Pete:Pete's LinkedIn page: https://www.linkedin.com/in/petemickartz/Connect with Derrick:https://www.linkedin.com/in/derrickis3linksales/These interviews are also available on Derrick's YouTube page -

Pete has been a performance director and strength and conditioning coach in elite sport and human performance for over 20 years. This has seen him be involved in coaching athletes for 4 Summer and one Winter Olympic Games. He is currently the performance director at Hintsa Performance. Pete has also held a variety of leadership or board positions in business, church and charities. Currently Advisory Board Chairman at US start-up Rewire Fitness Inc., and Advisory Board at UK start-up Hytro. What You'll Learn: In this episode, Pete shares his insights on what has allowed him to maintain a career at the highest level whilst maintaining a thriving family and personal life. Talking Points: The balance between striving and acceptance Why knowing values isn't enough When to push and when to step away The power of faith to offer a framework to thrive Why practitioner potential is determined by doing inner work beyond the coach Courage to stand in integrity If you enjoy this episode please leave a review on iTunes or Spotify platforms, and by doing this you will actively help in spreading this content to the practitioners that need it. Resources: Men Behind Sport: www.menbehindsport.com Practitioner Needs Analysis Coaching (1-1 & GROUP OPTIONS): Read Full Details Connect with Pete: Pete's Twitter Pete's Instagram Pete's Linkedin

As the fall air turns crisp, enjoy this episode revisiting the 90s classic The Adventures of Pete & Pete. Your hosts Chad Quandt, Paul Ritchey, and Kevin Cole cover this season 3 episode focused on Little Pete and his magic coin which can only be recharged by endangering a train. Please understand: each year dozens of trains go off the rails because of plucky kids putting currency on the rails. Do not do this. This episode was irresponsible for Nickelodeon to air, encouraging other kids to do such dangerous acts. But we still had a good time talking about it. TV discussion starts: 17:00 OFF TOPICS: Dire Straits, Weird Al, Novelty Music and why Paul hates fun, George Bush Senior's 90s Music Gun You can support Goosebuds, get access to bonus episodes, join our secret Discord, and more at patreon.com/goosebuds   Dress your skeleton with Goosebuds apparel at goosebuds.store   Email: goosebuds@gmail.com   Twitter: @GoosebudsPod   Edited by Kevin Cole (@RealKevinCole)   Music by Seth Earnest (sethearnest.net)

If television was your babysitter, this episode is for you! Audra & Raymond discuss sweet sweet cable TV, why it was invented and how we spent our childhoods (and beyond) parked in front of it. From Nickelodeon to MTV to Skinemax, Retrophilia unscrambles shows like "The Adventures of Pete & Pete," VH1's "Behind the Music," "USA Up All Night," and many more. Plus, listener memories! Join Retrophilia on Instagram and Facebook, and share your memories too.

This week Ken welcomes writer, director and co-creator of The Adventures of Pete & Pete, among other things, Will McRobb to the show. Ken and Will discuss growing up in Ithaca NY, suburbia, Nickelodeon's "kids point of view" era, doing corporate videos for Goldman Sachs, working in the promo department at Nick at Nite, MTV Networks, Rin Tin Tin, Mr. Ed, Donna Reed, The magic four ingredients: Funny, Sad, Strange and Beautiful, Green Acres, Patty Duke's double, MTV's Remote Control, Lassie, My Three Sons, Bub vs. Uncle Charlie, The Monkees, live action cartoons, the reason you'd go live action instead of a cartoon, Snow Day, added farts, working for the man, the shift on TV Land and Nick at Nite to newer "quality" shows, punk rock, Savage Steve Holland, The War Next Door, Hal Hartley, Damian Young, Michael Stipe, Iggy Pop, The Police, Joe Jackson, the unlocking of coolness with Elvis Costello's This Year's Model, The Embarrassment, the origin of Wellsville, Season 3 of Pete and Pete, Saturday, the rush to be an adult, saying goodbye to Artie, Adam West, the original 60 second Pete and Pete promos, Katherine Dieckmann, wasted years of cute Little Pete, Inside Out Boy, voice over, why perspective matters, John Hughes, "when you grow old, your heart dies", Inspector 34, Johnny Earwax, getting away with stuff, the controversy of The Orange Lazarus, Endless Mike, Frank Gifford cameos, Arnold Palmer golf clubs, how nobody likes Chevy Chase, SNL, Weekend Update, NY theater actors, William Hickey, One Crazy Summer, J.K. Simmons, and how Batman will always need The Joker. 

Hello There!  I made a quick 5 minute recording to give you an update on my trip and thank you for encouraging me to take the time off. I get on a plane Weds morning Australia time and travel for like a day but I hope to post a couple of conversations this week and be back to the regular scheduling next week.  I hope you are good and thank you soooooo much for your continued support! Pete Pete on Tik Tok Pete on YouTube Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page All things Jon Carroll  Follow and Support Pete Coe  

Picture it, the turn of the millennium, and the dawn of the online music revolution. jD just shelled out his last few dollars on The Tragically Hip's seventh studio record, Music at Work, unaware that it would mark the end of an era for him - his final first-day purchase. From there we take a deep dive into the album's reception, its relevance today, and the debate if it was a step out of The Hip's comfort zone.Make sure to get your tickets for Longslice Presents: Getting Hip to the Hip - An Evening for the Downie Wenjack Fund today! https://bit.ly/GHTTHTicketsTranscriptTrack 1:[0:00] Welcome to getting hip to the hip. I'm JD. I'm here as always with Pete and. [0:06] Tim How are you fellas doing this fine day? Track 3:[0:10] Doing great doing great Just getting it going and excited to be here and see a couple of my favorite dudes over the interwebs. Track 2:[0:19] I Am doing supercalifragilisticexpialidocious to fucking discuss this fucking record Oh, wow. Track 3:[0:27] Oh, boy. Track 2:[0:28] Oh, boy. Track 3:[0:29] So... Fasten your seatbelts, folks. Track 1:[0:31] Fasten your seatbelts, folks. Track 2:[0:32] What does that mean? Spoons, plural. Spoons full of sugar. Not just fucking... Not just one. Track 1:[0:39] The Disney references are just rolling out. Track 3:[0:41] Jeez. Track 1:[0:44] Well, we're here today to talk about the 2000 release, June 2000, the seventh studio record by seminal Canadian rock band The Tragically Hip. Music at work. Before we go into our vaunted segment of song by song, let's just get a general sense of what you guys thought of this record. Where you listened to it, what you were exposed to, how it formed over time. What do you think there, Pete? Track 2:[1:21] I'll be brief, because I want to really dive into the songs, too, but I will say, I listened to this record at work. Well, I was at my computer. Come on, Tim, did you want that one? Were you waiting to use that one? Track 3:[1:42] No, it was your turn. It was your turn. A lot of listeners right now are like, oh my god, we're out of here. Track 2:[1:52] Listen to it in the car. The sound system in the car made it really pop. But I will say, probably the best place to listen to it was on runs. It was just... I love the record. I really, really enjoyed this record profusely. So I'll say that. I'll leave it there. All right. Track 1:[2:21] Mr. Leiden. Track 3:[2:22] Yeah, so I listened to this. I had a bunch of headphone-based physical therapy the past week, and I pretty much had it on for all of that, which was very much focused movement and definitely could consider audio. And it was it was pretty good. It took me back to, I think, mostly to Live Between Us, like if we're gonna go apples to apples or apples and oranges throughout their discography thus far, for many reasons. And there's some songs on here I really like a lot. There's a couple that I thought were pretty different, like definitely a step out than past albums. And yeah, at one point I thought this might be my favorite so far in our work to get to this point. I thought this might be one of my favorite albums so far, but I'm still questioning it. I'm still thinking that there might be another one out there in the future that I just I Give you know nine point five two or whatever. Album Rating and Discussion on Critics' OpinionsTrack 1:[3:35] It might be Gotcha Yeah, this was rated relatively low by all music and what? Track 3:[3:43] Big fucking surprise They're like the professor that doesn't give a is you know, yeah, yeah negative five out of five I I have a little bit of a vibe with that, but I understand sometimes there's a great piece of work out there that still doesn't get the accolades it deserves, and that happens so often. Track 1:[4:06] Yeah. Well, shall we get into it? Track 3:[4:10] Yeah. Track 2:[4:12] What did they give it, by the way, J.D.? I'm curious. Track 1:[4:14] Three out of five. Track 3:[4:15] Three, right? Three out of five. So just some quick research on the title that I found of the album, Music at Work. So from what I read, it's poking fun at a rock station in Canada, 100.5 FM. Yeah. E-Zed Rock or Easy Rock, whichever. Track 4:[4:38] You went with Zed first. You're so Canadian. Oh my God. So Canadian. Track 3:[4:45] Music at Work was their tagline, you know. It was like, imagine this kind of 80s looking logo in essence like a corporatized Van Halen Firebird Camaro looking Easy Rock 100.5 FM and underneath at music at work. That makes sense. But I thought maybe, yeah, I thought maybe the hip tagging, you know, taking this tagline was perhaps their, I guess, you know, maybe even, I think it was their stab at back at clear channel. I thought like Like, these guys, yeah, yeah, yeah, I thought these guys are still talking. Track 2:[5:36] Was that a Clear Channel station? Track 3:[5:38] Rock and roll. Track 2:[5:39] I'm sure they were. Track 3:[5:40] Dude. Track 1:[5:41] It's a heavy format. Track 3:[5:42] I didn't look it up, but if you look at everything about it, I'm sure it is. Track 2:[5:48] And at that time, dude, nowadays it's like, it's not even a competition. Like Clear Channel owns the Airwaves, but I remember at that time it was like, you were We were starting to realize that every station was a clear channel station. Track 1:[6:02] Yeah. Yeah. Track 3:[6:04] Yeah. So, that was kind of some brief history on the album title. The first song, you know, title track, album name. The First Single from the RecordTrack 1:[6:40] You I think it's a, little bit of a, a That chives. Yeah, it was the first single from the record too. So okay. Yeah, it dropped a couple weeks before the record came out. Track 2:[7:33] Well, not to correct Tim, but I'm going to do it. Do it. It is not the title track. Ah, yes. The name of the track is actually my music at work. Yeah, interesting. And I didn't... No, no, no. Track 3:[7:54] I was really close, man. Track 2:[7:56] You were close, too. Track 3:[7:58] You know, okay. The influence of the... The Groove and Tightness of the New RecordTrack 2:[8:07] I mean, if I picture myself as I have now, listen, have listened to the previous hip records, anticipating this new record coming out, hearing this first track on this new record and just like putting it on volume up, start my car, light my cigarette, open my Red Bull, whatever the fuck I was doing in the year 2000. And just fucking wow. I mean, they must have just been like, fuck yes. I mean, this song, it was, I wrote this down. This is one of the things I wrote down in the notes. The song was born in the pocket. Like when you talk about when you're in the pocket, musically, I think we all know what that means. I'm sure most of the listeners know what it means. But it's just, it's in the pocket. It's just the groove, the rhythm, the fucking instruments, everything is just fucking tight and it fits, gourd sounds fucking great. It's a great build after the La La La with the soft guitar. Oh God, I've got to eventually get there. Track 3:[9:29] I'll just quickly add in there the La La La. Track 2:[9:30] Johnny Cain? Track 3:[9:31] Okay, go, go, go. Track 2:[9:32] Go ahead. No, no. You go ahead. Track 3:[9:35] I was going to fill in for you. The La La La part for this one, I mean that was new. We haven't had La La La's yet in soft. No, not really. Right. Track 2:[9:42] No, no, yeah But but Johnny Johnny Faye. Yeah drummer. Yeah Really just fucking builds it into where the song you know starts to go at that point and then there's a There's a Lord of the Rings reference in there. I think I feel like it is I took it as what cuz he says middle of the earth. Ah Which I'm always My record store that I grew up going to in down in California, now out of business, was called Middle Earth. And it was a fucking great record store. This is the type of record store where dollars to fucking donuts, man. If you were there in the 90s, they were like, if you went up to the front and asked this guy Larry for a recommendation, he would have fucking slipped you a hip record. Hands down. I was just too scared to fucking go up to Larry cause he was cool. Larry had a picture of David Bowie where David Bowie was smiling, not Larry. Track 1:[10:47] Wow. Track 2:[10:48] Like that goes to show you how cool fucking Larry was. Track 3:[10:51] You know what? I can't tell you how many. Stories I've heard about like interviews with artists who had that record store They went to growing up and how walking up to the clerk whoever was working was like the most intimidating thing Like you like you like so many artists would walk I've read it about it so many times Walking a record store with like kind of tail between your legs and you're afraid to purchase what you've picked For being ridiculed or anything, right? It's just it was like the most I mean think about it back You know in the 80s or 70s or 90s like going to Tower Records or wherever you go and grabbing that Item and walking up to this like hipper than thou person Clerk and trying to make over just yeah Yeah, this was before that it was common where people had like, you know Sleeves of tattoos and like ear and nose piercings like you saw somebody up there at the front with a fucking a bar through the nose a two sleeves of tattoos, and green hair. Track 2:[11:56] Everybody's got fucking green hair nowadays, right? And you're just like. Track 1:[12:00] Makes me sick. Track 2:[12:01] No, but you know what I'm saying? Like, you know, my nephew's got green hair for crying out loud. But like, I don't give a shit, you know, I'm telling my nephew what I'm listening to, but if, you know, back in the 90s, I walked up to the counter and saw somebody like that, that I was like dude I am not bringing up anything that's on the radio right yeah that's so cool that's so cool that you had this this tragically hip frame of reference from back in the record store days I mean I completely don't have that I had a bumper sticker in college you know of my apartment complex neighbor so. The Second Song: Messy and IncoherentTrack 3:[19:00] Yeah. Track 2:[19:00] Do you want to? I don't know. I mean, I'm ready to fucking blow up in there. You know what I'm saying? Okay. The fucking the second song. I mean, it's hard to top this second song. I mean, it is when I first heard it. I loved how it faded in from the first track. And then he just starts saying this is what the fuck is Tiger the Lion? Track 1:[19:30] I don't. Track 2:[19:30] I'm just saying the first time I heard it, right. And I did my research on it, which I kind of regret. I gotta stop looking at lyrics. Once I stopped looking at lyrics, these songs really open up for me. Track 1:[19:41] You can't stop though. It's gorg, right? Like, you know? Track 2:[19:45] No, but he eventually started listening to them and internalizing them, which is better for me than reading them. Either way, this fucking song, it just opens up so messy and incoherent and I'm like, what the fuck? I mean, again, putting myself in the position of a hit fan when they hear this for the first time. They're like, is this gorgeous going off on his fucking, you know, he wrote some crazy poetry and he's just, you know, free-forming it right now. What's he doing? You know, but the The instrumentation on it, it's so well thought out. Track 4:[20:24] Right? It's... Track 2:[20:26] I love how, because for me as a musician, my writing style is pretty incoherent. A lot of people say, like, lyrics wise, my shit doesn't make sense, which is, you know, it's not like I'm going for it, but it's just, it is what it is. But the John Cage quote? Track 3:[20:45] Yeah. Track 2:[20:46] Oh, fuck. I mean, I'm a huge John Cage, but just all about who that guy was as an individual who brought his brain to art and music. There's a melodic drop down, the purpose is not unique. I just, I don't know, dude, I did a little bit of research on the meaning of the song about it being like a reference to fighter pilots. Did you get that too, Tim? Track 3:[21:21] Yep, yep, yep. Big time. There's been so many World War II references that I just, you know, I instantly went to that, which I have a emotional family connection to World War II, so that hits heavy for me. Track 2:[21:36] Two-way radio, yeah. But, uh, this, line... JD, I thought of you when I read this. But not to get order from chaos. Tell you how to create simply wait to your life like, like, there's, there, there is no order. Yeah, there's no other shoe that were, you know, and I don't know, dude, this fucking song is, I still can't fucking and unwrap it and make sense of it. It's just a fucking banger. Yeah. What a song. Living in the Music: Appreciating Art without Analyzing LyricsTrack 3:[22:15] I mean, Pete, as a, maybe you can clarify a little bit for me, as a songwriter, you, when this one came on and you listened through it and you say that you, sometimes you don't want to research lyrics just so you can live in it in your head as much as possible, right? Is that kind of your sentiment? Right? Track 2:[22:34] I mean, I think, I think the lyrics, Because I think that what you, for me, this is me personally, what I tend to do is, is rather than physically listen to the song, which is what the medium is meant to do for listening, I'm reading what I'm listening to. And so it starts to, I start to make judgment upon what I'm listening to based on what I'm reading. Which is never like there's so many weird fucking lyrics in this fucking record And I'm sure we can talk about it till the cows come home Yeah But it did me it did more damage for me in the beginning because it was like I'm not fucking getting this I'm not getting this and then I just was like, okay I put the lyrics down and then I just started to listen to it incessantly. Okay, this shit's fucking making sense. Okay. Got it and then not to Not to bury the lead, but I mean if you don't get the fucking Comfortably Numb, Rob Baker literally Channeling the fucking David Gilmour in this fucking song. I mean What do you I mean, what are we doing here? There's one drop where it doesn't it doesn't go down to the next chord that you just feel like it's like going to country, but it doesn't go there and it's just... [24:01] Yeah, his guitar tone, everything about it. He's using the Strat on this. [24:06] Fucking it's great song. Sorry. Yeah. Amazing song. Track 3:[24:10] For me to go from music at work to this was like, whoa, this is, you know, if this is second gear for taking off in the car, and it's like, what did our car just change into? Because the song is, Because the song is its own beast. Man, me and my dad jokes, dad puns, tiger, the lion. So I mean, this is the longest song on the album. It's 5 and 1 1⁄2 minutes. And I love songs that can hit 5, 6, 7 minute mark, and you don't even know they're that long. Track 1:[24:47] Yeah. Track 3:[24:48] Like sometimes you hear a song, and you're like, god damn, These guys just wanted this to be the longest song ever, and they succeeded. But this one, it's very, no, it doesn't feel that long. And I think, Pete, you touched on most of it. But the themes, I guess I should say, I don't read the lyrics or look into the lyrics until I've listened to one of these albums in great length or many times. So I try not to pay attention to the lyrics. If I'm listening to it in the car and I'm at a stop for too long, then I can actually hit the whatever on Spotify to make the lyrics pop up. I'll check it out for a minute. But I try to live in my head for as long as possible, I think, kind of like you, Pete, to just get deep into the song. [25:44] The John Cage references. I mean, there's so much in this song in both that theme and kind of World War II themes, but the kind of two big takeaways for me were this song is about challenging the listener and society and anyone to appreciate, like, nature, art in life, or just art, or like literature or whatever it might be. And if you live your life without recognizing any art form, then you're like a fucking robot, you know? That's kind of, that's what the song was about to me in that regard, the John Cage regard and all of that. The his radio goes silent, you know that like I imagined this as like World War two airplane Pilot, you know the his engines destroyed And he's just falling from the sky, you know, like and stops working. This is where my head my engine stops working You have this like last bit of life where you hear the wind the radio stops working You know, you're on your way down. That's kind of where I went with. Track 1:[27:03] Whoa, that's heavy, man. Introduction and Researching Band MembersTrack 3:[27:04] Yeah, that's kind of how it felt to me. Okay, so I did some research around who else is playing with this band. Because we've talked about, at least the past album, I've been talking about, you know, who's that on backup singing blah blah blah blah blah. Right. So with this, I guess I would have talked about this at the beginning, but with this song we have a guy named Chris Brown from Toronto on keys, right? So he toured, He recorded and toured with the band with this album. He came from a band or was in a band called, Bourbon Tabernacle Choir. Yep, you got it. And from the 80s and 90s, which I heard of that, man. Yeah, which I didn't know an ounce about until I kind of did this research. So finally, I was making some headway with this album to hear who else we have contributing, which is an obvious impact to me as a listener to hear kind of extra elements going on. But this song, man, it could be its own album. That's what I thought. Like this song, this song on a 7-inch on one side, like it's hand me that. I'll pay 20 bucks for it. Like let's go. It's fucking that good. Track 1:[28:30] Yeah, I agree. Track 3:[28:32] Lake Fever, the next one. This is where I was like, okay, maybe we're shifting gears into like this perfect love song or forlorn love or is this a song about loss or remembrance or you know what is this what is this going on there's amazing prose within this song like was the brief dude seriously i knew pete was just like i knew his heart was melting for this It was probably driving down, you know, here's Pete, everybody in Spain, in his awesome vehicle. I don't even know what it is, and I don't want to know until I visit him someday, so no spoilers, J.D. But here's Pete in his awesome vehicle driving down some coastal highway in fucking Spain. This is a dude from the LBC, right? And this song comes on, and there's tears coming from Pete's face on this beautiful sunny day. It's like, I, I, you know, I'm, I'm hearing this song during fucking physical therapy. Therapy just gone. [29:42] Is this a wedding song or is it a funeral song or do I want this at my wake or do I play this for Amy on her next anniversary? Like what the fuck is this emotional song going on in place three after my music at work and after Tiger the Lion we have this Lake Fever. It's like what the hell so yeah it was this you know this this is that third gear song where i'm like okay, let's see let's see where this is gonna go what's this about is it oh yeah okay maybe it is about the cholera outbreak in toronto in 1834 oh fuck god damn it okay that's what it's about guess i'm I'm not playing at my anniversary. No, not playing at next April 14th, honey. Track 1:[30:38] But it's more than that because the protagonist is regaling his potential lover with that story. Like the song isn't necessarily about like fever. It's like this couple are walking in the woods about to go, you know, have sex. And he's so nervous that he's trying to like, you know, talk to this girl and he's telling her, well, there was this time in Toronto that there was a sewer back up and cholera got in the way and it went all the way up to Ottawa and near Kingston and it was terrible, many people died and she's just like, hurry, just hurry. Just Coital Fury, you know, like, yeah, that wine, man. Track 2:[31:26] Fuck, it's good. Dude, you know, I tell you, it's it's funny because I think it's just the Canadian. I mean, last week, Tim and I both heard the rush in fireworks for last week's a record but you know I started to hear the first thing I heard and now I like don't hear it at all but the first thing I heard with this song was the percussion feeling very once again very Alanis, right wow but yeah put that all kind of behind it's kind of all in the past dude the glockenspiel which I think they're using and like the keyboard effect over when he says the the word courage is I'm just you're right Tim I'm driving down the fucking coast in the mountainous windy roads of Malaga Spain and just fucking crying with my wind blowing, my air blowing in the wind. Cigarette out the window, the arm just like, Oh, just fucking loving this. [32:42] We're going to get into it a little bit more, because I because there's a there's a couple of songs on this record. And I remember I don't know what record it was, oh, it was, was Troll Dan House that I referred to as the Tragically Hips Xerope. Track 1:[33:01] Yes. Track 3:[33:02] Right, right. Track 2:[33:05] But, do you know what this record is? Track 1:[33:07] Yeah. Track 2:[33:07] And it's funny because this record actually came out before the record I'm going to reference. And I'll tell you why. Track 1:[33:14] All right, hit me. Track 2:[33:15] This is fucking the Tragically Hips Yankee Hotel Foxtrot. All of the fucking instrumentation on it, all the pianos, the echoey pianos, a lot of the guitars. It's so fucking Wilco, man. And so I started thinking to myself, well, you know, what, what the fuck did, what, you know, what do we, well, I'll get into it, I'll get into the next one. Track 1:[33:44] We'll go. Give her. Track 2:[33:46] Yeah, we're going to put it down. So this song, there's a line in there saying the United States of ricochet. Something something happy in way. You know what I'm talking about, JD? Track 1:[34:02] I don't know the lyric offhand though, sorry. Track 2:[34:04] Great fucking line. And I'm getting very like, ashes of American flags like references to because I feel like I feel like Gord was really, um, getting, like, a lot of the shit that he focused on was the, God, the phrase, the term I'm trying to look for, like the plight of Canadians. Okay. Track 3:[34:30] I got it. I got it here if you want me to read it. Track 2:[34:33] Yeah, you want to read it, Tim? Track 3:[34:35] Yeah, it's just United States of Ricochet from the Boardwalk to the Appian Way, which I... From the Boardwalk to the Appian Way, yeah, that's what I'm looking for. Yeah, yeah, yeah. Track 2:[34:42] Diamond Files, Corporate Wraves, you know. So he's, I feel like up until this point, he's made a lot of references to not just the indigenous folks up north, in terms of, you know, what he's talked about, and what I know he's eventually going to talk more about. But I started to think like, God, what other band do I know that did that? And like, that's kind of where Wilco went, you know, they had Uncle Tupelo and then AM, which was their first record. And being there were kind of like a soft watered down version of, of that country vibe of Uncle Tupelo. And then when they hit Yankee Hotel, it was like, Whoa, what the fuck is this? This is not the same band. I remember hearing and I got the same vibe. And so I, anyway, I Googled and started doing a little research, come to find out. So I read Jeff Tweedie's. Memoir, which is a great book, you'll get through it in a day, man. It's called Let's Go So We Can Get Back. And he references them on tour with Tragically Hip during the Another Roadside Attraction tour. Track 1:[36:03] That's right. The third one. That's right. Yeah, yeah. Wilco's Similarities to Other Bands and Songwriting InfluencesTrack 2:[36:07] Yeah. And just this record came out a year before Yankee Hotel. So I don't know what if they were trading demos back and forth or they were playing music together on Tour and but fuck man. I mean so many similarities with this record and that record interest so many Do you feel you might catch my drift here? Track 3:[36:32] But do you feel like? When you hear other bands and are reminded of Wilco do you feel like Wilco has just borrowed so much from other bands or do you feel like I'm not gonna we're not going to turn this into a Wilco podcast by the way or do you feel like Wilco like really do you feel like Wilco just absolutely stand on their own as songwriters because I mean that's there that's like to me songwriting music you know what I mean yeah I know what you mean um it's a good question and I'll answer it as short as possible because I think This is something you could fucking have a garage with a, you know, half ounce and fucking go on forever. Track 2:[37:17] But I think Jeff Tweedy is an amazing songwriter, and he'd probably be the first one to admit that they've taken so much from other people. But I think that that band, especially when they went in, their record, two records after they did Yankee Hotel was a record called Sky Blue Sky. When they really got into that, they were just like... They were at the top of their fucking game. and they they they knew how to um, but it's It's hard to say man. I mean It's a great question tim because I you could say the same for Tragically him who are they both big time? Track 3:[38:05] Yeah, we've had so many references. Track 2:[38:07] I don't think I don't think rob baker would he be the last person to say he wasn't fucking fucking playing the exact notes that Gilmore played on fucking comfortably on that guitar solo or on Tiger the Lion. But it's not like you're saying, oh, you're stealing. It's like, it's an homage. It's also working it into a song that is not that song is, you know, you do it all. I've been writing a tune this week that is a is a indie rock tune adapted from the fucking Opening theme of the one of the Legend of Zelda songs. So cool. And am I stealing from Koji Kondo? Yes but It's in so I look at it more as an inspiration. Track 3:[38:54] Well, I mean they I mean all all artists, you know are inspired from every direction I just I don't I don't want to get into it too deep. Track 1:[39:01] I just went from no Writers I think good songwriters Make it almost Like a magician, you know, like a good songwriter. You don't see the sleight of hand. You don't see the Palming you don't see it like they're absolute pros and they stand on their own But of course you can't help but be affected by what you are exposed to and what you enjoy, you know You can't help it. Track 2:[39:34] Yeah, yeah. Yeah, and JD, you're right when you say that, because there was something that I put down, and I think I sent it to you, but I put this down about a month and a half ago, and there was a little guitar lick I put on there, and it was Nell. I recorded it with a fucking jazzmaster. It was Nell's Climb from fucking Wilco. And I was like, I was so worried that it was so obvious, and I played it for Issa, my wife, And I played it for you and I think I was like was it too much and like no it's just it was just right It was perfect. It was like kind of like a little but to me it was like My ears I literally stole the fucking Notes from him and like I took them and I said those are mine now. Thank you very much You know, but like it's it's not easy to do man. I don't know JD. Track 3:[40:25] Yes. I thought it I think they pulled it was just me JD that Pete Pete called up in the middle of my night and serenaded me with some guitar licks. Damn, I'm not feeling as special now. Track 2:[40:40] You'll get it Tim, you'll get it. Track 3:[40:42] Hey, I thought putting down... Track 1:[40:43] Putting down, yeah. Track 3:[40:45] Yeah, so putting down, I felt like, I mean Pete commented on the, you know, the references and stories of this great continent and what we did to the Indigenous folks that were already here and the land grabs and you know that's hitting hard with this one and I feel like with Gord's themes and songwriting and his connotations of it all, this is that song for the album, I thought it was like big and heavy. [41:22] I didn't really know what it was about my first handful of listens. I couldn't really peg it until I did a little bit deeper diving into it. But you know, it was my first few listens, it was kind of like a car ride sing-along song. I felt, you know, it just felt familiar. It felt hip. I didn't think like, this is the best song on the album, and I thought it held its place on the album for what it was. So that's kind of where it ended with me. Cool. The next one, Stay, on the other hand, I thought, man, this song, it's quiet, it's cute, it's cute. I hadn't had that feeling before. Is it a thank you? You know, the Bureau Chiefs and the Shrugging Spies, I thought this was at first when I first heard this? I thought this is hilarious. Without researching, I thought this was like a thank you or something to the band's road crew, because I heard beer and cheese and shrugging spies, not bureau chiefs. I mean, I was like, I was so incorrect with this song. You were a great crew. You were a great you. You know, what is the storyline here? Is it about going to war and relationships or what? What is going on here? Track 1:[42:48] Maybe a little of everything. Track 3:[42:49] Yeah, maybe, but one, you know, after I did, after the leak, Sit down and kind of research what it's about. Hopefully Pete you have some more music based Comments about it, but one person I need to shout out here. The the handle is The letter Y Salvatore, there was a song meanings.com. [43:15] Reference from 2005 so this this is amazing it said one theory is the song is about Fox Mulder from the X-Files lines like there's no one up above us and with the Bureau Chiefs and the shrugging spies on the X-Files series Mulder is often working against the establishment as a sentiment in this song you've got no business in here brother Mulder is obsessed Pete from I'll go with UFO so lines like you see a light and then another this this song maybe it's about UFOs maybe it's about aliens I don't know this this was like this was a total head-scratcher for me not to say that I didn't like it but it was like what is this song about it wasn't beer and cheese I don't know it's not it's funny that you say that because one of the lines already is this song makes me want to sit in a pub and drink beer with my buddy. I didn't say eat cheese, but like, that's the vibe I got. Appreciating the musicianship on this recordTrack 2:[44:21] I mean, it's, um, there's, there's, okay. I could say a lot. I really liked this song a lot. I loved it. It. The riffing that Gore does with the vocals. I think there's a bridge part of all things being balanced where John Fahy's drums... I feel like every musician on this record, on this record, really shines. Like everybody shines. Gord Sinclair, I feel like, has always been really top-notch. That guy is fucking flawless. He's so underrated. Extremely underrated. Uh, when it comes to, you know, I, I just because I'm, you know, playing wise, obviously Gordoni, I mean, there's nothing you can say about that, but playing wise, Paul Langlois, am I saying? Langlois. Track 1:[45:25] Langlois. Track 2:[45:27] Um, and Rob Baker. I've always kind of gone back. I'm starting to appreciate the differences between those guys because they're two Diametrically different guitar players. I mean so different and and That happened on this album. Track 3:[45:43] Don't you? Track 2:[45:43] Oh, yeah more so really noticeable and I went down a bit of a rabbit hole this week I'll try not to go as deep as I went, but I told JD I was watching some live stuff and looking at Rob Baker's set up. [46:05] Paul Ling Hua, he always plays that black Les Paul, but Rob Baker plays that Strat, which I fucking love. And he's got something called Lace Sensors pickups in it, which not to get too technical for the listeners. They were apparently these were like standard issue Fender pickups from 90 from 85 to like 96 and then they just became too expensive. But they're really cool. The only shitty part is they look horrible on a guitar. They don't look it doesn't make it look like a Strat anyway. But he also plays a Paul Reed Smith, which I absolutely hate those guitars because, and JD I told you this, they're the Carlos Santana guitar and when they first became like available to the public so to speak or like mainstream people were able to buy them. I remember walking into a guitar center in the 90s and seeing one up on the wall that was like, it was like $19,000 or $20,000 it was like ridiculous and just going, and now can buy a PRS for like $1,800, $2,000, but it just turned me off and I fucking hate it. And if I'm Rob Baker, if I'm Rob, if you're listening, just don't ever play the fucking PRS, man. Get rid of it. Ditch it. Rob Baker's guitar choices and preferences[47:30] The telly's cool, but that strat is where it's at, man. [47:35] He does play Tele, and there's one other one I can't remember, but there's a great website, and I sadly have been on it more times than I can count. Oh, and he plays an SG, and I play an SG too. The website's called Equipboard.com, and it's got, they can pretty much look at any like, musician that's like, you know, quote, unquote, made it, so to speak, and find their rig, and they have the references, like, not just like, they don't just tell you, but they go, this is why we know that this is they're playing and they have a link to like a concert video, or a picture of them pointing out the gear, which is fucking cool. Track 1:[48:24] It's really cool. Yeah. I love, neither of you guys mentioned it, but I love Gord's voice in this song. He's doing a different sort of thing with his voice. It's lower register, softer I suppose, right? Because it is a soft song. But it's down, it's, you know, sorry you can't see my hand, but it's down here, like belly button wise. Uh is really quite quite uh effective on this song i agree with that jd when are you gonna fix your your belly button cam you're gonna get that going next next pod what's that my belly button cam Yeah, that took me a minute to get. Sorry. All right, track number six. Track number 6 is The Bastard. Appreciating the Percussion and Lyrical InsanityTrack 2:[56:45] Wow. This song starts with the they're not bongos, but there's some sort of kind of cool percussion. Track 3:[56:54] They're there. Yeah, it's some kind of yeah, yeah, yeah. Track 2:[56:59] There's a lot. Track 3:[57:00] It's fun. I love when they bring those in. Track 2:[57:02] Yeah, it's really cool. This song lyrically is fucking insane. There's a word in there called crepuscular? Track 1:[57:16] Yeah, what is that? Like, what does that even mean? Track 2:[57:19] Yeah, it means, um, adjective of resembling or relating to twilight. Yeah, I mean, gnarly shit and- Oh, gourd. Track 1:[57:31] Oh, man. Track 3:[57:36] Crepuscular rays, as the sun groomed the plane with crepuscular rays. Track 2:[57:41] There's a line in there about the Purple Italians, like it's just... Track 3:[57:47] Yeah, what is that referencing? I meant to look that up. I meant to look that up more and did not. Track 2:[57:52] Some weird-ass lyrics. I noticed something too. I love the line, the presaging pel-nel. Yeah. Track 3:[58:03] Yeah, the pre-stage pel-nel. Track 1:[58:05] Pre-stage and pel-nel. Track 3:[58:06] Yeah, that was my favorite. Track 2:[58:09] It's um i noticed that in addition to to to um gordon sinclair being so in the fucking zone on this song like a like a like a hypnotized fucking i don't know dude he's just he's a fucking machine on this song song. He, I watched a little bit of the Woodstock, Woodstock live show 99. And in this song, during Grace 2, which is what they opened up with, Gord starts testing out some of these lyrics to this song during Grace 2. Bird's Eye View, right? Track 1:[58:54] He talks about a bird's eye view of a bird's eye view. Yeah, yeah. So cool that you got to see that. Track 2:[59:01] Finished watching the whole thing. Track 1:[59:02] And you recognize it. Track 2:[59:04] Go ahead. Frustration with lack of guitars in "Grace II"Track 1:[59:10] Yeah, I went down to Rabbit Hole the other day and was just watching a whole bunch. I started with that when I texted you guys and was like, yeah, I'm watching it. And for the beginning of Grace II, it's all drums and Gord's voice, which I don't mind, but I want to hear those guitars, you know? And then suddenly it kicks in. Track 3:[59:29] The purple people, the purple Italian people, I just found it was an Italian mass protest movement to call for the resignation of a prime minister, one of their prime ministers. I feel like, I don't know, there must have been an earlier historical use of this because this is actually from 2009. So yeah, I'm curious. Well, I forgot to tell you guys that Gord is actually reference a mystic he could see in the future yes I wouldn't be surprised yes guys if there's any more sorry there's any more insight on the purple people somebody somebody let us know Tim at getting hit So I got an email. Mention of an email received regarding the purple peopleTrack 1:[1:00:19] Yeah. Got to get our $80 worth. Track 3:[1:00:25] I loved the pre-staging Pell-Mel. There's been a handful. I wish I would have started a list of the gourdisms that would be so fun to learn and reference, because that was so good. When I first heard him sing that, it was like, you know. Track 1:[1:00:42] What is pell-mell? Track 3:[1:00:44] Well, it just means like, it just means like absurd craziness or warning, like presaging means like warning together. Well, pell-mell means confusion or disorder or like a confused haste. So it's, presaging is, you know, the warning of a disorderly moment or the warning of something about to go down. That's kind of what I took. Track 1:[1:01:16] That's dire, I love it. Track 3:[1:01:19] Pre-saging, yeah, it's good. I mean, it's a loaded three words, basically. I think Pete hit on a lot of it, but this song to me kind of got us back in the car and down the road again. It was like driving, rocking, feeling, which I totally dug. The reference of all of this auger as well, you know, auger meaning like a fucking coring, drilling, coring into something and it's just this good rocking song. Track 1:[1:01:55] It's different though. Auger spelled one way is coring, but there's another, like to auger is to portend a good or bad outcome. Track 3:[1:02:08] Okay. Track 1:[1:02:11] So it's like, to pretend. Yeah. And I believe that's what it, like, it's all this auger's well, like, but, right, like, auger a well could mean digging a hole. But auger's well means pretending to, portending to good things are going to happen. Track 3:[1:02:37] Okay, okay. I just thought there were some beautiful lyrics in here. Also, I mean, all this augurs well or yeah, it's the The stanza never mind that pool in the mountains victory came and went on winged elephants I saw you all this augurs. Well, like you know, what? What is what is going on there? But it I thought it was likely this loaded very story specific Specific song without researching it, you know, I heard the lyrics Billy Sunday shout in Philadelphia for Christ Like who really is this song about did you look up Billy Sunday? Track 1:[1:03:15] Yeah. Track 3:[1:03:16] Yeah. I loved I loved reading about that This is like one of those that is one of those songs easy, right? Yeah, you barely you barely touch into on the research side and Realize that you know Billy Sunday was baseball player. Track 1:[1:03:33] I want to say a pitcher from like 1891. Track 3:[1:03:36] Yeah, he was this total this this I guess amazing pitcher And he played for chicago and boston and philly and which During those times you played for a team like your whole career, you know, you stayed in the city You you you became a presence with the team and the community and all that stuff if you did but this this this fellow William Ashley or Billy Sunday Sunday was his family name he he was like a total drunk ladies man and he moved from team to team to team and I think this from what I read the cops and the ladies got to know him really well And then after playing in Philly, he was witnessed to on the street and ultimately became a traveling preacher. [1:04:32] He went from standout pitcher to traveling preacher. And while he was preaching, teams even were soliciting him to come back and pitch. And during those days, if you made like 400 bucks a month playing professional baseball, that was like, a great salary. Yeah, I'm sure. And at one point, I read the Pittsburgh Pirates offered him $2,000 a month, and he still declined, and he still continued to be a traveling preacher. And his kind of schtick was talking about like the sex and alcohol lifestyle, from what I gathered, a lot about alcohol. And it was so much that when towns heard he was coming, they would just close up the bars until he went out. Literally, because he was so like, you know, he was his own prohibitionist. So it's all the personality. Track 2:[1:05:37] Yeah Thinking of that was the runner then I Don't know Like losses lay or some Forrest Gump. Track 1:[1:05:45] No. Track 2:[1:05:45] No, this is a reference from the hip Oh Terry Fox Harry Fox. Track 1:[1:05:50] Very fine. Yeah no he's a guy that ran across canada or something and he got close but he died he ran a marathon everyday he ran a marathon everyday on one leg yeah. Oh okay yeah cuz he and he was he was like. He was twenty one years old and he got cancer they removed his leg and he decided he was gonna run across canada and he started on the east coast he passed away thunder bay so he passed away about one third of the way through. Track 3:[1:06:21] Wow. Track 1:[1:06:22] Oh, it's fucking still, man. That's crazy. But it's like, every day his stump was like, like, euchred because he was wearing one of the, like, now, probably, somebody could do it on one of those, like, one of those spring legs, you know? Track 3:[1:06:37] Yeah, yeah. Track 1:[1:06:38] Yeah, but back in the day, he had, like, just an old school prosthetic leg, and it was crazy. Yeah. Track 3:[1:06:45] Pete, on this one, did you feel like, Did you ever get an inkling like, uh, perhaps this one was music first lyric second, or did you pick up at all on like the kind of background guitar riffing that was kind of over here? And yeah, it was like, I don't know, it sounded a little after thought ish, that guitar riffing, just kind of carrying you through it all worked. But this one, this one, I think compositionally. You know, song, story, Billy Sunday reference aside, which is amazing to dive into and learn about. I mean, I almost want to paint Billy Sunday or something with like on the pulpit with a baseball bat. That's cool. A fifth of whiskey in the other hand or something. But anyways, I felt like compositionally, the song writing-wise fits in the album. It just It just kind of fits in there, but also like, eh. Track 1:[1:07:46] You weren't big on it. Track 3:[1:07:49] No, it didn't grab me. It was like, OK, let's get back in the car. We're back on the road. Let's get through the song. It's rocking. Yeah, let's see what's next. Track 2:[1:07:56] I think at first it was like that, but then the song really like, because instrumentally, it's so fucking rich. Yeah, but like Gord, dude, again, Gord could match, pick the most complex composition that any composers have ever written. And I'm sure there is some fucking book that Gord Downie wrote lyrics in, somewhere floating around or shoved in his fucking basement, that lyrics. Track 3:[1:08:29] I would hope there's like, yeah, like 200. Track 2:[1:08:32] Yeah, he could fit to that. I mean, they probably just, yeah. So I feel you. I feel you. I feel you. Yeah. Track 1:[1:08:40] So let's move into track number seven, The Completist. Track 2:[1:08:44] I don't have a ton to say about this. I would say I really love this song. Again, this is a fade in from the previous track. Gord Sinclair again. fucking standout performance on this song. The percussive chops of the band at this point in the record. I mean, there are other songs that come up that you're just like, what the fuck? But they're not a bar band anymore. I mean, I know they still, but I still think like, I don't know if it was Phantom Power before, a record or two before, you see that kind of bar band thing still rearing its head a little bit, Like, this is just so far from that. These guys are fucking, they've really become superb musicians from the EP to now. Like, they've honed their fucking craft. And then the... Musicians' dedication to improvementTrack 1:[1:09:51] Road tested. Track 2:[1:09:52] Yeah, I mean, it's the road, it's the recording, it's the composition. But it's clear that like, every single musician in this band is like, I want to become better at my instrument. And I'm going to do this. It wasn't just like they just played a bunch, kept doing it, like, they clearly actively tried to become better musicians, as they were continuing. Like, I would put that to any of these fucking guys, if they're standing in front of me, and tell me, like, tell me I'm lying. Like, tell me I'm full of shit. And they would say no. Like, Whether it's, I mean, fucking Kirk Hammett for fuck's sake was taking lessons from Steve Vai when he was already in Metallica. Like, what does that tell you? You know, like, musicians want to become better and they, these guys clearly. The only thing I was gonna say was the woman singing, I thought it was Kate Fenner from before, but it's not, right? Track 1:[1:10:52] I don't know, I thought it was Kate Fenner. Track 2:[1:10:54] Apparently it's, um, Julie. Do I run Dorian, Julie Dorian, Dorian. Track 1:[1:11:02] Oh, Julie Dorian. Track 2:[1:11:03] Okay. Track 1:[1:11:03] Yeah, yeah, yeah. That makes sense. Track 2:[1:11:05] But I, and this is just, you know, I want to say this earlier, Tim, but I want to say that I did do a little research on Kate Fenner and her, um, her label that she's signed to is called UFO music. So that's awesome. Track 1:[1:11:19] Oh, you must love that. Track 2:[1:11:20] I do. Track 3:[1:11:22] You just stole my thunder for Toronto 4. We'll get there. Track 2:[1:11:28] I thought the lyrics in the song were beautiful. It was fucking, the beautiful fucking lyrics. Amazingly beautiful. Track 1:[1:11:35] Yeah. Yeah. Track 3:[1:11:37] Well, I'll have to look into Julie Dorian. I had not found her. And we'll get to it, but we haven't talked much about Kate Fenner, nor who we mentioned earlier. Chris Brown. The fellow on keys, Chris Brown. Yeah, yeah, yeah. For me, this song to complete us, I felt like it was like at first it was kind of, OK, we're already back to a slowdown. Like, it felt a little bit of a chug placement-wise in the album, it's a beautiful song. You know, I just didn't, it kind of left me hanging a little bit. Like, it didn't grab me and shake me around or rattle me around or anything like that. It felt like it could have been an ender. Like, it felt like, is this the end of the album? I mean, this could be the end of an album, so that's good. Track 1:[1:12:29] Well, it's the end of side one, if you're thinking. Oh, maybe. LPs. Track 3:[1:12:36] Yeah, yeah, okay, okay. Track 1:[1:12:37] And that would make sense with our next song too, Freak Turbulence, opening side two with a banger, right? Track 3:[1:12:44] Yeah, big time. I mean, this is like we're alive again. We're back in the driver's seat or the passenger's seat. Like we have this backup singing again. I think this was Kate Fenner at this time. I'm not sure. Between the two. I don't know enough of Julie's voice to distinguish between the two. Track 1:[1:13:06] There are definitely people out there that will tell us for sure. Track 3:[1:13:10] Yeah, yeah, yeah, yeah. Well, I'm gonna look it up because I think I got Kate Fenner down. I mean, yes, yeah, yeah. So back to the song though, there's a comedy factor here, am I wrong? Like, this is so much about Gord being afraid to fly or not liking flying or, you know? Yeah, yeah, yeah, there's all this talk about. I don't know, it feels lighter and more fun than usual. Track 1:[1:13:39] Like, did the captain just say this? Like, did the captain just say, like? Track 3:[1:13:45] Well, we'll land in less than 10 minutes. Or he says, or unless. Did he say unless or less? Yeah, he's afraid. You know, I think this is the song that guys. Were had to fly back to Canada from the US because originally this album Was to be recorded on a moving locomotive train. Track 1:[1:14:11] They talked about doing that. Yes I don't know how that would have ever happened. Track 3:[1:14:15] No shit. What a fucking cool idea I mean imagine that Pete moving locomotive with all the sounds and shakes and rattles I mean maybe maybe for a song but a whole album yeah with some serious that was some serious weed smoking yeah I'm up with that idea you know we should do guys we should fly back down to Memphis take the train take the train to LA and record the home anyways this this is a this was kind of a fun song it was a little more jovial I dug it there's a There's a weird, PeepeePie caught this, there's some weird guitar feedback, like the last 10 seconds or so, which made the song feel kind of ominous, or maybe the Freak Turbulence was like the plane going down, I don't know. It was funny in that regard, it was like a total head-scratcher, but this one I kind of dug. Track 2:[1:15:15] Oh, I dug this one, man, there's a line in there that really stuck with me, it's Satan Holding back hands, our nose and our chin. Track 3:[1:15:22] Yeah, yeah. Track 2:[1:15:24] I love that. There's a really, I think, the mix, there was a lot of moments where I wrote down, this is probably the first time I've said it, but it's written on a ton of songs, the mix on this song, how they mix this song with the instruments, like the levels of all the instruments, it's just so, it really, you know, it makes the fucking song. It makes this song so fucking cool the vocals build, Yeah, I really, you know, I'll rather than to, I'll save my, you know, I'll yield my time only because I have some, some hefty shit to say about some stuff coming up. But I, this song made me run, like when this song came on and I was going on some runs, I definitely put it into a higher gear with this song. I loved it. I loved it. Yeah. Track 3:[1:16:20] Yeah. Yeah. Especially after the completed, you know, transitioning into this one. It's like, yes, OK, here we go again. This is definitely the if it's side two, it definitely is the the side one. Get us going again. "Sharks" - a monotonous but intriguing song[1:16:36] Sharks, can I go? Sharks. Yeah. This one kind of lazes along for me. It's got a few interesting bridges, but it's kind of monotonous, but not not. I'm not saying that in a negative way. It's almost like, it's almost got this head down, shoegazy kind of feel, you know? Then at the three minute mark, there's this like heavy tom kind of bass kind of transition in there. It's the bass guitar is like kind of all over the neck for just a brief second, but you know, it's one of, the, this song is, it has what I enjoyed because they they're starting to do this more because they're all just accelerating as musicians is that it has like well over a minute of music the last portion of it is just like great music carrying you through rather than singing until like the last seconds or giving like seven seconds at the end or what have you so it's. [1:17:42] It was kind of a fun song in that way. It just felt different than the rest, but also worked, you know, positively. Track 2:[1:17:52] I love, this is another fade in from the previous track, which I love, that they're doing that, making it very concept-y. I love the line in there about the Mariana's Trench. That's just fucking cool. It's such a, it's always been a fascination of mine, probably since I saw fucking, what was the name of that movie? Was that Harris? I don't know. I thought it was a James Cameron movie for Christ's sake, it was huge. The Abyss. The Abyss. Oh, The Abyss. The Abyss was in Maria's Trench. Track 1:[1:18:29] Right, right, right, right. Track 2:[1:18:32] But yeah, I mean, the big standout for me here is Rob Baker's guitar is just fucking insanity. He does these really cool arpeggios in the song. And the coolest thing for me was, I was like, what's that fucking effect on this guitar? And I was like, I wrote this down early on, I was like, he's got a, like a delay on the guitar, but not a delay. So it's going bum, bum, bum, bum, bum. It's so, the delay time is so small that you can't really hear it like a repetitive delay. It's just, when you put it down almost to zero, it just has this cool, and then I look on no shit by the time I found that website and he's got a Line 6 DL4 delay pedal that no doubt he was using on this fucking song. It just made me feel cool because I was like, my ears still work after all these years. But I fucking love it. If I didn't, I didn't think there was a song that could rival Tiger the Lion and I still don't think it beats it but it's pretty up there and that's fucking Toronto 4. An analysis of the opening guitar arpeggiosTrack 1:[1:26:42] Talk to me. Talk to me. Track 2:[1:26:44] I mean, the way it opens with the, like, the record static. Yep. Again, Rob Baker's doing these weird arpeggios, like he, like, it's kind of like a falling guitar, like he goes from a, like a, it's a D chord or whatever the hell, the octave, than the chord, then the seventh, then the diminished. Makes it feel really sad. It's just, or like, kind of sad and mysterious, and it's floating. It's like all the echo-y shit that there's, I don't know if it's Kate Fenner on this. It is. It is? Okay. Track 3:[1:27:26] Yeah. Track 2:[1:27:27] Yeah. The way that the, I don't know if it's like he's using mallets or what, but Johnny Fay is like coming in with the cymbals with these really soft mallets that like kind of give it like a gong sound to make it really super dramatic but the songs it's fucking awesome I mean I was like what it was weird because this was a song that early on I would get through the first nine tracks because I was doing like shorter runs when I would take it out and I didn't get to like Toronto for and then the first time I heard it I was like what in the fuck the surf tone on guitar is just... It's a cool jam dude. It's cool as fuck. A lot of Pink Floyd, I feel, influence on there. Track 3:[1:28:18] I agree with all that. I felt like the percussions on this, the drums on this one, had sort of this metronome, just more of a... I don't know. Track 2:[1:28:28] You do the panning on the left to right? Track 3:[1:28:31] Yeah, like the pace of the percussion really, to me, held the song like all the way through and was perfect. I mean, I often hone in on drum stuff like you do guitar and I felt like that was just, I don't know, this song is, it starts slow, it's emotional, it kind of feels like apologetic you know also feels like i don't know familiar maybe it's like the mention of Vesuvius as a metaphor for like family and stresses and breakups and i don't know the The song was just, it's pretty jam packed. I didn't. Look big into the background on lyrics or story or any of that, you know, I just questioned, which I said to JD like a week ago, I was like, why the hell Toronto four? Are there three other Toronto songs? Or what is what is that about? Track 1:[1:29:29] So if anybody knows, my only guess is, like my, as far as just guesswork, is might be, it might have been the fourth run, you know, it might have been the fourth take, like it's Sometimes you use the studio parlance to come up with the title of a song that you can't quite name. Track 3:[1:29:49] Yeah. Track 1:[1:29:50] Well, this is a great, it's a great song, and you're right, you nailed it on the head when you talk about family. Yeah, yeah. It's definitely familial. It's, you know, it's about the matriarch of his family, his grandmother, holding things up. And that what are the first the first lyrics are? Absolutely. They slay me and I can't recall them at the moment. Track 3:[1:30:17] You know, you were the rock plug for us all. Did you know you were the conduit of Vesuvius? You were far more unifying than, you know, I'm not a judge of suitable, but you almost had it all. I mean, if that's about his grandma being the what a tribute, the rock plug for their family. I mean rock plug is definitely a volcanic reference of you know a rock holding the mountain together before the magma just blows it apart so it's right fucking cool pretty pretty yeah I mean it's this this one maybe has the simplest lyrics that we've seen in a while. [1:30:59] It's it's a beautiful song. So Kate Fenner on this one just to touch on her because I Think we've heard her before although. I only found that she To recorded and toured for this album, but man, she's she's got this How do you describe her voice? I think it's just gorgeous. I think it's yeah, it's It's just, it's, it's, it's lovely. I, she, she, somebody described her as less, a lusty alternative to a Joni Mitchell ish sound. Like all of that is, is true. So she's got her own solo stuff. She's got, as Pete mentioned, UFO Records is her label. She's got this new album out that I touched on briefly over the weekend. It's it's pretty she's got a beautiful voice like if she ever tours and we get a chance to just Go and any of us hear her perform. I'm sure it would be worth it. She's got a dreamy voice So yeah, great great addition to me, too I don't know if you saw this tour JD, but what she did she yeah, do you recall her on stage or yeah? Track 1:[1:32:09] Because it was it was strange because both Chris Brown and her were on stage with them the whole time and that was It was just it was sort of a strange look because up until that point It had been the five of the month's age. Track 3:[1:32:20] Mm-hmm. Track 1:[1:32:20] That was it. And so this you know, it changed the dynamic for sure and I'll be the first to tell you that when this record dropped I Liked it But I didn't love it. But now 20 years later. Yeah, I fucking love this record Yeah, I can listen to this record at any time like yeah, yeah top to bottom. Okay, okay, Now let's go toward the bottom and talk about Wild Mountain Honey, dude. Track 3:[1:32:52] I love this one. So I'm taking I'm taking on this one. Mr Okay, you can you can fill in do it Yeah, like this this to me I heard Pink Floyd I heard Jerry Garcia of guitar effects Like I I heard like fish. I don't know like this song to me. They even the the title is is different, like this one was just a little bit different there. You know, it's the drums are soft, but they can sound kind of angry. This is one of the songs on the album, you know, the first time listening it through. Or I thought, OK, I need to find this one live and check it out because I'm sure it gets played harder and louder, maybe faster. [1:33:43] There's just really good chord changing and bridges and guitar riffs and it feels a little bit patched or contrived at the end you know I was hoping for like a big finish the first time I heard this one because it really grabbed me it made it just this to me was like hip fans who have seen the band play live a a bunch. Probably love this one live. You know, this one just, it hit some marks for me with going, with going after, like, followers of other bands who I knew probably in the same summer saw Grateful Dead play it or saw Phish play and saw the Tragically Hit play. Like a lot of, you know, A lot of times when I experience bands playing live over the course of a summer, it kind of, you know, dictates that summer. Like, you think back to that summer and you're like, oh, that's when I went to X Festival or that's when I saw 8Bandplay a couple times. The Papa Roach show. Yeah, like that's, yeah, definitely the Papa Roach show. But no, this one was, This kind of centered me back into the seat of the Tragically Hip. I really dug it. I ended up listening to it a handful of times by itself. Track 1:[1:35:08] Oh wow! Cool. Track 3:[1:35:11] Probably not a single though, right? Track 1:[1:35:13] Not a single, nope. Track 3:[1:35:14] Yeah, every once in a while they have a song that's not a single that's a little bit off character that I dig and this is one of those. Rhythms and Unique Drum Hits in "Wild Mountain Honey"Track 2:[1:35:23] I thought that I mean the song it's funny ironically it starts out like wild mountain honey it begins like the name does Soft like wild mountain honey, and it creeps up on you like a whiskey, and it fucking destroys. Yeah, yeah, yeah Yeah, I think It's funny because I remember looking for the lyrics online and realized there's a Steve Miller song called why I'm not many as well But when I saw the title of this, I thought of the Peach Boys song, Wild Honey, which neither of those examples are even close to this song. But what I got from it was, I fucking love the rhythms in this fucking, the drums in the rhythms. The drum hits in this fucking song are so cool and they're so unique and they don't sound like another band. Like there's some songs that, like I mentioned, some Wilco stuff earlier, there's other songs from other hip records where it's like they're doing a drum hit or a drum fill and you're like, yeah, that's the same drum fill that this band did on this song and that's been, this is completely fucking different. And it's so fucking cool. So unique, the rhythms in the song. [1:36:43] There's a weird keyboard or flute effect in the background going down, it was really faint and hard to pick up. I'm pretty sure it was a keyboard, but it could have been some sort of setting, but I love the line, I don't want to put another thought in my head, I just thought that was so fucking cool towards the end. And then the song, the solo starts before, but the part at about 3 minutes 30 seconds of the guitar soloer. Just, I don't know, dude. I hope I run into him. Track 3:[1:37:18] That carries it to the end, right? Track 2:[1:37:22] It does. Yeah. I want to run into Rob Baker at a 7-Eleven or something. Him buying a Slurpee and me already up front and being like, hey, man, let me get this guy's Slurpee and I'll pay for it or something. Just be like, alright, man. Track 1:[1:37:41] What a gentleman you are. Track 2:[1:37:42] I want to be that guy. It's weir

TranscriptTrack 1:[0:00] Welcome to getting hip to the hip. I'm JD. I'm here as always with Pete and. [0:06] Tim How are you fellas doing this fine day? Track 3:[0:10] Doing great doing great Just getting it going and excited to be here and see a couple of my favorite dudes over the interwebs. Track 2:[0:19] I Am doing supercalifragilisticexpialidocious to fucking discuss this fucking record Oh, wow. Track 3:[0:27] Oh, boy. Track 2:[0:28] Oh, boy. Track 3:[0:29] So... Fasten your seatbelts, folks. Track 1:[0:31] Fasten your seatbelts, folks. Track 2:[0:32] What does that mean? Spoons, plural. Spoons full of sugar. Not just fucking... Not just one. Track 1:[0:39] The Disney references are just rolling out. Track 3:[0:41] Jeez. Track 1:[0:44] Well, we're here today to talk about the 2000 release, June 2000, the seventh studio record by seminal Canadian rock band The Tragically Hip. Music at work. Before we go into our vaunted segment of song by song, let's just get a general sense of what you guys thought of this record. Where you listened to it, what you were exposed to, how it formed over time. What do you think there, Pete? Track 2:[1:21] I'll be brief, because I want to really dive into the songs, too, but I will say, I listened to this record at work. Well, I was at my computer. Come on, Tim, did you want that one? Were you waiting to use that one? Track 3:[1:42] No, it was your turn. It was your turn. A lot of listeners right now are like, oh my god, we're out of here. Track 2:[1:52] Listen to it in the car. The sound system in the car made it really pop. But I will say, probably the best place to listen to it was on runs. It was just... I love the record. I really, really enjoyed this record profusely. So I'll say that. I'll leave it there. All right. Track 1:[2:21] Mr. Leiden. Track 3:[2:22] Yeah, so I listened to this. I had a bunch of headphone-based physical therapy the past week, and I pretty much had it on for all of that, which was very much focused movement and definitely could consider audio. And it was it was pretty good. It took me back to, I think, mostly to Live Between Us, like if we're gonna go apples to apples or apples and oranges throughout their discography thus far, for many reasons. And there's some songs on here I really like a lot. There's a couple that I thought were pretty different, like definitely a step out than past albums. And yeah, at one point I thought this might be my favorite so far in our work to get to this point. I thought this might be one of my favorite albums so far, but I'm still questioning it. I'm still thinking that there might be another one out there in the future that I just I Give you know nine point five two or whatever. Album Rating and Discussion on Critics' OpinionsTrack 1:[3:35] It might be Gotcha Yeah, this was rated relatively low by all music and what? Track 3:[3:43] Big fucking surprise They're like the professor that doesn't give a is you know, yeah, yeah negative five out of five I I have a little bit of a vibe with that, but I understand sometimes there's a great piece of work out there that still doesn't get the accolades it deserves, and that happens so often. Track 1:[4:06] Yeah. Well, shall we get into it? Track 3:[4:10] Yeah. Track 2:[4:12] What did they give it, by the way, J.D.? I'm curious. Track 1:[4:14] Three out of five. Track 3:[4:15] Three, right? Three out of five. So just some quick research on the title that I found of the album, Music at Work. So from what I read, it's poking fun at a rock station in Canada, 100.5 FM. Yeah. E-Zed Rock or Easy Rock, whichever. Track 4:[4:38] You went with Zed first. You're so Canadian. Oh my God. So Canadian. Track 3:[4:45] Music at Work was their tagline, you know. It was like, imagine this kind of 80s looking logo in essence like a corporatized Van Halen Firebird Camaro looking Easy Rock 100.5 FM and underneath at music at work. That makes sense. But I thought maybe, yeah, I thought maybe the hip tagging, you know, taking this tagline was perhaps their, I guess, you know, maybe even, I think it was their stab at back at clear channel. I thought like Like, these guys, yeah, yeah, yeah, I thought these guys are still talking. Track 2:[5:36] Was that a Clear Channel station? Track 3:[5:38] Rock and roll. Track 2:[5:39] I'm sure they were. Track 3:[5:40] Dude. Track 1:[5:41] It's a heavy format. Track 3:[5:42] I didn't look it up, but if you look at everything about it, I'm sure it is. Track 2:[5:48] And at that time, dude, nowadays it's like, it's not even a competition. Like Clear Channel owns the Airwaves, but I remember at that time it was like, you were We were starting to realize that every station was a clear channel station. Track 1:[6:02] Yeah. Yeah. Track 3:[6:04] Yeah. So, that was kind of some brief history on the album title. The first song, you know, title track, album name. The First Single from the RecordTrack 1:[6:40] You I think it's a, little bit of a, a That chives. Yeah, it was the first single from the record too. So okay. Yeah, it dropped a couple weeks before the record came out. Track 2:[7:33] Well, not to correct Tim, but I'm going to do it. Do it. It is not the title track. Ah, yes. The name of the track is actually my music at work. Yeah, interesting. And I didn't... No, no, no. Track 3:[7:54] I was really close, man. Track 2:[7:56] You were close, too. Track 3:[7:58] You know, okay. The influence of the... The Groove and Tightness of the New RecordTrack 2:[8:07] I mean, if I picture myself as I have now, listen, have listened to the previous hip records, anticipating this new record coming out, hearing this first track on this new record and just like putting it on volume up, start my car, light my cigarette, open my Red Bull, whatever the fuck I was doing in the year 2000. And just fucking wow. I mean, they must have just been like, fuck yes. I mean, this song, it was, I wrote this down. This is one of the things I wrote down in the notes. The song was born in the pocket. Like when you talk about when you're in the pocket, musically, I think we all know what that means. I'm sure most of the listeners know what it means. But it's just, it's in the pocket. It's just the groove, the rhythm, the fucking instruments, everything is just fucking tight and it fits, gourd sounds fucking great. It's a great build after the La La La with the soft guitar. Oh God, I've got to eventually get there. Track 3:[9:29] I'll just quickly add in there the La La La. Track 2:[9:30] Johnny Cain? Track 3:[9:31] Okay, go, go, go. Track 2:[9:32] Go ahead. No, no. You go ahead. Track 3:[9:35] I was going to fill in for you. The La La La part for this one, I mean that was new. We haven't had La La La's yet in soft. No, not really. Right. Track 2:[9:42] No, no, yeah But but Johnny Johnny Faye. Yeah drummer. Yeah Really just fucking builds it into where the song you know starts to go at that point and then there's a There's a Lord of the Rings reference in there. I think I feel like it is I took it as what cuz he says middle of the earth. Ah Which I'm always My record store that I grew up going to in down in California, now out of business, was called Middle Earth. And it was a fucking great record store. This is the type of record store where dollars to fucking donuts, man. If you were there in the 90s, they were like, if you went up to the front and asked this guy Larry for a recommendation, he would have fucking slipped you a hip record. Hands down. I was just too scared to fucking go up to Larry cause he was cool. Larry had a picture of David Bowie where David Bowie was smiling, not Larry. Track 1:[10:47] Wow. Track 2:[10:48] Like that goes to show you how cool fucking Larry was. Track 3:[10:51] You know what? I can't tell you how many. Stories I've heard about like interviews with artists who had that record store They went to growing up and how walking up to the clerk whoever was working was like the most intimidating thing Like you like you like so many artists would walk I've read it about it so many times Walking a record store with like kind of tail between your legs and you're afraid to purchase what you've picked For being ridiculed or anything, right? It's just it was like the most I mean think about it back You know in the 80s or 70s or 90s like going to Tower Records or wherever you go and grabbing that Item and walking up to this like hipper than thou person Clerk and trying to make over just yeah Yeah, this was before that it was common where people had like, you know Sleeves of tattoos and like ear and nose piercings like you saw somebody up there at the front with a fucking a bar through the nose a two sleeves of tattoos, and green hair. Track 2:[11:56] Everybody's got fucking green hair nowadays, right? And you're just like. Track 1:[12:00] Makes me sick. Track 2:[12:01] No, but you know what I'm saying? Like, you know, my nephew's got green hair for crying out loud. But like, I don't give a shit, you know, I'm telling my nephew what I'm listening to, but if, you know, back in the 90s, I walked up to the counter and saw somebody like that, that I was like dude I am not bringing up anything that's on the radio right yeah that's so cool that's so cool that you had this this tragically hip frame of reference from back in the record store days I mean I completely don't have that I had a bumper sticker in college you know of my apartment complex neighbor so. The Second Song: Messy and IncoherentTrack 3:[19:00] Yeah. Track 2:[19:00] Do you want to? I don't know. I mean, I'm ready to fucking blow up in there. You know what I'm saying? Okay. The fucking the second song. I mean, it's hard to top this second song. I mean, it is when I first heard it. I loved how it faded in from the first track. And then he just starts saying this is what the fuck is Tiger the Lion? Track 1:[19:30] I don't. Track 2:[19:30] I'm just saying the first time I heard it, right. And I did my research on it, which I kind of regret. I gotta stop looking at lyrics. Once I stopped looking at lyrics, these songs really open up for me. Track 1:[19:41] You can't stop though. It's gorg, right? Like, you know? Track 2:[19:45] No, but he eventually started listening to them and internalizing them, which is better for me than reading them. Either way, this fucking song, it just opens up so messy and incoherent and I'm like, what the fuck? I mean, again, putting myself in the position of a hit fan when they hear this for the first time. They're like, is this gorgeous going off on his fucking, you know, he wrote some crazy poetry and he's just, you know, free-forming it right now. What's he doing? You know, but the The instrumentation on it, it's so well thought out. Track 4:[20:24] Right? It's... Track 2:[20:26] I love how, because for me as a musician, my writing style is pretty incoherent. A lot of people say, like, lyrics wise, my shit doesn't make sense, which is, you know, it's not like I'm going for it, but it's just, it is what it is. But the John Cage quote? Track 3:[20:45] Yeah. Track 2:[20:46] Oh, fuck. I mean, I'm a huge John Cage, but just all about who that guy was as an individual who brought his brain to art and music. There's a melodic drop down, the purpose is not unique. I just, I don't know, dude, I did a little bit of research on the meaning of the song about it being like a reference to fighter pilots. Did you get that too, Tim? Track 3:[21:21] Yep, yep, yep. Big time. There's been so many World War II references that I just, you know, I instantly went to that, which I have a emotional family connection to World War II, so that hits heavy for me. Track 2:[21:36] Two-way radio, yeah. But, uh, this, line... JD, I thought of you when I read this. But not to get order from chaos. Tell you how to create simply wait to your life like, like, there's, there, there is no order. Yeah, there's no other shoe that were, you know, and I don't know, dude, this fucking song is, I still can't fucking and unwrap it and make sense of it. It's just a fucking banger. Yeah. What a song. Living in the Music: Appreciating Art without Analyzing LyricsTrack 3:[22:15] I mean, Pete, as a, maybe you can clarify a little bit for me, as a songwriter, you, when this one came on and you listened through it and you say that you, sometimes you don't want to research lyrics just so you can live in it in your head as much as possible, right? Is that kind of your sentiment? Right? Track 2:[22:34] I mean, I think, I think the lyrics, Because I think that what you, for me, this is me personally, what I tend to do is, is rather than physically listen to the song, which is what the medium is meant to do for listening, I'm reading what I'm listening to. And so it starts to, I start to make judgment upon what I'm listening to based on what I'm reading. Which is never like there's so many weird fucking lyrics in this fucking record And I'm sure we can talk about it till the cows come home Yeah But it did me it did more damage for me in the beginning because it was like I'm not fucking getting this I'm not getting this and then I just was like, okay I put the lyrics down and then I just started to listen to it incessantly. Okay, this shit's fucking making sense. Okay. Got it and then not to Not to bury the lead, but I mean if you don't get the fucking Comfortably Numb, Rob Baker literally Channeling the fucking David Gilmour in this fucking song. I mean What do you I mean, what are we doing here? There's one drop where it doesn't it doesn't go down to the next chord that you just feel like it's like going to country, but it doesn't go there and it's just... [24:01] Yeah, his guitar tone, everything about it. He's using the Strat on this. [24:06] Fucking it's great song. Sorry. Yeah. Amazing song. Track 3:[24:10] For me to go from music at work to this was like, whoa, this is, you know, if this is second gear for taking off in the car, and it's like, what did our car just change into? Because the song is, Because the song is its own beast. Man, me and my dad jokes, dad puns, tiger, the lion. So I mean, this is the longest song on the album. It's 5 and 1 1⁄2 minutes. And I love songs that can hit 5, 6, 7 minute mark, and you don't even know they're that long. Track 1:[24:47] Yeah. Track 3:[24:48] Like sometimes you hear a song, and you're like, god damn, These guys just wanted this to be the longest song ever, and they succeeded. But this one, it's very, no, it doesn't feel that long. And I think, Pete, you touched on most of it. But the themes, I guess I should say, I don't read the lyrics or look into the lyrics until I've listened to one of these albums in great length or many times. So I try not to pay attention to the lyrics. If I'm listening to it in the car and I'm at a stop for too long, then I can actually hit the whatever on Spotify to make the lyrics pop up. I'll check it out for a minute. But I try to live in my head for as long as possible, I think, kind of like you, Pete, to just get deep into the song. [25:44] The John Cage references. I mean, there's so much in this song in both that theme and kind of World War II themes, but the kind of two big takeaways for me were this song is about challenging the listener and society and anyone to appreciate, like, nature, art in life, or just art, or like literature or whatever it might be. And if you live your life without recognizing any art form, then you're like a fucking robot, you know? That's kind of, that's what the song was about to me in that regard, the John Cage regard and all of that. The his radio goes silent, you know that like I imagined this as like World War two airplane Pilot, you know the his engines destroyed And he's just falling from the sky, you know, like and stops working. This is where my head my engine stops working You have this like last bit of life where you hear the wind the radio stops working You know, you're on your way down. That's kind of where I went with. Track 1:[27:03] Whoa, that's heavy, man. Introduction and Researching Band MembersTrack 3:[27:04] Yeah, that's kind of how it felt to me. Okay, so I did some research around who else is playing with this band. Because we've talked about, at least the past album, I've been talking about, you know, who's that on backup singing blah blah blah blah blah. Right. So with this, I guess I would have talked about this at the beginning, but with this song we have a guy named Chris Brown from Toronto on keys, right? So he toured, He recorded and toured with the band with this album. He came from a band or was in a band called, Bourbon Tabernacle Choir. Yep, you got it. And from the 80s and 90s, which I heard of that, man. Yeah, which I didn't know an ounce about until I kind of did this research. So finally, I was making some headway with this album to hear who else we have contributing, which is an obvious impact to me as a listener to hear kind of extra elements going on. But this song, man, it could be its own album. That's what I thought. Like this song, this song on a 7-inch on one side, like it's hand me that. I'll pay 20 bucks for it. Like let's go. It's fucking that good. Track 1:[28:30] Yeah, I agree. Track 3:[28:32] Lake Fever, the next one. This is where I was like, okay, maybe we're shifting gears into like this perfect love song or forlorn love or is this a song about loss or remembrance or you know what is this what is this going on there's amazing prose within this song like was the brief dude seriously i knew pete was just like i knew his heart was melting for this It was probably driving down, you know, here's Pete, everybody in Spain, in his awesome vehicle. I don't even know what it is, and I don't want to know until I visit him someday, so no spoilers, J.D. But here's Pete in his awesome vehicle driving down some coastal highway in fucking Spain. This is a dude from the LBC, right? And this song comes on, and there's tears coming from Pete's face on this beautiful sunny day. It's like, I, I, you know, I'm, I'm hearing this song during fucking physical therapy. Therapy just gone. [29:42] Is this a wedding song or is it a funeral song or do I want this at my wake or do I play this for Amy on her next anniversary? Like what the fuck is this emotional song going on in place three after my music at work and after Tiger the Lion we have this Lake Fever. It's like what the hell so yeah it was this you know this this is that third gear song where i'm like okay, let's see let's see where this is gonna go what's this about is it oh yeah okay maybe it is about the cholera outbreak in toronto in 1834 oh fuck god damn it okay that's what it's about guess i'm I'm not playing at my anniversary. No, not playing at next April 14th, honey. Track 1:[30:38] But it's more than that because the protagonist is regaling his potential lover with that story. Like the song isn't necessarily about like fever. It's like this couple are walking in the woods about to go, you know, have sex. And he's so nervous that he's trying to like, you know, talk to this girl and he's telling her, well, there was this time in Toronto that there was a sewer back up and cholera got in the way and it went all the way up to Ottawa and near Kingston and it was terrible, many people died and she's just like, hurry, just hurry. Just Coital Fury, you know, like, yeah, that wine, man. Track 2:[31:26] Fuck, it's good. Dude, you know, I tell you, it's it's funny because I think it's just the Canadian. I mean, last week, Tim and I both heard the rush in fireworks for last week's a record but you know I started to hear the first thing I heard and now I like don't hear it at all but the first thing I heard with this song was the percussion feeling very once again very Alanis, right wow but yeah put that all kind of behind it's kind of all in the past dude the glockenspiel which I think they're using and like the keyboard effect over when he says the the word courage is I'm just you're right Tim I'm driving down the fucking coast in the mountainous windy roads of Malaga Spain and just fucking crying with my wind blowing, my air blowing in the wind. Cigarette out the window, the arm just like, Oh, just fucking loving this. [32:42] We're going to get into it a little bit more, because I because there's a there's a couple of songs on this record. And I remember I don't know what record it was, oh, it was, was Troll Dan House that I referred to as the Tragically Hips Xerope. Track 1:[33:01] Yes. Track 3:[33:02] Right, right. Track 2:[33:05] But, do you know what this record is? Track 1:[33:07] Yeah. Track 2:[33:07] And it's funny because this record actually came out before the record I'm going to reference. And I'll tell you why. Track 1:[33:14] All right, hit me. Track 2:[33:15] This is fucking the Tragically Hips Yankee Hotel Foxtrot. All of the fucking instrumentation on it, all the pianos, the echoey pianos, a lot of the guitars. It's so fucking Wilco, man. And so I started thinking to myself, well, you know, what, what the fuck did, what, you know, what do we, well, I'll get into it, I'll get into the next one. Track 1:[33:44] We'll go. Give her. Track 2:[33:46] Yeah, we're going to put it down. So this song, there's a line in there saying the United States of ricochet. Something something happy in way. You know what I'm talking about, JD? Track 1:[34:02] I don't know the lyric offhand though, sorry. Track 2:[34:04] Great fucking line. And I'm getting very like, ashes of American flags like references to because I feel like I feel like Gord was really, um, getting, like, a lot of the shit that he focused on was the, God, the phrase, the term I'm trying to look for, like the plight of Canadians. Okay. Track 3:[34:30] I got it. I got it here if you want me to read it. Track 2:[34:33] Yeah, you want to read it, Tim? Track 3:[34:35] Yeah, it's just United States of Ricochet from the Boardwalk to the Appian Way, which I... From the Boardwalk to the Appian Way, yeah, that's what I'm looking for. Yeah, yeah, yeah. Track 2:[34:42] Diamond Files, Corporate Wraves, you know. So he's, I feel like up until this point, he's made a lot of references to not just the indigenous folks up north, in terms of, you know, what he's talked about, and what I know he's eventually going to talk more about. But I started to think like, God, what other band do I know that did that? And like, that's kind of where Wilco went, you know, they had Uncle Tupelo and then AM, which was their first record. And being there were kind of like a soft watered down version of, of that country vibe of Uncle Tupelo. And then when they hit Yankee Hotel, it was like, Whoa, what the fuck is this? This is not the same band. I remember hearing and I got the same vibe. And so I, anyway, I Googled and started doing a little research, come to find out. So I read Jeff Tweedie's. Memoir, which is a great book, you'll get through it in a day, man. It's called Let's Go So We Can Get Back. And he references them on tour with Tragically Hip during the Another Roadside Attraction tour. Track 1:[36:03] That's right. The third one. That's right. Yeah, yeah. Wilco's Similarities to Other Bands and Songwriting InfluencesTrack 2:[36:07] Yeah. And just this record came out a year before Yankee Hotel. So I don't know what if they were trading demos back and forth or they were playing music together on Tour and but fuck man. I mean so many similarities with this record and that record interest so many Do you feel you might catch my drift here? Track 3:[36:32] But do you feel like? When you hear other bands and are reminded of Wilco do you feel like Wilco has just borrowed so much from other bands or do you feel like I'm not gonna we're not going to turn this into a Wilco podcast by the way or do you feel like Wilco like really do you feel like Wilco just absolutely stand on their own as songwriters because I mean that's there that's like to me songwriting music you know what I mean yeah I know what you mean um it's a good question and I'll answer it as short as possible because I think This is something you could fucking have a garage with a, you know, half ounce and fucking go on forever. Track 2:[37:17] But I think Jeff Tweedy is an amazing songwriter, and he'd probably be the first one to admit that they've taken so much from other people. But I think that that band, especially when they went in, their record, two records after they did Yankee Hotel was a record called Sky Blue Sky. When they really got into that, they were just like... They were at the top of their fucking game. and they they they knew how to um, but it's It's hard to say man. I mean It's a great question tim because I you could say the same for Tragically him who are they both big time? Track 3:[38:05] Yeah, we've had so many references. Track 2:[38:07] I don't think I don't think rob baker would he be the last person to say he wasn't fucking fucking playing the exact notes that Gilmore played on fucking comfortably on that guitar solo or on Tiger the Lion. But it's not like you're saying, oh, you're stealing. It's like, it's an homage. It's also working it into a song that is not that song is, you know, you do it all. I've been writing a tune this week that is a is a indie rock tune adapted from the fucking Opening theme of the one of the Legend of Zelda songs. So cool. And am I stealing from Koji Kondo? Yes but It's in so I look at it more as an inspiration. Track 3:[38:54] Well, I mean they I mean all all artists, you know are inspired from every direction I just I don't I don't want to get into it too deep. Track 1:[39:01] I just went from no Writers I think good songwriters Make it almost Like a magician, you know, like a good songwriter. You don't see the sleight of hand. You don't see the Palming you don't see it like they're absolute pros and they stand on their own But of course you can't help but be affected by what you are exposed to and what you enjoy, you know You can't help it. Track 2:[39:34] Yeah, yeah. Yeah, and JD, you're right when you say that, because there was something that I put down, and I think I sent it to you, but I put this down about a month and a half ago, and there was a little guitar lick I put on there, and it was Nell. I recorded it with a fucking jazzmaster. It was Nell's Climb from fucking Wilco. And I was like, I was so worried that it was so obvious, and I played it for Issa, my wife, And I played it for you and I think I was like was it too much and like no it's just it was just right It was perfect. It was like kind of like a little but to me it was like My ears I literally stole the fucking Notes from him and like I took them and I said those are mine now. Thank you very much You know, but like it's it's not easy to do man. I don't know JD. Track 3:[40:25] Yes. I thought it I think they pulled it was just me JD that Pete Pete called up in the middle of my night and serenaded me with some guitar licks. Damn, I'm not feeling as special now. Track 2:[40:40] You'll get it Tim, you'll get it. Track 3:[40:42] Hey, I thought putting down... Track 1:[40:43] Putting down, yeah. Track 3:[40:45] Yeah, so putting down, I felt like, I mean Pete commented on the, you know, the references and stories of this great continent and what we did to the Indigenous folks that were already here and the land grabs and you know that's hitting hard with this one and I feel like with Gord's themes and songwriting and his connotations of it all, this is that song for the album, I thought it was like big and heavy. [41:22] I didn't really know what it was about my first handful of listens. I couldn't really peg it until I did a little bit deeper diving into it. But you know, it was my first few listens, it was kind of like a car ride sing-along song. I felt, you know, it just felt familiar. It felt hip. I didn't think like, this is the best song on the album, and I thought it held its place on the album for what it was. So that's kind of where it ended with me. Cool. The next one, Stay, on the other hand, I thought, man, this song, it's quiet, it's cute, it's cute. I hadn't had that feeling before. Is it a thank you? You know, the Bureau Chiefs and the Shrugging Spies, I thought this was at first when I first heard this? I thought this is hilarious. Without researching, I thought this was like a thank you or something to the band's road crew, because I heard beer and cheese and shrugging spies, not bureau chiefs. I mean, I was like, I was so incorrect with this song. You were a great crew. You were a great you. You know, what is the storyline here? Is it about going to war and relationships or what? What is going on here? Track 1:[42:48] Maybe a little of everything. Track 3:[42:49] Yeah, maybe, but one, you know, after I did, after the leak, Sit down and kind of research what it's about. Hopefully Pete you have some more music based Comments about it, but one person I need to shout out here. The the handle is The letter Y Salvatore, there was a song meanings.com. [43:15] Reference from 2005 so this this is amazing it said one theory is the song is about Fox Mulder from the X-Files lines like there's no one up above us and with the Bureau Chiefs and the shrugging spies on the X-Files series Mulder is often working against the establishment as a sentiment in this song you've got no business in here brother Mulder is obsessed Pete from I'll go with UFO so lines like you see a light and then another this this song maybe it's about UFOs maybe it's about aliens I don't know this this was like this was a total head-scratcher for me not to say that I didn't like it but it was like what is this song about it wasn't beer and cheese I don't know it's not it's funny that you say that because one of the lines already is this song makes me want to sit in a pub and drink beer with my buddy. I didn't say eat cheese, but like, that's the vibe I got. Appreciating the musicianship on this recordTrack 2:[44:21] I mean, it's, um, there's, there's, okay. I could say a lot. I really liked this song a lot. I loved it. It. The riffing that Gore does with the vocals. I think there's a bridge part of all things being balanced where John Fahy's drums... I feel like every musician on this record, on this record, really shines. Like everybody shines. Gord Sinclair, I feel like, has always been really top-notch. That guy is fucking flawless. He's so underrated. Extremely underrated. Uh, when it comes to, you know, I, I just because I'm, you know, playing wise, obviously Gordoni, I mean, there's nothing you can say about that, but playing wise, Paul Langlois, am I saying? Langlois. Track 1:[45:25] Langlois. Track 2:[45:27] Um, and Rob Baker. I've always kind of gone back. I'm starting to appreciate the differences between those guys because they're two Diametrically different guitar players. I mean so different and and That happened on this album. Track 3:[45:43] Don't you? Track 2:[45:43] Oh, yeah more so really noticeable and I went down a bit of a rabbit hole this week I'll try not to go as deep as I went, but I told JD I was watching some live stuff and looking at Rob Baker's set up. [46:05] Paul Ling Hua, he always plays that black Les Paul, but Rob Baker plays that Strat, which I fucking love. And he's got something called Lace Sensors pickups in it, which not to get too technical for the listeners. They were apparently these were like standard issue Fender pickups from 90 from 85 to like 96 and then they just became too expensive. But they're really cool. The only shitty part is they look horrible on a guitar. They don't look it doesn't make it look like a Strat anyway. But he also plays a Paul Reed Smith, which I absolutely hate those guitars because, and JD I told you this, they're the Carlos Santana guitar and when they first became like available to the public so to speak or like mainstream people were able to buy them. I remember walking into a guitar center in the 90s and seeing one up on the wall that was like, it was like $19,000 or $20,000 it was like ridiculous and just going, and now can buy a PRS for like $1,800, $2,000, but it just turned me off and I fucking hate it. And if I'm Rob Baker, if I'm Rob, if you're listening, just don't ever play the fucking PRS, man. Get rid of it. Ditch it. Rob Baker's guitar choices and preferences[47:30] The telly's cool, but that strat is where it's at, man. [47:35] He does play Tele, and there's one other one I can't remember, but there's a great website, and I sadly have been on it more times than I can count. Oh, and he plays an SG, and I play an SG too. The website's called Equipboard.com, and it's got, they can pretty much look at any like, musician that's like, you know, quote, unquote, made it, so to speak, and find their rig, and they have the references, like, not just like, they don't just tell you, but they go, this is why we know that this is they're playing and they have a link to like a concert video, or a picture of them pointing out the gear, which is fucking cool. Track 1:[48:24] It's really cool. Yeah. I love, neither of you guys mentioned it, but I love Gord's voice in this song. He's doing a different sort of thing with his voice. It's lower register, softer I suppose, right? Because it is a soft song. But it's down, it's, you know, sorry you can't see my hand, but it's down here, like belly button wise. Uh is really quite quite uh effective on this song i agree with that jd when are you gonna fix your your belly button cam you're gonna get that going next next pod what's that my belly button cam Yeah, that took me a minute to get. Sorry. All right, track number six. Track number 6 is The Bastard. Appreciating the Percussion and Lyrical InsanityTrack 2:[56:45] Wow. This song starts with the they're not bongos, but there's some sort of kind of cool percussion. Track 3:[56:54] They're there. Yeah, it's some kind of yeah, yeah, yeah. Track 2:[56:59] There's a lot. Track 3:[57:00] It's fun. I love when they bring those in. Track 2:[57:02] Yeah, it's really cool. This song lyrically is fucking insane. There's a word in there called crepuscular? Track 1:[57:16] Yeah, what is that? Like, what does that even mean? Track 2:[57:19] Yeah, it means, um, adjective of resembling or relating to twilight. Yeah, I mean, gnarly shit and- Oh, gourd. Track 1:[57:31] Oh, man. Track 3:[57:36] Crepuscular rays, as the sun groomed the plane with crepuscular rays. Track 2:[57:41] There's a line in there about the Purple Italians, like it's just... Track 3:[57:47] Yeah, what is that referencing? I meant to look that up. I meant to look that up more and did not. Track 2:[57:52] Some weird-ass lyrics. I noticed something too. I love the line, the presaging pel-nel. Yeah. Track 3:[58:03] Yeah, the pre-stage pel-nel. Track 1:[58:05] Pre-stage and pel-nel. Track 3:[58:06] Yeah, that was my favorite. Track 2:[58:09] It's um i noticed that in addition to to to um gordon sinclair being so in the fucking zone on this song like a like a like a hypnotized fucking i don't know dude he's just he's a fucking machine on this song song. He, I watched a little bit of the Woodstock, Woodstock live show 99. And in this song, during Grace 2, which is what they opened up with, Gord starts testing out some of these lyrics to this song during Grace 2. Bird's Eye View, right? Track 1:[58:54] He talks about a bird's eye view of a bird's eye view. Yeah, yeah. So cool that you got to see that. Track 2:[59:01] Finished watching the whole thing. Track 1:[59:02] And you recognize it. Track 2:[59:04] Go ahead. Frustration with lack of guitars in "Grace II"Track 1:[59:10] Yeah, I went down to Rabbit Hole the other day and was just watching a whole bunch. I started with that when I texted you guys and was like, yeah, I'm watching it. And for the beginning of Grace II, it's all drums and Gord's voice, which I don't mind, but I want to hear those guitars, you know? And then suddenly it kicks in. Track 3:[59:29] The purple people, the purple Italian people, I just found it was an Italian mass protest movement to call for the resignation of a prime minister, one of their prime ministers. I feel like, I don't know, there must have been an earlier historical use of this because this is actually from 2009. So yeah, I'm curious. Well, I forgot to tell you guys that Gord is actually reference a mystic he could see in the future yes I wouldn't be surprised yes guys if there's any more sorry there's any more insight on the purple people somebody somebody let us know Tim at getting hit So I got an email. Mention of an email received regarding the purple peopleTrack 1:[1:00:19] Yeah. Got to get our $80 worth. Track 3:[1:00:25] I loved the pre-staging Pell-Mel. There's been a handful. I wish I would have started a list of the gourdisms that would be so fun to learn and reference, because that was so good. When I first heard him sing that, it was like, you know. Track 1:[1:00:42] What is pell-mell? Track 3:[1:00:44] Well, it just means like, it just means like absurd craziness or warning, like presaging means like warning together. Well, pell-mell means confusion or disorder or like a confused haste. So it's, presaging is, you know, the warning of a disorderly moment or the warning of something about to go down. That's kind of what I took. Track 1:[1:01:16] That's dire, I love it. Track 3:[1:01:19] Pre-saging, yeah, it's good. I mean, it's a loaded three words, basically. I think Pete hit on a lot of it, but this song to me kind of got us back in the car and down the road again. It was like driving, rocking, feeling, which I totally dug. The reference of all of this auger as well, you know, auger meaning like a fucking coring, drilling, coring into something and it's just this good rocking song. Track 1:[1:01:55] It's different though. Auger spelled one way is coring, but there's another, like to auger is to portend a good or bad outcome. Track 3:[1:02:08] Okay. Track 1:[1:02:11] So it's like, to pretend. Yeah. And I believe that's what it, like, it's all this auger's well, like, but, right, like, auger a well could mean digging a hole. But auger's well means pretending to, portending to good things are going to happen. Track 3:[1:02:37] Okay, okay. I just thought there were some beautiful lyrics in here. Also, I mean, all this augurs well or yeah, it's the The stanza never mind that pool in the mountains victory came and went on winged elephants I saw you all this augurs. Well, like you know, what? What is what is going on there? But it I thought it was likely this loaded very story specific Specific song without researching it, you know, I heard the lyrics Billy Sunday shout in Philadelphia for Christ Like who really is this song about did you look up Billy Sunday? Track 1:[1:03:15] Yeah. Track 3:[1:03:16] Yeah. I loved I loved reading about that This is like one of those that is one of those songs easy, right? Yeah, you barely you barely touch into on the research side and Realize that you know Billy Sunday was baseball player. Track 1:[1:03:33] I want to say a pitcher from like 1891. Track 3:[1:03:36] Yeah, he was this total this this I guess amazing pitcher And he played for chicago and boston and philly and which During those times you played for a team like your whole career, you know, you stayed in the city You you you became a presence with the team and the community and all that stuff if you did but this this this fellow William Ashley or Billy Sunday Sunday was his family name he he was like a total drunk ladies man and he moved from team to team to team and I think this from what I read the cops and the ladies got to know him really well And then after playing in Philly, he was witnessed to on the street and ultimately became a traveling preacher. [1:04:32] He went from standout pitcher to traveling preacher. And while he was preaching, teams even were soliciting him to come back and pitch. And during those days, if you made like 400 bucks a month playing professional baseball, that was like, a great salary. Yeah, I'm sure. And at one point, I read the Pittsburgh Pirates offered him $2,000 a month, and he still declined, and he still continued to be a traveling preacher. And his kind of schtick was talking about like the sex and alcohol lifestyle, from what I gathered, a lot about alcohol. And it was so much that when towns heard he was coming, they would just close up the bars until he went out. Literally, because he was so like, you know, he was his own prohibitionist. So it's all the personality. Track 2:[1:05:37] Yeah Thinking of that was the runner then I Don't know Like losses lay or some Forrest Gump. Track 1:[1:05:45] No. Track 2:[1:05:45] No, this is a reference from the hip Oh Terry Fox Harry Fox. Track 1:[1:05:50] Very fine. Yeah no he's a guy that ran across canada or something and he got close but he died he ran a marathon everyday he ran a marathon everyday on one leg yeah. Oh okay yeah cuz he and he was he was like. He was twenty one years old and he got cancer they removed his leg and he decided he was gonna run across canada and he started on the east coast he passed away thunder bay so he passed away about one third of the way through. Track 3:[1:06:21] Wow. Track 1:[1:06:22] Oh, it's fucking still, man. That's crazy. But it's like, every day his stump was like, like, euchred because he was wearing one of the, like, now, probably, somebody could do it on one of those, like, one of those spring legs, you know? Track 3:[1:06:37] Yeah, yeah. Track 1:[1:06:38] Yeah, but back in the day, he had, like, just an old school prosthetic leg, and it was crazy. Yeah. Track 3:[1:06:45] Pete, on this one, did you feel like, Did you ever get an inkling like, uh, perhaps this one was music first lyric second, or did you pick up at all on like the kind of background guitar riffing that was kind of over here? And yeah, it was like, I don't know, it sounded a little after thought ish, that guitar riffing, just kind of carrying you through it all worked. But this one, this one, I think compositionally. You know, song, story, Billy Sunday reference aside, which is amazing to dive into and learn about. I mean, I almost want to paint Billy Sunday or something with like on the pulpit with a baseball bat. That's cool. A fifth of whiskey in the other hand or something. But anyways, I felt like compositionally, the song writing-wise fits in the album. It just It just kind of fits in there, but also like, eh. Track 1:[1:07:46] You weren't big on it. Track 3:[1:07:49] No, it didn't grab me. It was like, OK, let's get back in the car. We're back on the road. Let's get through the song. It's rocking. Yeah, let's see what's next. Track 2:[1:07:56] I think at first it was like that, but then the song really like, because instrumentally, it's so fucking rich. Yeah, but like Gord, dude, again, Gord could match, pick the most complex composition that any composers have ever written. And I'm sure there is some fucking book that Gord Downie wrote lyrics in, somewhere floating around or shoved in his fucking basement, that lyrics. Track 3:[1:08:29] I would hope there's like, yeah, like 200. Track 2:[1:08:32] Yeah, he could fit to that. I mean, they probably just, yeah. So I feel you. I feel you. I feel you. Yeah. Track 1:[1:08:40] So let's move into track number seven, The Completist. Track 2:[1:08:44] I don't have a ton to say about this. I would say I really love this song. Again, this is a fade in from the previous track. Gord Sinclair again. fucking standout performance on this song. The percussive chops of the band at this point in the record. I mean, there are other songs that come up that you're just like, what the fuck? But they're not a bar band anymore. I mean, I know they still, but I still think like, I don't know if it was Phantom Power before, a record or two before, you see that kind of bar band thing still rearing its head a little bit, Like, this is just so far from that. These guys are fucking, they've really become superb musicians from the EP to now. Like, they've honed their fucking craft. And then the... Musicians' dedication to improvementTrack 1:[1:09:51] Road tested. Track 2:[1:09:52] Yeah, I mean, it's the road, it's the recording, it's the composition. But it's clear that like, every single musician in this band is like, I want to become better at my instrument. And I'm going to do this. It wasn't just like they just played a bunch, kept doing it, like, they clearly actively tried to become better musicians, as they were continuing. Like, I would put that to any of these fucking guys, if they're standing in front of me, and tell me, like, tell me I'm lying. Like, tell me I'm full of shit. And they would say no. Like, Whether it's, I mean, fucking Kirk Hammett for fuck's sake was taking lessons from Steve Vai when he was already in Metallica. Like, what does that tell you? You know, like, musicians want to become better and they, these guys clearly. The only thing I was gonna say was the woman singing, I thought it was Kate Fenner from before, but it's not, right? Track 1:[1:10:52] I don't know, I thought it was Kate Fenner. Track 2:[1:10:54] Apparently it's, um, Julie. Do I run Dorian, Julie Dorian, Dorian. Track 1:[1:11:02] Oh, Julie Dorian. Track 2:[1:11:03] Okay. Track 1:[1:11:03] Yeah, yeah, yeah. That makes sense. Track 2:[1:11:05] But I, and this is just, you know, I want to say this earlier, Tim, but I want to say that I did do a little research on Kate Fenner and her, um, her label that she's signed to is called UFO music. So that's awesome. Track 1:[1:11:19] Oh, you must love that. Track 2:[1:11:20] I do. Track 3:[1:11:22] You just stole my thunder for Toronto 4. We'll get there. Track 2:[1:11:28] I thought the lyrics in the song were beautiful. It was fucking, the beautiful fucking lyrics. Amazingly beautiful. Track 1:[1:11:35] Yeah. Yeah. Track 3:[1:11:37] Well, I'll have to look into Julie Dorian. I had not found her. And we'll get to it, but we haven't talked much about Kate Fenner, nor who we mentioned earlier. Chris Brown. The fellow on keys, Chris Brown. Yeah, yeah, yeah. For me, this song to complete us, I felt like it was like at first it was kind of, OK, we're already back to a slowdown. Like, it felt a little bit of a chug placement-wise in the album, it's a beautiful song. You know, I just didn't, it kind of left me hanging a little bit. Like, it didn't grab me and shake me around or rattle me around or anything like that. It felt like it could have been an ender. Like, it felt like, is this the end of the album? I mean, this could be the end of an album, so that's good. Track 1:[1:12:29] Well, it's the end of side one, if you're thinking. Oh, maybe. LPs. Track 3:[1:12:36] Yeah, yeah, okay, okay. Track 1:[1:12:37] And that would make sense with our next song too, Freak Turbulence, opening side two with a banger, right? Track 3:[1:12:44] Yeah, big time. I mean, this is like we're alive again. We're back in the driver's seat or the passenger's seat. Like we have this backup singing again. I think this was Kate Fenner at this time. I'm not sure. Between the two. I don't know enough of Julie's voice to distinguish between the two. Track 1:[1:13:06] There are definitely people out there that will tell us for sure. Track 3:[1:13:10] Yeah, yeah, yeah, yeah. Well, I'm gonna look it up because I think I got Kate Fenner down. I mean, yes, yeah, yeah. So back to the song though, there's a comedy factor here, am I wrong? Like, this is so much about Gord being afraid to fly or not liking flying or, you know? Yeah, yeah, yeah, there's all this talk about. I don't know, it feels lighter and more fun than usual. Track 1:[1:13:39] Like, did the captain just say this? Like, did the captain just say, like? Track 3:[1:13:45] Well, we'll land in less than 10 minutes. Or he says, or unless. Did he say unless or less? Yeah, he's afraid. You know, I think this is the song that guys. Were had to fly back to Canada from the US because originally this album Was to be recorded on a moving locomotive train. Track 1:[1:14:11] They talked about doing that. Yes I don't know how that would have ever happened. Track 3:[1:14:15] No shit. What a fucking cool idea I mean imagine that Pete moving locomotive with all the sounds and shakes and rattles I mean maybe maybe for a song but a whole album yeah with some serious that was some serious weed smoking yeah I'm up with that idea you know we should do guys we should fly back down to Memphis take the train take the train to LA and record the home anyways this this is a this was kind of a fun song it was a little more jovial I dug it there's a There's a weird, PeepeePie caught this, there's some weird guitar feedback, like the last 10 seconds or so, which made the song feel kind of ominous, or maybe the Freak Turbulence was like the plane going down, I don't know. It was funny in that regard, it was like a total head-scratcher, but this one I kind of dug. Track 2:[1:15:15] Oh, I dug this one, man, there's a line in there that really stuck with me, it's Satan Holding back hands, our nose and our chin. Track 3:[1:15:22] Yeah, yeah. Track 2:[1:15:24] I love that. There's a really, I think, the mix, there was a lot of moments where I wrote down, this is probably the first time I've said it, but it's written on a ton of songs, the mix on this song, how they mix this song with the instruments, like the levels of all the instruments, it's just so, it really, you know, it makes the fucking song. It makes this song so fucking cool the vocals build, Yeah, I really, you know, I'll rather than to, I'll save my, you know, I'll yield my time only because I have some, some hefty shit to say about some stuff coming up. But I, this song made me run, like when this song came on and I was going on some runs, I definitely put it into a higher gear with this song. I loved it. I loved it. Yeah. Track 3:[1:16:20] Yeah. Yeah. Especially after the completed, you know, transitioning into this one. It's like, yes, OK, here we go again. This is definitely the if it's side two, it definitely is the the side one. Get us going again. "Sharks" - a monotonous but intriguing song[1:16:36] Sharks, can I go? Sharks. Yeah. This one kind of lazes along for me. It's got a few interesting bridges, but it's kind of monotonous, but not not. I'm not saying that in a negative way. It's almost like, it's almost got this head down, shoegazy kind of feel, you know? Then at the three minute mark, there's this like heavy tom kind of bass kind of transition in there. It's the bass guitar is like kind of all over the neck for just a brief second, but you know, it's one of, the, this song is, it has what I enjoyed because they they're starting to do this more because they're all just accelerating as musicians is that it has like well over a minute of music the last portion of it is just like great music carrying you through rather than singing until like the last seconds or giving like seven seconds at the end or what have you so it's. [1:17:42] It was kind of a fun song in that way. It just felt different than the rest, but also worked, you know, positively. Track 2:[1:17:52] I love, this is another fade in from the previous track, which I love, that they're doing that, making it very concept-y. I love the line in there about the Mariana's Trench. That's just fucking cool. It's such a, it's always been a fascination of mine, probably since I saw fucking, what was the name of that movie? Was that Harris? I don't know. I thought it was a James Cameron movie for Christ's sake, it was huge. The Abyss. The Abyss. Oh, The Abyss. The Abyss was in Maria's Trench. Track 1:[1:18:29] Right, right, right, right. Track 2:[1:18:32] But yeah, I mean, the big standout for me here is Rob Baker's guitar is just fucking insanity. He does these really cool arpeggios in the song. And the coolest thing for me was, I was like, what's that fucking effect on this guitar? And I was like, I wrote this down early on, I was like, he's got a, like a delay on the guitar, but not a delay. So it's going bum, bum, bum, bum, bum. It's so, the delay time is so small that you can't really hear it like a repetitive delay. It's just, when you put it down almost to zero, it just has this cool, and then I look on no shit by the time I found that website and he's got a Line 6 DL4 delay pedal that no doubt he was using on this fucking song. It just made me feel cool because I was like, my ears still work after all these years. But I fucking love it. If I didn't, I didn't think there was a song that could rival Tiger the Lion and I still don't think it beats it but it's pretty up there and that's fucking Toronto 4. An analysis of the opening guitar arpeggiosTrack 1:[1:26:42] Talk to me. Talk to me. Track 2:[1:26:44] I mean, the way it opens with the, like, the record static. Yep. Again, Rob Baker's doing these weird arpeggios, like he, like, it's kind of like a falling guitar, like he goes from a, like a, it's a D chord or whatever the hell, the octave, than the chord, then the seventh, then the diminished. Makes it feel really sad. It's just, or like, kind of sad and mysterious, and it's floating. It's like all the echo-y shit that there's, I don't know if it's Kate Fenner on this. It is. It is? Okay. Track 3:[1:27:26] Yeah. Track 2:[1:27:27] Yeah. The way that the, I don't know if it's like he's using mallets or what, but Johnny Fay is like coming in with the cymbals with these really soft mallets that like kind of give it like a gong sound to make it really super dramatic but the songs it's fucking awesome I mean I was like what it was weird because this was a song that early on I would get through the first nine tracks because I was doing like shorter runs when I would take it out and I didn't get to like Toronto for and then the first time I heard it I was like what in the fuck the surf tone on guitar is just... It's a cool jam dude. It's cool as fuck. A lot of Pink Floyd, I feel, influence on there. Track 3:[1:28:18] I agree with all that. I felt like the percussions on this, the drums on this one, had sort of this metronome, just more of a... I don't know. Track 2:[1:28:28] You do the panning on the left to right? Track 3:[1:28:31] Yeah, like the pace of the percussion really, to me, held the song like all the way through and was perfect. I mean, I often hone in on drum stuff like you do guitar and I felt like that was just, I don't know, this song is, it starts slow, it's emotional, it kind of feels like apologetic you know also feels like i don't know familiar maybe it's like the mention of Vesuvius as a metaphor for like family and stresses and breakups and i don't know the The song was just, it's pretty jam packed. I didn't. Look big into the background on lyrics or story or any of that, you know, I just questioned, which I said to JD like a week ago, I was like, why the hell Toronto four? Are there three other Toronto songs? Or what is what is that about? Track 1:[1:29:29] So if anybody knows, my only guess is, like my, as far as just guesswork, is might be, it might have been the fourth run, you know, it might have been the fourth take, like it's Sometimes you use the studio parlance to come up with the title of a song that you can't quite name. Track 3:[1:29:49] Yeah. Track 1:[1:29:50] Well, this is a great, it's a great song, and you're right, you nailed it on the head when you talk about family. Yeah, yeah. It's definitely familial. It's, you know, it's about the matriarch of his family, his grandmother, holding things up. And that what are the first the first lyrics are? Absolutely. They slay me and I can't recall them at the moment. Track 3:[1:30:17] You know, you were the rock plug for us all. Did you know you were the conduit of Vesuvius? You were far more unifying than, you know, I'm not a judge of suitable, but you almost had it all. I mean, if that's about his grandma being the what a tribute, the rock plug for their family. I mean rock plug is definitely a volcanic reference of you know a rock holding the mountain together before the magma just blows it apart so it's right fucking cool pretty pretty yeah I mean it's this this one maybe has the simplest lyrics that we've seen in a while. [1:30:59] It's it's a beautiful song. So Kate Fenner on this one just to touch on her because I Think we've heard her before although. I only found that she To recorded and toured for this album, but man, she's she's got this How do you describe her voice? I think it's just gorgeous. I think it's yeah, it's It's just, it's, it's, it's lovely. I, she, she, somebody described her as less, a lusty alternative to a Joni Mitchell ish sound. Like all of that is, is true. So she's got her own solo stuff. She's got, as Pete mentioned, UFO Records is her label. She's got this new album out that I touched on briefly over the weekend. It's it's pretty she's got a beautiful voice like if she ever tours and we get a chance to just Go and any of us hear her perform. I'm sure it would be worth it. She's got a dreamy voice So yeah, great great addition to me, too I don't know if you saw this tour JD, but what she did she yeah, do you recall her on stage or yeah? Track 1:[1:32:09] Because it was it was strange because both Chris Brown and her were on stage with them the whole time and that was It was just it was sort of a strange look because up until that point It had been the five of the month's age. Track 3:[1:32:20] Mm-hmm. Track 1:[1:32:20] That was it. And so this you know, it changed the dynamic for sure and I'll be the first to tell you that when this record dropped I Liked it But I didn't love it. But now 20 years later. Yeah, I fucking love this record Yeah, I can listen to this record at any time like yeah, yeah top to bottom. Okay, okay, Now let's go toward the bottom and talk about Wild Mountain Honey, dude. Track 3:[1:32:52] I love this one. So I'm taking I'm taking on this one. Mr Okay, you can you can fill in do it Yeah, like this this to me I heard Pink Floyd I heard Jerry Garcia of guitar effects Like I I heard like fish. I don't know like this song to me. They even the the title is is different, like this one was just a little bit different there. You know, it's the drums are soft, but they can sound kind of angry. This is one of the songs on the album, you know, the first time listening it through. Or I thought, OK, I need to find this one live and check it out because I'm sure it gets played harder and louder, maybe faster. [1:33:43] There's just really good chord changing and bridges and guitar riffs and it feels a little bit patched or contrived at the end you know I was hoping for like a big finish the first time I heard this one because it really grabbed me it made it just this to me was like hip fans who have seen the band play live a a bunch. Probably love this one live. You know, this one just, it hit some marks for me with going, with going after, like, followers of other bands who I knew probably in the same summer saw Grateful Dead play it or saw Phish play and saw the Tragically Hit play. Like a lot of, you know, A lot of times when I experience bands playing live over the course of a summer, it kind of, you know, dictates that summer. Like, you think back to that summer and you're like, oh, that's when I went to X Festival or that's when I saw 8Bandplay a couple times. The Papa Roach show. Yeah, like that's, yeah, definitely the Papa Roach show. But no, this one was, This kind of centered me back into the seat of the Tragically Hip. I really dug it. I ended up listening to it a handful of times by itself. Track 1:[1:35:08] Oh wow! Cool. Track 3:[1:35:11] Probably not a single though, right? Track 1:[1:35:13] Not a single, nope. Track 3:[1:35:14] Yeah, every once in a while they have a song that's not a single that's a little bit off character that I dig and this is one of those. Rhythms and Unique Drum Hits in "Wild Mountain Honey"Track 2:[1:35:23] I thought that I mean the song it's funny ironically it starts out like wild mountain honey it begins like the name does Soft like wild mountain honey, and it creeps up on you like a whiskey, and it fucking destroys. Yeah, yeah, yeah Yeah, I think It's funny because I remember looking for the lyrics online and realized there's a Steve Miller song called why I'm not many as well But when I saw the title of this, I thought of the Peach Boys song, Wild Honey, which neither of those examples are even close to this song. But what I got from it was, I fucking love the rhythms in this fucking, the drums in the rhythms. The drum hits in this fucking song are so cool and they're so unique and they don't sound like another band. Like there's some songs that, like I mentioned, some Wilco stuff earlier, there's other songs from other hip records where it's like they're doing a drum hit or a drum fill and you're like, yeah, that's the same drum fill that this band did on this song and that's been, this is completely fucking different. And it's so fucking cool. So unique, the rhythms in the song. [1:36:43] There's a weird keyboard or flute effect in the background going down, it was really faint and hard to pick up. I'm pretty sure it was a keyboard, but it could have been some sort of setting, but I love the line, I don't want to put another thought in my head, I just thought that was so fucking cool towards the end. And then the song, the solo starts before, but the part at about 3 minutes 30 seconds of the guitar soloer. Just, I don't know, dude. I hope I run into him. Track 3:[1:37:18] That carries it to the end, right? Track 2:[1:37:22] It does. Yeah. I want to run into Rob Baker at a 7-Eleven or something. Him buying a Slurpee and me already up front and being like, hey, man, let me get this guy's Slurpee and I'll pay for it or something. Just be like, alright, man. Track 1:[1:37:41] What a gentleman you are. Track 2:[1:37:42] I want to be that guy. It's weird that I did not expect to where I'm at so far in the discography of this band for him to slowly become one of my almost favored guitar players. And this guy that I never knew before. I fucking love his fucking guitar playing, dude. It's fucking awesome. Track 1:[1:38:09] Yeah, he's really good. Track 3:[1:38:11] That's an amazing gift for you, bro. What's that? So that's an amazing gift for you to have this discovery of a new influence. Track 2:[1:38:19] Totally, absolutely Tim, absolutely. Track 3:[1:38:22] So Train Overnight, the next

7.8.23 - Hour 3 of Overtime w/ Pete Medhurst

Break out your blue tornado bars. --- Send in a voice message: https://podcasters.spotify.com/pod/show/not-stalgia-podcast/message

Hey everyone, it's JD here with Pete and Tim, and we've got an exciting episode for you as we explore the Tragically Hip's 1994 album, Day for Night. This record holds a special place in my heart, and I can't wait to share my memories with Pete and Tim. Listen in as we discuss the album's unique nuances.As we examine the tracks on Day for Night, we also dive into the powerful lyricism of songs like Greasy Jungle and Nautical Disaster, uncovering the stories behind them. Our discussion also touches on the impact of the album's intro song, Grace, Too, setting the tone for the record and leaving a lasting impression on listeners.Join us as we reminisce about the days of midnight album releases and the significance of this record in the Tragically Hip's discography. Through our conversation, Pete and Tim share their first experiences with the band's music. So, whether you're a longtime fan or discovering the Tragically Hip for the first time, this episode is sure to be a nostalgic and enlightening journey through the world of Canadian rock history.0:00:00 - Speaker 1Hey, it's JD here and I'm with Pete and Tim and we have a really big announcement we want to make. Are you strapped in Good? Mark your calendars for Friday, september 1st, as long-sliced brewery brings to you getting hip to the hip on evening for the Downey Wend Jack Fund. 0:00:22 - Speaker 2Join us at the Rec Room in Toronto for a night of music, unity and making a meaningful impact. This event is dedicated to honoring the legacy of the tragically hip, while supporting the Downey Wend Jack Fund. 0:00:32 - Speaker 3Immerse yourself in a powerful tribute performance by 50 Mission, celebrating timeless classics that have shaped Canadian rock history. We'll also wrap up the podcast in a memorable way by doing our finale live that evening, but it doesn't stop there. 0:00:48 - Speaker 1This event is all about making a difference. So we've got a silent auction with prizes. you've got to see, from Blue Jays tickets to tragically hip ephemera to kitchen appliances. If you're looking for something cool, chances are you'll find it at our silent auction. 0:01:05 - Speaker 2All proceeds for the evening will go directly to the Downey Wend Jack Fund supporting healing, reconciliation and positive changes for Indigenous communities. 0:01:13 - Speaker 3Tickets are on sale June 1st and can be picked up by visiting gettinghippetothehipcom and clicking on finale. 0:01:21 - Speaker 1By attending Getting Hip to the Hip, you're not only enjoying a night of incredible music and comedy, but also contributing to a brighter future. Join a community of like-minded individuals who believe in the power of music and unity. 0:01:35 - Speaker 2Tickets are only $40, so mark your calendars and visit our webpage to secure your spot at this unforgettable event to celebrate the hip with fellow hip fans. 0:01:45 - Speaker 3Getting Hip to the Hip. An evening for the Downey Wend Jack Fund promises to be an experience that leaves a lasting impact. Please join us at the Rec Room in Toronto on September 1st and be part of something truly meaningful. We'd love to see you there. 0:02:11 - Speaker 1It's nearly 10.30 pm on September 23rd 1994. I'm on the 106 bus riding from York University to Wilson Station. during my first year at the institution, i was on a mission to pick up the latest effort by my favourite band, the highly anticipated Day for Night. Since mid-summer of 1993, i'd been going bananas over the song Nautical Disaster, first introduced to me during my 19th birthday. It was at another roadside attraction, and as the band launched into New Orleans as Syncon they jammed through the now classic cut in spectacular fashion. However, it wasn't until the Kumbaya Festival early in September of that same year that I finally heard the track on tape. My friend Heather had come home from university having recorded the festival on DHS. We quickly dubbed the video to cassette and now I was off to the races From there. it took until Canada Day of 1994 before I heard anything else from the record. The hip played the gig with a chip on their shoulder, as many of the fans had acted brorish and disrespectful towards many of the opening acts, including Daniel and Locke. The set was heavily peppered with songs from Day for Night and I liked what I heard. As I got off the subway and approached HMV, it was nearing midnight. The new album would be in my hands soon and I could listen without the distraction of frapples throwing bottles towards the stage. From the first notes of Grace II, this one felt different, especially after the slick polish of fully completely or the bar blues of the prior two records. This was a band hitting its stride and understanding exactly where it fit into the fabric of the rock and roll paradigm. But that was then. Today I'm tasked with taking Pete and Tim into my memories and hoping to goodness this one sticks the landing for them. We'll soon find out on this episode of Getting Hip to the Hip. Long Sliced Brewery Presents Getting Hip to the Hip. Hey, it's JD here and welcome to Getting Hip to the Hip, a Tragically Hip podcast where we go through the discography of the hip with two folks who have never heard of the band before. So, while they're having their first experience listening to the music, you can revisit yours. Send me an email, jd, at GettingHipToTheHipcom, with your first experience with the Tragically Hip. It would be great to hear those, as we listen to Pete and Tim, describe theirs. Speaking of Pete and Tim, they are most certainly ready to be released from their protective hatches. I will push the button now and they are there. They are on their platforms. they're they're levitating platforms. How are you doing, fellas? 0:05:22 - Speaker 2Hey guys, Oh sorry. 0:05:26 - Speaker 1He nodded his head. 0:05:29 - Speaker 2I nodded my head for all you out there in radio land. 0:05:32 - Speaker 3That's my favorite aspect of podcasts. 0:05:35 - Speaker 1He loves theater of the mind. Sorry about that. Yeah, that's great. What's new? 0:05:42 - Speaker 2Oh man, it's new. Back in the saddle, man, you know. back to work today, like I said, struggling with a little bit of jet lag, but other than that, i mean I, i how much time we got JD. I could. Could tell you a lot of what's going on, but I don't know. Put you guys to sleep, tim. What's going on with you man? 0:06:08 - Speaker 3Oh, just cranking on. the week getting started here And last week was, to be honest, kind of rough, so I'm hoping this week's good. That's. that's what I'm counting on. 0:06:18 - Speaker 1Fingers across for you, fellas, both of you, to avail yourself from the. Jag, the Jag lat the jet lag and for you to feel better this week. 0:06:29 - Speaker 2Did you try to? did you try to call me a jackoff right now? 0:06:33 - Speaker 1Is that what you're trying to call me? No, i said jet lag, but I said it wrong. Jag lift, jag off. Yeah, i'm all right, i can't complain. We've got a new puppy dog and she's pretty awesome So far. She's having a nap on the bed right now. She spent the morning in her crate, so you know, we've been letting her run free this afternoon, or I have been letting her run free this afternoon. So, yeah, that's really irrespective of nothing. But Who named her? I did. 0:07:09 - Speaker 2Nice. 0:07:10 - Speaker 1Yeah, yeah, that's my last naming job that I get to do, though. 0:07:15 - Speaker 2I gotta ask you, michael Keaton, george Clooney, val Kilmer, christian Bale, robert Pattinson- I guess I'm a bailperson at this point. I would have. I would have also. The judges would have also accepted Adam West Michael. 0:07:34 - Speaker 1Keaton. Oh, adam West, yeah, sure, sure, yeah. 0:07:39 - Speaker 2Michael Keaton. Michael Keaton was great, but yeah, christian Bale was. Those movies were so amazing. 0:07:43 - Speaker 1Oh, it was Batmania, just Batmania, when Keaton and Tim Burton put that whole thing together. 0:07:52 - Speaker 2Oh yeah, Tim, were you a fan. 0:07:54 - Speaker 3No opinion. 0:07:55 - Speaker 2Okay, you're fleeting the fifth on this one. 0:07:59 - Speaker 1Yeah, no opinion, okay. So we're here today to talk about the fourth long play from the Tragically HIP, their fifth output at this point. This came out in 1994, to be exact, it came out the third week of my first year of university and they did a midnight album release. So, like all the record stores were open, they would be open all day and then they would close at nine and then they would reopen at midnight so they could sell the record, because it was the next day, it was Tuesday, so it was like Monday night at midnight you would go and get the record before anybody else. 0:08:42 - Speaker 2I remember that Tower used to do that too. 0:08:44 - Speaker 1Right, it was a cool fad and it's just. 0:08:48 - Speaker 2you know it's got like It was Tuesday you said right, That's right. 0:08:51 - Speaker 1Records always came out on Tuesdays. 0:08:53 - Speaker 2And there's a reason for that, and somebody told me the reason. I can't remember, but there was a reason. There's a distinct reason why that was the case, right. 0:09:01 - Speaker 1Okay. Well, if you out there know what it is, use social and let us know. Or shoot us an email at JD, pete or Tim at getting hip to the hipcom. This record means a lot to me. So you know, i'm not going to. I'm not going to beat around the bush this time. Or I am going to no, i'm not going to beat around the bush this time, i'm going to lay it all out right now and say I fucking love this record. So you know, let that not impact your scores. But there may be some arguments because it's just got the, it's got the crisscross of hitting a sweet spot for me with my favorite band at the time and coming out temporarily at just the right time you know to to build a culture around. you know it was produced by the hip with assistance from Howard and Freakin I believe it's Mark Howard and Mark Freakin. Freakin I want to say sound guy for the hip You can listen to fully and completely to get the all, the, all, the detailed information. We always went through that stuff in a big way on that show And this is not what this one's about. This is an addendum. So the label was MCA. This is again another MCA release for the hip Looks in at a record 59 minutes 26 seconds, you know, just a almost an hour. Singles It had six singles. Grace, two was a single, it was the first. One came out right before the record dropped. Greasy jungle was the second one. Nautical disaster was the third one. So hard done by then scared, and then thugs, and I believe that thugs was almost, you know, a full year after the record came out. So this one had legs. All music rated this record a 3.5 or part of me a three out of five, much lower than fully completely, which was the record before this, which got a 4.5 out of five. So a three. Very interesting, very, very interesting, grace. Start off the top with your initial thoughts on this record, mr Leiden. 0:11:32 - Speaker 3I felt it was long, you know, and realize pretty quickly that we were getting some extra songs. What else about it? I did notice some recording kind of changes or uplifts as far as production value goes, which is cool. What else about it? There are some certain songs on there which I absolutely dug. I ended up listening to the first half of the album several times I want to say struggled through to get through the whole album in a sitting, but I just kept finding myself starting over at certain points. Yeah, yeah, yeah, yeah. So we can talk about that more. 0:12:16 - Speaker 1I mean, it's definitely a long record, And could I edit this record? Sure, i could. I'm not going to ever say which songs I would potentially edit out, because they're all my babies and I just couldn't say it, but I secretly know which ones I'd get rid of. Tim, you have been looking for an album. You've been searching for an album throughout this podcast. You know you've talked about Pizza with the Works, you've talked about Mishmash's and collections of songs produced together to round out an album, but it seems to me as though you are seeking not necessarily a concept, but a conceit, and I would have thought that paid off with fully, completely. It didn't. So how about this record? I? 0:13:06 - Speaker 3don't think I'm quite there yet, but I'm close. Okay, i was expecting this album to be maybe more, maybe more concise, since they were driving and had more control, i don't know. I think that just the fact that it was a couple songs longer in the cadence of all the songs and really looking at where their place and all those things that I like to do, you know, it checked a lot of boxes for me, but I didn't. I didn't finish listening to it in a take and go oh yeah, now I'm here. Pretty close though, but I'm pretty close, jd, tell us, tell us, you know, when it came out at 12.01, were you in line buying it, or when did you listen to it? Like, what do you recall from your first listen to this album and how you felt and why it's your fave? 0:14:00 - Speaker 1Well, again, it's got that crossroads right of like culture and time and place And they were my favorite band so it was like so exciting to be in Toronto and buying it right away, because before I would have had to buy it the next day, there had been some concerts leading up to the release of this record where they had dribbled some breadcrumbs of what this record was going to entail And it was so cool to hear it And, more importantly for me, after the very slick sounding fully, completely, i love the. Well, you guys both know that I'm into lo-fi music and this isn't necessarily lo-fi, but this sounds much more self-produced, right Like. It sounds like it's recorded by people who are making their first record in a good way, in a really good way, like it's so fresh sounding after what. The last group of records that we heard were more slick and polished and that sort of bar rock thing. I've always said. This was the record where the Tragically Hip revealed that it hasn't been beer that's been fueling them all these years. It's weed, like they're a total weed band, and this record was the first one that reminded me of that. The rest of the records are sort of beer Okay okay, you know. Yeah, i've had 30 years to gestate on that, though, so bear that in mind. Now Pete has blood pouring out of his mouth right now. He's chewing his tongue off. You know He's dying to jump in here. What does he have to say about all this hullabaloo? 0:15:43 - Speaker 2Well, real quick. You mentioned that this was three out of five, and fully and completely was 4.5 out of five. Who's the company? 0:15:55 - Speaker 1I always use all music. I always use all music, all music, yeah. 0:15:59 - Speaker 2Yeah, they got their heads up their asses, because I don't even remotely see how this is less on the point scale than fully and completely, because I thought this record was fucking awesome. I agree that I felt the same way. That kind of Tim felt that it was a bit lengthy. I felt myself starting at a number of times and struggling a little bit to get through some ladder parts. There's certainly some areas where they could trim the fat, if you will. I'm not going to say which ones they are, but it was like for a band that's producing their first. It's their first go at producing a record themselves. It's kind of like it's just a little too much. It's like going out on a great first date, dinner's great, movie's great go back to the house. Sex is great. Oh, first date That your date's like hey, do you ever want to have kids? You know, it's like. It's like totally could've just done without saying that and the night would've been perfect. Like they just say that, they just ask that. Like on their way out It's like, oh, okay, doesn't mean you're not going to go out with them again, but it's, you know, i love it. I love it. 0:17:30 - Speaker 3I'll leave it there for now to let you say You know, i'll just quickly add on that very you know, very similar token that I had with it. I'm curious to hear the next albums And then to again look back at specific albums to see how I feel about them, because this is probably one. You know you are so excited. You know there's a trilogy of movies coming out on something that you love And you see the first one and you're like God, i hope the next two movies are just as good. Maybe the next one is pretty good or better, and you're like, oh shit, this is going to be great. You know, it's kind of I'm leaning towards that. I'm excited to revisit some of these to see how I feel in a couple of months. Hopefully I won't be like dude, i'm done you guys. No, that's not going to be the case. But yeah, i'm anxious to revisit the future for sure, because this is probably one of those albums. 0:18:30 - Speaker 1Yeah, yeah, i'll be interested to see that too. Maybe again we will have like a 10 year reunion. Pete mentioned that in the last episode. You know we should go back 10 years. Oh, we might. So who knows, maybe we will revisit this on whatever platform the kids are listening to in the future. I'm sure they'll be nuclear powered or something OK. So here's something new An intro song that doesn't just like open with a kick to your ass. It opens in a much different way. It still manages to kick your ass, but in a much different way. It doesn't have like a lick off the top like little bones or courage for human clenin, you know. It just doesn't have or blow a high dough. It doesn't have that same sort of whoop in the butt. It's a taste of like this is what you're going to get. I think You know it's a little bit of like setting the table. It's because you're listening to it and you're like whoa, this isn't the hip that I left behind a year and a half ago. 0:20:08 - Speaker 6Come on, just let's go. She kind of bit her left Geez, I don't know. But I can guarantee That we're now not gonna do. I'm told no proof That we're not gonna do. That's what I'm here for. I come from downtown. I'm already familiar. I'm with the low and weaks of our nation. That's what I'm here for. 0:21:46 - Speaker 7The secret rules of engagement are hard to endure. 0:21:57 - Speaker 6When the appearance of conflict again surrender means the appearance of force. Uncle, uncle, i can guarantee, i can guarantee There'll be no knock on the door. I can guarantee. I'm total proud. That's what I'm prepared for. Yeah, i've come from downtown. I'm ready for you. I'm ready to scale. And it's frustration. I'm ready to scale. And it's frustration. I'm ready to scale. And it's frustration. No, no, no, no, no, no, no, no, no, no, no, no. 0:25:07 - Speaker 7No, no, no, no, no, no. Thank you, music lovers. On behalf of our crew the finest crew in the business, ladies and gentlemen, on behalf of Robbie Gordy, johnny Paul, mr Jim Bryson on Keys, us musicians and the crew and everybody here tonight, we want to thank you. Thank you, music lovers. Thank you and Merci beaucoup. Summer on. Summer on take care of each other, drive the speed limit, wear a life jacket. 0:26:24 - Speaker 2Summer on you mentioned setting the table and I agree. And it's saying that it's a different band. That's like the one of the first things that wrote down. I feel like to be honest with you. I like this song so much. I feel like kind of it's just stupid even talking about it like it's such an honestly, it's a fucking banger. And I think I had sent to you guys in the group text like the SNL performance of this song. Yeah, it's just, it's jaw-dropping. Yeah, it's. It's the line about just. I looked at the phrasing, i looked at the lyrics and the way he did he wrote the lyrics and it's just so cool. Sorry, i wish I could articulate it better, but the rules of engagement are hard to endorse. Yeah, like is this I read a little bit online that it was you know about like a man propositioning a prostitute or a young girl. But I'm also like, is this a song about war? is this like an anti-war line that he's throwing in there? is it a double and tongue girl? I don't know, but I don't know. I could say a million things about this song, but I'll hand it over to to mr Leiden. 0:27:54 - Speaker 3I'm. I'm pretty much in the same boat. I heard this song and I immediately thought this is a stellar hip song. I can't wait to hear the rest of the album. But instead of like really going to the rest of the album, i immediately found the first live version I could find on a Google search, because I thought this song is, is gotta be, you know, quintessential live hip song and that's that's kind of where I went and I ended up finding the, the Woodstock 99. If you guys haven't watched any of the documentary about Woodstock 99, please do. It was a just the demise of Western North America, usa culture right there. But anyways, this recording, this video recording of the band at Woodstock 99, is so good, like chills on my arms, like Goose Pimples, it was just fucking amazing. This, this song. You know, i was basically like okay, that's, that's my single. Should I listen to the rest of the album? I'm pretty happy right now didn't they do. 0:29:12 - Speaker 2What did they do? a 94 and a 99, or did they just do 99 just? 0:29:19 - Speaker 3I think the documentary it's a 99 one, where they set everything on fire and tore down all the stages and rated the food trucks and 99 all those things. And then, you know, with this song in particular, i was anxious to hear the band doing their own thing without, you know, managers or producers looming over them. And there were a couple different things I heard, which are even more so on certain songs. But the drums sounded a little different, a little bigger. Maybe the bass was a little bit more engaged with drumming. And there's there's been some times when the bass is kind of funky feeling, just like really in it there was some kind of I don't know, pete, you might know, but there was some echo, really echoey guitar effects. 0:30:12 - Speaker 2I got, i got that written which were pretty cool. 0:30:15 - Speaker 3Yeah, it was kind of the song just hit all the boxes had kind of this transcendental gonna take you on a journey. You know, i liked it so much I was like I don't even care what it's about, this is just a great listen yeah. 0:30:32 - Speaker 1Tim you talking about. You know the drums being bigger and you know the production just sounding. You know bigger and you know with with some of the guitar effects a lot of it has to do with. They went back to New Orleans but this time they went to that Daniel Inwas studio and the Kingsway studio, which is just a big old house and you know they would do stuff like bedsheets over the stairwells and you know, just like like home studio tricker, but on a bigger, bolder scale, because this house has so many nooks and crannies that you can get different sounds of the different spaces. And they took advantage of that, which is very different from the, the path they took on the record prior. 0:31:22 - Speaker 2Okay, daredevil so daredevil this, the skipping start that they did. Yeah, i feel like that was. So this was. What year was this? again? GD 94, 94. So I feel like I mean that was the height of like CDs like were where literally everybody had a CD player, wasn't like the early days. So I feel like maybe it was a. It was a joke to to make people think their CD was skipped, because if you ever bought a CD and you were unfortunate to buy a scratch CD that was brand new and it skipped, you were fucking pissed. Oh yeah, so that was cool, that was unique. This song certainly does sound way better in the car. I don't know if it's just specifically my car, because I have a pretty good sounds. 0:32:26 - Speaker 3It's the premium audio system. Is that what you guys kept saying? 0:32:30 - Speaker 6premium audio. 0:32:31 - Speaker 3I think we're at a point for an acronym for pass sound system everybody everybody listening. 0:32:37 - Speaker 1How about a? 0:32:38 - Speaker 3t-shirt yeah, if I get, if I get through this. 0:32:41 - Speaker 1Okay, these guys only a ride in Pete's car, the big that dooby or there should be a bingo card where the you know, every time you hear Pete say premium audio sound system, you tick the box, or and then there's of course the free square, and then, if you hear me say so, there's that geez, we're going to Malaga. 0:33:15 - Speaker 3There's this guy there with this premium audio system and he gives people rides. 0:33:22 - Speaker 2I'm just saying that because I'm due you're doing yeah, for sure $25 a song I'm good I think that'd be cool. I think a job this no, this song. Tim mentioned something about the, this bass. You were JD, you were talking about the, the studio and all the trickery. But yeah, this is the first one where I write down the like the guitar solos, for example. They seem way less defined on this record, and I don't mean it in a bad way, i mean it in a way that and then there was a really cool oscillation effect maybe a little more jam. 0:34:13 - Speaker 3I don't know if you know, yeah, yeah, yeah, yeah yeah, i think the flavor is kind of gelled together more the oscillation effect. 0:34:24 - Speaker 2If you've ever heard the the song real emotional trash on the album, real emotional trash yeah, that Steve Malkomis song I know this came before that, but whatever he's using on that guitar solo is exactly the same effect they're using on their level because that oscillation of the guitar is just. It's so cool. I wish I was cool enough to know what it was to ever be able to use myself, because it's fucking rad. Anyway, i dug this song a lot. I really liked it. 0:34:59 - Speaker 1What do you think? what do you think they're damn? 0:35:03 - Speaker 3I did too. I think, yeah, i love the drummer just counting it off at the beginning. That that made it feel like maybe more home recording type scenario. This song, this song, like I was wishing I was in a bar, just like sitting at the bar pull-up and just I felt like I could be watching the band, you know. But it was like the barkeep and the kitchen people and I don't know. This, this one, this one kind of took me in a different direction than than many. After the one minute mark maybe this is kind of what you're talking about, pete like with the guitar and drums it gets kind of heavier or more layer layered. It felt like locomotive, like this train's just really going story wise, i mean, that's probably a podcast itself to talk about Annie Edison Taylor and going over the falls aspect of this one I love. The line in the real wonder of the world is that we don't jump to. Yes, you know, that's. That to me is like it delivers something inspiring. The song is like get out and get after it. Step out, you know, jump off that cliff, you have 50% chance of surviving if you survive. It's gonna be awesome and if you die, it'll be awesome. You know, this sounds really. It really is really cool. 0:36:40 - Speaker 1Where do we go next? we hit track three, and that's greasy jungle. Take it, tim greasy jungle. 0:36:48 - Speaker 3This one, the snares really snappy. I felt like this is where you're kind of hearing different recording, maybe aspects. When I say snappy snare, it's like tuned tighter. Maybe you know there's lots of film references here in this song which we've gotten before. There's congas, like. There's some hand drumming at some point in the song, i believe, which is. I was just like kind of tuned into the drums on this one. Obviously that's a background effect, but a new layer. There's a definitely a new crash cymbal, like there was some new drum gear right on this album. There's a new crash cymbal that's really bright. That's always kind of gets my attention. I didn't realize first few listens that it was like dirty streets, metropolis, correlation with greasy jungle. I didn't know what the heck it was about. You know I didn't for a song three. I always like hope that this is the one that's gonna get maybe somebody around the bases at bat. You know that they're gonna push, push it through and this one didn't do it as much for me. I was more kind of like okay, what's, what's next with. 0:38:21 - Speaker 1This one didn't grab me so much one of the cool little Gord Downey stories is the lyric that you're just talking about metropolis noir. It sounds so elegant and mysterious at the same time. But metropolis noir is a name he saw on a bag of coffee, it's. It's like French roasts, but in French it wasn't French roasts, it was a dark roast or something, or Italian roast. 0:39:00 - Speaker 3Dark roasts. Dark roasts, italian roasts. 0:39:02 - Speaker 1I forget which one it was, but it translated, because everything in Canada has to have a French label and a Canadian label. It translated to matropolis noir. So that's just one of those little things he stuck in his notebook. and then he's writing this greasy jungle, matropolis noir. And all of a sudden you've got this setting and then it takes you on that little story for funeral home sandwiches and coffee. Oh delicious Yeah. 0:39:33 - Speaker 3Yeah, i think that I also read that it maybe referenced a diner that he worked at that had the same name. Oh really, did you guys know that? Yeah, yeah, greasy jungle. Greasy jungle Sounds like a good diner though. 0:39:48 - Speaker 2Yeah, jd, you said French roasts, and it's funny because I always think I don't remember the name of the comedian, but in France they just call it roast, just like Tim and I's definition of Canadian bacon is actually just bacon for you right, JD, No I can't remember the comedian who did that bit, but, tim, i couldn't disagree with you more on this one. However, i will tell you. 0:40:25 - Speaker 1Tim, you're ignorant slut. 0:40:30 - Speaker 3Yes. 0:40:31 - Speaker 2I'm done. I sort of felt like that the first time I heard it And the more I. This was one where I kept digging Actually I didn't really have to do much work, but just the more I listened to it the more I was like okay, i get it. I get why this was a single. This is a banger on the phrasing on it. The vocal phrasing absolute A. Plus another great car song on the solos, super experimental, like again. It's cool, because it's not. Most of the guitar on this record is not like this. It's not a producer going. 0:41:11 - Speaker 1Okay, boys, let's lay down the solo. This is where we're going to put the solo here. Give me 32 bars, let's go. 0:41:18 - Speaker 232 bars, yeah, like it just it's so cool and it's not like that. And this song is the first although not as much, because there's another one we'll bring up and I'm sure you guys know which one it is But this is the first song where I really hear that the influence this band had on a Linus Morrisette. Oh wow, Oh yeah, There's another song on this record that we'll get to. That is clearly. It's clearly. She was sitting in her room listening to this record prior to recording Jagged Little Pill, like which I can't remember what year that came out. 0:42:04 - Speaker 1What year did that come out? It came out, i want to say the summer of 95 was when the was when she broke, when she exploded. 0:42:13 - Speaker 3Yeah, is she a fan? Is she a fan? 0:42:16 - Speaker 2She's a great musician and she's Canadian, so I would be hard pressed to think she's not. At least, i didn't mind. Oh yeah, she's Canadian. Yeah, you fuck her, stick together. So I saw her live in 2018 in LA and she just, i mean, fucking blew the roof off the place. Oh man, it was, it was, it was insane. 0:42:40 - Speaker 1Anyway, my wife had tickets to the 25th anniversary tour of Jagged Little Pill and it got canceled due to COVID. So, yeah, total drag. Yeah, yeah, okay, yeah, i'm, i'm on your side there, pete. As far as Greasy Jungle goes, next one is a cool thing that I don't know if this is something that pre-existed. You know, i don't know if somebody had taken a photograph and of a dog, you know, with its teeth bared, and wondered aloud if it had been yawning or snarling. Because, like, since that time, i've seen so many photos that I say that line in my head. You know, there's so many photos that they're captured and we feel something right away, but then you have to sort of open your mind and go well, wait a minute, maybe that feeling that I'm feeling isn't the right feeling. You know, it was just the way the photo was captured. It could have been yawning or snarling, and that sort of kicks us off. 0:44:08 - Speaker 5The cops go into the crowd under a glaring platter of light and the music's just so loud and the tourists take their t-shirts off and a bus load of kids and gifts to the finger Afternoon, when the sidewalk's hot and the shadows too chilly to linger. 0:44:50 - Speaker 6Both we're in the escuchians and at the bar, and people are helming Downtown. Never, ever been. 0:45:06 - Speaker 5Now just wait for me, I'm gonna resurface. 0:45:17 - Speaker 6I take a look at this photo girl. I don't know how clearly it's taken away. 0:45:28 - Speaker 5I'm gonna get out of here. I never saw it. The picture is never clear. 0:45:41 - Speaker 6I'm gonna make a decision. I mean an incarceration, i mean so much. One night in El Paso, the cops fall into the crowd Under a throbbing bladder of light And the music is just so loud And the tourists turn their TVs off. The box is apart with the sound of a linger Night time when the shadows come And you tilt to the tips of your fingers. But that's the way it goes in our region. I'm so strong, i'm making a chance Downtown, never ever been. Now just wait for you to resurface. Take a look at this photograph. How clearly it's taken away. He could have been the artist, not an artist. This picture is never clear. I'm so good at this photo, girl. How clearly it's taken away. I'm gonna get out of here. 0:47:48 - Speaker 5I'm in a slumber. The story is never clear. Walks right into a Mardi Gras parade. We're touring the south at the bottom of the beard. 0:48:28 - Speaker 2Yonnie and Snarling I first listened to. This record was my favorite song And that was, with my, everything I love about Grace too, it starts out very mad season. I don't know if you know that band. 0:48:52 - Speaker 1Yeah, that was the supergroup right. 0:48:54 - Speaker 2Yeah, that was the supergroup of Pearl Jam and Alice in Chains And that record. When did that record come out? Did it come out in 1993? Maybe, so they were active in 1994 to 1996, So maybe it's the same time, I don't know. Anyway, it starts out like the first and it builds. I don't know. I just loved it. I could say so much about the instrumentation, But lyrically, I don't know if you've got a line on exactly what it's about JD, But there's some historical references in there And talking about El Paso, he brings up the Mexican US border there. I'm pretty sure that runs through the 100th Meridian, Oh wow now, i know that. I could be wrong, but it just kind of feels like it's going, like Cordoni's really going in. He's a big fan of these historical references. I don't know, i dug it. What's saying you, tim? 0:50:11 - Speaker 3I dug it. I think when I first heard it started up I was thinking Okay, here's the spooky, sinister Pipps song of the album Which we often get. You know, if any song that I hear I hear a reference about El Paso or the Rio Grande, it's usually something heavy. It's not about going tubing and fishing and having fun. So yeah, there's a line in there about the cops go into the crowd Throbbing bladder of light. You know, i'd love that phrase, throbbing bladder of light. The music is so loud nighttime when the shadows cough Like this. Lyrically, the song's loaded, it's just it's really really big. I just, you know, somebody beat up and throw it in the river. This is an early song there's a moody guitar ending, i think throughout the song. The bass to me I'm always kind of honing in. It's funny because Pete's on guitar and I'm on bass and drums, which is cool, but the bass is a little punchier, like it's tuned up or I don't know. This one had definitely some home, you know, if they recorded it in the house. I'm just gonna call it home production because it's basically what it was, even if it was like Super Pro Studio, like there's some little things in there that I heard for sure. It's an interesting song. It's pretty cool It was. It's kind of an early song to me. I stuck with it a few times. 0:51:58 - Speaker 1Cool. What's next? It's number five. We're at five. Fire in the hole. 0:52:07 - Speaker 3Yeah, let's fire. Fire in the hole is fucking cool. And I say that because I heard kind of this 90s grungy punk influence with this one, even though it's not like super fast or anything. But then when I started reading into it, you know, because I figured it had something to do with fascism and Nazis And I don't know. There's something you know angry here. There's some different ties to Sonic Youth's Youth, sonic Youth's Youth Against Fascism song. It's very I don't want to say very similar, but there's definitely some things shared. You know, that was a time for me. It was a time of really getting into, like crunchy guitars, a little bit more experimentation, faster rhythms. You know this song, for a hip song maybe, is like a little bit tougher. It's a little bit tougher. And I also just thought you know by its own name and chorus that this one is probably ruckus live. It's probably just fun and, you know, fist in the air. 0:53:30 - Speaker 2Yeah, i agree, i agree, this is a banger for sure. The guitar work on it I definitely. I mean it's weird, i don't know because I'm not the biggest Guns N' Roses fan, but you know, slash's Les Paul guitar tone is pretty distinct, you know, when you hear it, and the guitar tone on this song that he's playing some lines sounds, i mean, identical. It doesn't sound like Guns N' Roses, of course the song doesn't, but that guitar tone just was so reminiscent of that And it kind of made me think, okay, so they're like trying to, they're trying to shed some older skin from the previous records, but you know, it's sort of like you can take the. You know, take the what out of the what, but you can't take the what out of the what. They still got it in their roots. You know what I mean. 0:54:35 - Speaker 1Yeah. 0:54:38 - Speaker 2So that's definitely there. And then, yeah, this is one like the obviously Grace too. I mean that's sort of like the flagship of this record. But this is another song where you're like, okay, gord's found his voice. He's really, you know, If the band is his recliner, like whenever he gets up, you can see his ass imprint. It is always there. He's found his voice. The chair is sunk. It's sunk in. Does that make sense What I'm trying to say? Yeah, he's. Yeah, he's been in that chair so long now for a number of records that it's just comforts Like he's found it. 0:55:29 - Speaker 1He knows where he's at. He's in the groove. He's in the groove Like he's absolutely. And to me, guys, isn't this the heaviest that we've ever heard them. Or is there something on Foley that might be? No, i think you're right, i do. 0:55:46 - Speaker 3I think it's up there. I think it's up there. 0:55:48 - Speaker 1Yeah, because you were saying fast and I was thinking to my head, I was like yeah, it is fast. It's fast and heavy, Like this is a great song alive. 0:55:54 - Speaker 2This is like Foo Fighters, Fast Like I was like whoa. 0:55:59 - Speaker 1Yeah, because it's still, it's still. 0:56:05 - Speaker 3It's interesting. You went to guns and roses. I don't know why I didn't go there Like I. Just I didn't hear that reference, but I want to go back. 0:56:14 - Speaker 2Just the guitar, just the guitar time. 0:56:17 - Speaker 3Yeah, yeah, yeah. 0:56:19 - Speaker 2For me oftentimes that doesn't mean something positive, Just yeah you know, outside of them anybody else I hear sounding like remotely like guns and roses. You just kind of go, eh you know. But I think it was just weird that Tom was there because coming up the hip I feel were such a that was. That was what most bands were sounding like back then. 0:56:49 - Speaker 3I don't know. Yeah, maybe 50 mission cap or something. Oh yeah, yeah, this one, you know. 0:56:56 - Speaker 1Yeah, you might be right, You might be and you might be so hard done by. 0:57:00 - Speaker 2So hard done by. To be honest with you, this is probably my least favorite of the of the record. Hey, we're in the break. Yeah, i just didn't. Yeah, i thought it was, i thought it was a cool chorus, but I just I kept thinking about, like, what would I say about the song? And it's just, you know, maybe in the 10 year reunion by then I'll have something. but this song, sorry, i wish I had I had more for it, but I really just don't. 0:57:42 - Speaker 3I'm with you a bit. I heard Allison Chains right away And I don't think it's like it's not like 100% Allison Chains. That's who I thought of And I'm starting to hear, you know, and occasional references to bands that we're doing well during this time And I'm not a big Allison Chains fan by any means, but it's. you know, there's still some lyric nuggets in here I love. you'll have to wait a minute. It's an en somatic Like. that to me is kind of a phrase of if you want, you know, beauty in life, it's not going to come to you right away. You got to, you got to deal. The ending is kind of rough. You know the yeah, i'm with you, pete. The ending is kind of rough. The snare is too snappy. The snare is like so snappy that it's like that's how you tune a snare for fucking punk rock songs with a high beat per minute. You know it just didn't. it just didn't. 0:58:45 - Speaker 1It's funny that you say that, because the original, like the demo version of this song is totally up tempo. Well so it's. It's a completely different song Me I. I think this is, i think it's fine, i think it's harkens back to like, like it could be on up to here, it could be on road apples. To me it's got that sleazy, not quite stone Z vibe. So I was really surprised to hear you say Alison chains, because I'm I'm going more of like the roots. You know, okay, that's, that's my vibe of John, but but that's, you know, this one, that's just how it was for sure. 0:59:30 - Speaker 3More filler had a rough ending and I was kind of glad it was like, okay, what's next? You want to? you want to add something, pete. 0:59:37 - Speaker 2Oh, all I was going to say was You know, that'd be cool if it was. I mean, maybe it is cool live. And I just just to comment that I always hate when you hear a band play a live version of a song and it's just fucking killer And that's the first way you hear it. And then you hear the studio version and it just absolutely blows. 0:59:59 - Speaker 3So yeah, i'm, i'm with you, I'm with you. Maybe this is that? 1:00:03 - Speaker 2But to answer your question, JD, what's next is not cool. I've actually heard JD sing this song. 1:00:12 - Speaker 1Oh, that's right, I did it. I did it for a, i did it for a hip podcast, like I do a pod list, just like I do for medium alchemists And I sang it. Is that that was right? Yeah, yeah. 1:00:27 - Speaker 3I dug it, I thought it. I thought it was what's, what's that pod JD had that he took off. It was like JD sings in the shower, Was it that one? 1:00:36 - Speaker 2That's what I wanted. Jd sings in the shower. There was a. There was a. There was a video version of the podcast too, but that was yeah that was that, the lovely fans. No, i remember hearing this and the first time you sent it to me I think I was already living in Malaga. But great tune, i, you know this, and JD, you, you, you explained to me what this song was about and I've since forgotten because my brain doesn't work anymore at my age, but I did get. I think the reason why we started talking about it in the first place was because we I mentioned to you the another great Canadian singer, gordon Lightfoot's Right, ricky Deven, if it's Gerald. And so you, you brought this song up and that's kind of how it came into my, my atmosphere, my airspace if you will. 1:01:44 - Speaker 1Well, those are forever linked for me, because the first time I saw this song played live Gordon, he introduced it live as a Canadian musician, would be complete without a song about a nautical disaster. 1:02:04 - Speaker 5This song is called nautical disaster. These are the Dh과a stations for brokers. 1:02:36 - Speaker 6NotOf cybersecurity. This is Darryl, i don't wanna sweat. Ha. What's wrong? What's going on? Can't tell yourself I'm a foreign team. He said hang on, just stop, shut your big mouth and gotta do what you feel is real. He got no peace and false gods Got no Sunni, my baby. She won't know me when I'm thinking about music. I'm a foreign team. Keep it going, man. 1:04:11 - Speaker 7Let's keep the wagon wheel going. Alright, i had this dream where I relished the fray And the screaming filled my head all day. I felt as though I'd been spinned here, Settled in into the pocket. 1:04:44 - Speaker 6In a lighthouse on some rocky socket Of the coast of France, dear One afternoon. Four thousand men died in the water Here And five hundred more repression, matthew, is parasite's life In your blood. Now I'm in a lifeboat Designed for ten. Ten on me. Anything that's systematic Would get you hated. It's not a deal, nor a test, Nor a love of something stated. The selection was quick, the crew was in order And those left in the water Got kicked off the padlock And we headed home. 1:06:24 - Speaker 7And in the dream and when the phone rings, we're doing alright. 1:06:30 - Speaker 6I set it out there Those days and nights, but only a fool would complain. Anyway, susan, if you'd like A conversation To say myself, in my memory Is those fingertips Scratching on my heart, and I'm in a lifeboat Designed for ten. Ten on me. 1:07:41 - Speaker 7Anything that's systematic Would get you hated. It's not a deal, nor a test, nor a love of something stated, no matter how hard it is. You see how hard it is, it's real hard. 1:08:27 - Speaker 5There's a lifeboat Hanging on a wire Sucking up to someone, just a stoke of fire. 1:08:35 - Speaker 7Picking up the highlights of the scenery, saw some little clouds. 1:08:50 - Speaker 5They looked a little like me. I had my hands in the river, my feet back up from banks, looked up to the Lord above, said he'd call me thanks. Some times I feel so good I've got to scream. Said 40 baby, i know exactly what you mean, he said. He said I swear to God. He said Now, now. 1:09:27 - Speaker 6Now, okay, my memory Was my dear watch's river that I nailed. If near or leave a sink in there, then I don't wanna swear Swag, swag, swag, swag. 1:10:42 - Speaker 1Swag, swag, and then they launch into New Orleans' sinking. Oh my gosh, and you're sorta like what? What's going on? And then, in the middle of New Orleans' sinking, is this brand new song, fully fleshed out, not a? 1:11:00 - Speaker 3good one. You know, i read about this And it's fucking holy crap. 1:11:07 - Speaker 1It is a tornado Like it is, so destructive. 1:11:14 - Speaker 3And you know, there's not many bands Who perform live that do Extremely intentional things like that For the audience. There's not many bands that do that Doing something like that, mixing in a new song in the middle of a song People know And then did they circle back? 1:11:31 - Speaker 1Yeah, They finished, then they finished all of these things. 1:11:34 - Speaker 3That's just insane to me. I just love, i just love, love, love that. I just love that. If any, if any songwriters are out there, do that for me. When I come here you live, mix me in a new one. It's a treat, right? Yeah, because it's the opposite of going to a show And hearing a band play Like their album. You know, i've walked out of shows Because it's just boring as fuck. You know, i'll say this about In 18. I believe it was built to spill. Oh my gosh, it was like I could have just put on One of their records and sat at home. So, yeah, to be able to split in another song And keep going and mix it up And do all these things that are so creative And have the confidence to do that, and phew. 1:12:30 - Speaker 2The only thing I'll say in defensive built to spill Is there's always. 1:12:34 - Speaker 3Oh, everybody defends. Built to spill. 1:12:36 - Speaker 2No, no, i'm only saying it live I've never seen them live. Only because they always have a new line up. It's only a singer They do. They do. So if I'm a guy sitting in And part of the band this time around, the only thing I know is the record, because that's probably how they play together, which that's uh. Yeah, my buddy's seen them live And he kind of had the same feeling as you did. 1:13:01 - Speaker 1Same feeling as you did, i'm just starting to get into built. 1:13:04 - Speaker 3Yeah, sorry, bds fans. There you have it. There's another fan that wants to punch me in the gut. Not a cool disaster, i think it's fucking cool. Like my sentiment right away was like Here's the epic storytelling TH song. Here The drums it was like beating. Like we're charging into war Lifeboat designed for ten and ten. Only You know. There's just all these Great metaphors in there for like I don't know. 1:13:34 - Speaker 1Oh, i love the line about getting The remaining people in the water Getting kicked off at Antler. Oh man, i don't know why. Yeah, and this song, there's no structure, there's no verse, there's no chorus, it's just literally Like you said, tim, it's like a story. 1:13:51 - Speaker 3Yeah yeah, i don't know who the Susan reference is. I didn't look too much into that part, like, towards the end there's something about Susan Which I don't know why. With this band, whenever they mention a woman I'm always like. 1:14:03 - Speaker 1She's Evelyn's sister. 1:14:04 - Speaker 3Because it's often something grim. But you know this song there's. There's lots of data in there. This could be a rabbit hole song. It wasn't so much for me, just because I thought it was awesome. 1:14:19 - Speaker 1You're right, it is awesome. It's fucking awesome. Maybe I'm out and we're actually more song for the band. Where do we go next? Um Thugs? 1:14:28 - Speaker 2This is gonna sound really strange, but first of all, i love the chorus on this song. That's fantastic. I really dug this song a lot. It's ironic that it's called thugs and the baseline is a slowed-down version of Grandmaster flashes a message yes or yes? 1:14:54 - Speaker 3Whoa, I didn't go that deep, but I knew it was something like I. I felt there was something go out on in this song And I didn't know what I was you know, i didn't know what it was, but Uh, you keep going it's a deep, deep. 1:15:09 - Speaker 2There's clearly a deep admiration for Grandmaster flash Going on here and The. this the we reference to JD. You mentioned that this is the song where, or this is the record where, you realized they're actually a wee band out of your band. 1:15:30 - Speaker 1Um, yeah, it sort of. It sort of happened at the same time to me as well, no, but you know, there's the reference about All roll or rolling. I'll do the details, you do the roll and I'll do the details. I'm sorry about that. That's all right. 1:15:48 - Speaker 2Yeah, that's, that's kind of where. That's kind of Where I thought on that, the Again the chorus awesome, uh, there's. He keeps doing this high, are you know? it doesn't a couple times and on the record but he does like a high-pitched whoo And this song, that's really cool. And The spacey reverb Guitar is just like. I couldn't think of the song that it reminded me of or the artist, but it's, there's so much reverb on this on that guitar, it's like It's insane. 1:16:26 - Speaker 1Love it, love love, love this one. Yes, it's, yeah, you can swim in it Well said. Yeah, yeah. Where are you on thugs? 1:16:34 - Speaker 3You know I I Felt it was a little bit filler. You know I I didn't get a whole lot from this one I when I Started looking into kind of the movie references or what they get up trying to figure out When I was trying to figure out. You know any details About this song that could make me get into it more? I read and I've read this before, the quote from gourd, that if that's what you think it's about, then that's what it's about Sure, which made me think for this song. Okay, if it's. You know if I think gourd would tell me hey man, if you, if you don't dig this song, then maybe you should try Inevitability of death. You know, if you want to get heavier, then go here. If you don't, you don't get heavy with thugs and let's give you a song about struggling with cancer, which is, i think, inevitability of death. You know, there's what I enjoyed about this song is they mix it up a little bit. You know there's a Chorus singing without drums. You know they're starting to do little creative things on this album That I think help make it stand out and keep my interests more. That's kind of what I, yeah, that's kind of what I've noticed. But then you know, i think everybody probably knows anybody, or sorry, anyone knows someone is diet of cancer and maybe that's what this is about about and living life. You know, trying to Do everything to your fullest. I'm not sure about this. The song was, it was a good jam, it was it was. 1:18:17 - Speaker 1You know what you're not. You're not Far off the track. I don't think, though, when, when you say that about cancer but that would be just so terribly ironic you know Writing a song about that and then succumbing to that illness. You know all those. 1:18:38 - Speaker 3Yeah, exactly. 1:18:40 - Speaker 1Because it came on suddenly. It wasn't something he battled with for very long. It came on suddenly and he was gone, wow, other than a other than a cross-canada tour. But well, you just think, puffy lips, glistening skin, yeah, everything comes rushing in. That could be like reference to, like the chemotherapy you know, like rushing into your body. You know We don't go to hell, just yeah. I love the. I also just love the word play. I thought you'd be the death of inevitability to death just a little bit. I thought you'd be the inevitability of death to death just a little bit like. I love how it's inverted Mm-hmm, very cool, very cool. 1:19:21 - Speaker 2And he makes it work it's crazy that you say like puffy lips and glistening skin. I'm thinking of a. I'm thinking of like Scarlett Johansson and in a bikini like that's who. I'm like. That's right where I went when I heard that. That's so. I'm not even joking. 1:19:43 - Speaker 1That's like what I thought say, could have been yonder somebody somebody just came from LA, i think. 1:19:51 - Speaker 2It's been any time with Scarlett, though The I dig this song It's. It's not one of my favorites, but this was the song that Clearly did the one I mentioned earlier that that Alanis drew a lot of The word play and the way he phrases it is It's. It's exactly what she does in the song. You ought to know like it's. It's 100%. You can't Can't deny it. I'm sure if you had a gun to read she'd say yes, of course It's worth it. She's got the inspiration on. I. 1:20:33 - Speaker 1Don't think it would go that far, just just for the record. No, yeah, if you were interviewing her you would probably, i probably, i probably just ask her. 1:20:39 - Speaker 2Yeah, she seems like a nice person. 1:20:43 - Speaker 3Let's, let's, let's have her guest on the next one. 1:20:45 - Speaker 1He's gonna you have. You have that up, jady Yeah. 1:20:47 - Speaker 3Yeah. 1:20:48 - Speaker 1Yeah, I like the bass that. 1:20:49 - Speaker 2I think the chords are a little bit more. I think the chords are a little bit monotonous. The line if you go to hell, i'll still remember you, that's just. That's a really fucking cool line. But The bass starts to shine at the end, which is cool because because the chords are so I guess I've been honest the bass really isn't doing much, but then it does something that that only Tim Hates is more than I do. It's just faith. 1:21:27 - Speaker 3You know, i will say some of the hip, some of the hips, fadeouts are better than others. Okay, they've had they've had some oh dare I tragic fadeouts oh. I use that because I hate fade out so much. 1:21:47 - Speaker 2Jady, can you, can you You edit this in? can you, can you do that? 1:21:55 - Speaker 3That's funny. You mentioned that cuz a couple weeks ago, jd. I said to JD you know, sometimes I just want to add in a sound effect, like You know, and he's like you do not do that on my podcast, i hate sound effects, because I'm even thinking. 1:22:14 - Speaker 1You know, when you were talking earlier, you were talking about The bass being slowed down from Grandmaster Flash, like, oh, i could intercut. I could intercut like the Grandmaster Flash song so people could hear it. 1:22:27 - Speaker 2But then it's like It's so noticeable man, i mean it's it's so noticeable. It's exact same bass line, but anyway. 1:22:37 - Speaker 1Next song, though. So then we slow it down with scared. 1:22:41 - Speaker 3This that's so scared for me is it's like a. I instantly went to. This song would be an amazing concert concert closer. You know it's. It comes on, you know the night's finishing, it might be the what else? songs. You close your eyes at some point and just listen and get in deep. You know it's, there's, it's layered and story from I don't know Russia and the Germans and Stalin and Trying to make culture and art disappeared and like housekeepers and all these different things. It's like it's. It's. It's a sad kind of beautiful song that It's a little bit of a usual makeup for them with this kind of section of the album, but I thought it was, you know, on that note, kind of dark and lovely overall. 1:23:37 - Speaker 1What do you think, sir? 1:23:39 - Speaker 2I wasn't. I thought this was kind of like just a token. If you will token slow tune like It didn't do it for me, like When it comes to like softer hip songs, like it didn't give me the same Warm, fuzzy feeling is like fiddler's green did. 1:24:02 - Speaker 1Sure, okay, yeah, i mean, fiddler's green is a knockout pie. It is, but my god scared. I love this song really good. 1:24:10 - Speaker 2Maybe it's just positioning on the record, i don't know. I've got a Spend some more time with it and in this was actually one song. There's a couple of tunes. I didn't Get to hear the car, yeah, towards the end, because my car rides weren't as long and they started the record. I would put the first song on when I got in the car, so if I wasn't driving for a long time, obviously the song story the other record didn't didn't didn't make it in the in the car, but there was something really weird on this song. There was a Spacey sort of keyboard sound that kept going off. You know I'm talking about. 1:24:54 - Speaker 3I know, now I don't really yeah, the only thing that certainly stood out to me was the use of acoustic guitars. There's, you know that's. That was a little unusual. I don't remember keyboards. 1:25:05 - Speaker 2There's some sort of keyboard effect going on in there. That is Like the only thing I can equate it to is like you know the. It's like an oscillated version of. You know the sound of the, the metal hitting the, the track on the song. It's a sound of the men working on the chain game. Yeah, it's like it. It's like an echoey, delayed, oscillated, real subtle Vert Sample of that or something, something similar to that, and it's done with the keyboards and said it's on the song 100%. 1:25:46 - Speaker 1Huh, i've got to listen with these headphones. 1:25:49 - Speaker 2But yeah it's. It was a cool song. I dug it and I kind of wish I had more of a feeling the way you guys do about it. But you know it's okay there just hope for you. 1:25:59 - Speaker 1There's hope for you, peter. From there we go to an inch an hour, and this song always impressed me, because the math works out an In an hour today the same way, an inch an hour to feed a day, to moan tonight in this most professional way. 1:26:57 - Speaker 5There's this fucking band. You gotta see they used to care about living shit. I see no profit in talk. No food in town, no rock and roll, no bestiality. 1:27:10 - Speaker 6Makes me feel the same way. An inch an hour to feed a day, to moan tonight with their little mouth to say But our health is best with the people in the space. No stuff of town, no feed you through, no salt on the tev. It works through Making lots and moogs. 1:27:49 - Speaker 5Tonight I'm gonna win and make this gift heart. I want you to see your breath in the spring side. Heart, coffee colors, ice and feeling. First part Sound. The rushing water in the dark Makes me feel the same way. 1:28:06 - Speaker 6An inch an hour to feed a day, to moan tonight with their little mouth to say But our health is best with the people in the space. I mean our health is best with the people in the space. You see, i don't know me. I don't know me at all, i don't know myself. 1:28:47 - Speaker 1I don't know myself. I don't know myself. What did you think of this? 1:29:06 - Speaker 2one. I love the. I don't know if I paid attention to it in the other records, or I'm just hearing this now, or this is the first time they're really doing it, but I feel like the guitar is falling the vocal line, or the vocal line is falling the guitar a little bit more, which is cool, like the melody of what Gord's singing. I thought it was a fucking banger. Again, this is another one where he's like yelping. I can only say yelping because he's not screaming but he's saying oh, oh, like really multiple times during the song. Anyway, i love it. I thought this song would probably be a really good opener. I don't know if they ever opened with it, but Definitely thought it would be a good opener. 1:30:07 - Speaker 3I think this one I was anticipating, without even knowing it, after listening to Scared. Scared was like this epic kind of novel, three-part novel to get through And when an inch and hour came on in the car, within seconds was turning it way up Like. This is one that I kind of needed. With the placement in the album, it truly so. I read that it's potentially, or possibly, if it's about a fan who wrote a fan letter to the band. Supposedly this guy claims to come home at the end of his night shift every day. He would go buy some beer and sit on the stoop of his apartment And just crank tragically hip and drink beers. And he was thumbing through one of their albums and saw an address to write letters into

Hey everyone, it's JD here with Pete and Tim, and we've got an exciting episode for you as we explore the Tragically Hip's 1994 album, Day for Night. This record holds a special place in my heart, and I can't wait to share my memories with Pete and Tim. Listen in as we discuss the album's unique nuances.As we examine the tracks on Day for Night, we also dive into the powerful lyricism of songs like Greasy Jungle and Nautical Disaster, uncovering the stories behind them. Our discussion also touches on the impact of the album's intro song, Grace, Too, setting the tone for the record and leaving a lasting impression on listeners.Join us as we reminisce about the days of midnight album releases and the significance of this record in the Tragically Hip's discography. Through our conversation, Pete and Tim share their first experiences with the band's music. So, whether you're a longtime fan or discovering the Tragically Hip for the first time, this episode is sure to be a nostalgic and enlightening journey through the world of Canadian rock history.0:00:00 - Speaker 1Hey, it's JD here and I'm with Pete and Tim and we have a really big announcement we want to make. Are you strapped in Good? Mark your calendars for Friday, september 1st, as long-sliced brewery brings to you getting hip to the hip on evening for the Downey Wend Jack Fund. 0:00:22 - Speaker 2Join us at the Rec Room in Toronto for a night of music, unity and making a meaningful impact. This event is dedicated to honoring the legacy of the tragically hip, while supporting the Downey Wend Jack Fund. 0:00:32 - Speaker 3Immerse yourself in a powerful tribute performance by 50 Mission, celebrating timeless classics that have shaped Canadian rock history. We'll also wrap up the podcast in a memorable way by doing our finale live that evening, but it doesn't stop there. 0:00:48 - Speaker 1This event is all about making a difference. So we've got a silent auction with prizes. you've got to see, from Blue Jays tickets to tragically hip ephemera to kitchen appliances. If you're looking for something cool, chances are you'll find it at our silent auction. 0:01:05 - Speaker 2All proceeds for the evening will go directly to the Downey Wend Jack Fund supporting healing, reconciliation and positive changes for Indigenous communities. 0:01:13 - Speaker 3Tickets are on sale June 1st and can be picked up by visiting gettinghippetothehipcom and clicking on finale. 0:01:21 - Speaker 1By attending Getting Hip to the Hip, you're not only enjoying a night of incredible music and comedy, but also contributing to a brighter future. Join a community of like-minded individuals who believe in the power of music and unity. 0:01:35 - Speaker 2Tickets are only $40, so mark your calendars and visit our webpage to secure your spot at this unforgettable event to celebrate the hip with fellow hip fans. 0:01:45 - Speaker 3Getting Hip to the Hip. An evening for the Downey Wend Jack Fund promises to be an experience that leaves a lasting impact. Please join us at the Rec Room in Toronto on September 1st and be part of something truly meaningful. We'd love to see you there. 0:02:11 - Speaker 1It's nearly 10.30 pm on September 23rd 1994. I'm on the 106 bus riding from York University to Wilson Station. during my first year at the institution, i was on a mission to pick up the latest effort by my favourite band, the highly anticipated Day for Night. Since mid-summer of 1993, i'd been going bananas over the song Nautical Disaster, first introduced to me during my 19th birthday. It was at another roadside attraction, and as the band launched into New Orleans as Syncon they jammed through the now classic cut in spectacular fashion. However, it wasn't until the Kumbaya Festival early in September of that same year that I finally heard the track on tape. My friend Heather had come home from university having recorded the festival on DHS. We quickly dubbed the video to cassette and now I was off to the races From there. it took until Canada Day of 1994 before I heard anything else from the record. The hip played the gig with a chip on their shoulder, as many of the fans had acted brorish and disrespectful towards many of the opening acts, including Daniel and Locke. The set was heavily peppered with songs from Day for Night and I liked what I heard. As I got off the subway and approached HMV, it was nearing midnight. The new album would be in my hands soon and I could listen without the distraction of frapples throwing bottles towards the stage. From the first notes of Grace II, this one felt different, especially after the slick polish of fully completely or the bar blues of the prior two records. This was a band hitting its stride and understanding exactly where it fit into the fabric of the rock and roll paradigm. But that was then. Today I'm tasked with taking Pete and Tim into my memories and hoping to goodness this one sticks the landing for them. We'll soon find out on this episode of Getting Hip to the Hip. Long Sliced Brewery Presents Getting Hip to the Hip. Hey, it's JD here and welcome to Getting Hip to the Hip, a Tragically Hip podcast where we go through the discography of the hip with two folks who have never heard of the band before. So, while they're having their first experience listening to the music, you can revisit yours. Send me an email, jd, at GettingHipToTheHipcom, with your first experience with the Tragically Hip. It would be great to hear those, as we listen to Pete and Tim, describe theirs. Speaking of Pete and Tim, they are most certainly ready to be released from their protective hatches. I will push the button now and they are there. They are on their platforms. they're they're levitating platforms. How are you doing, fellas? 0:05:22 - Speaker 2Hey guys, Oh sorry. 0:05:26 - Speaker 1He nodded his head. 0:05:29 - Speaker 2I nodded my head for all you out there in radio land. 0:05:32 - Speaker 3That's my favorite aspect of podcasts. 0:05:35 - Speaker 1He loves theater of the mind. Sorry about that. Yeah, that's great. What's new? 0:05:42 - Speaker 2Oh man, it's new. Back in the saddle, man, you know. back to work today, like I said, struggling with a little bit of jet lag, but other than that, i mean I, i how much time we got JD. I could. Could tell you a lot of what's going on, but I don't know. Put you guys to sleep, tim. What's going on with you man? 0:06:08 - Speaker 3Oh, just cranking on. the week getting started here And last week was, to be honest, kind of rough, so I'm hoping this week's good. That's. that's what I'm counting on. 0:06:18 - Speaker 1Fingers across for you, fellas, both of you, to avail yourself from the. Jag, the Jag lat the jet lag and for you to feel better this week. 0:06:29 - Speaker 2Did you try to? did you try to call me a jackoff right now? 0:06:33 - Speaker 1Is that what you're trying to call me? No, i said jet lag, but I said it wrong. Jag lift, jag off. Yeah, i'm all right, i can't complain. We've got a new puppy dog and she's pretty awesome So far. She's having a nap on the bed right now. She spent the morning in her crate, so you know, we've been letting her run free this afternoon, or I have been letting her run free this afternoon. So, yeah, that's really irrespective of nothing. But Who named her? I did. 0:07:09 - Speaker 2Nice. 0:07:10 - Speaker 1Yeah, yeah, that's my last naming job that I get to do, though. 0:07:15 - Speaker 2I gotta ask you, michael Keaton, george Clooney, val Kilmer, christian Bale, robert Pattinson- I guess I'm a bailperson at this point. I would have. I would have also. The judges would have also accepted Adam West Michael. 0:07:34 - Speaker 1Keaton. Oh, adam West, yeah, sure, sure, yeah. 0:07:39 - Speaker 2Michael Keaton. Michael Keaton was great, but yeah, christian Bale was. Those movies were so amazing. 0:07:43 - Speaker 1Oh, it was Batmania, just Batmania, when Keaton and Tim Burton put that whole thing together. 0:07:52 - Speaker 2Oh yeah, Tim, were you a fan. 0:07:54 - Speaker 3No opinion. 0:07:55 - Speaker 2Okay, you're fleeting the fifth on this one. 0:07:59 - Speaker 1Yeah, no opinion, okay. So we're here today to talk about the fourth long play from the Tragically HIP, their fifth output at this point. This came out in 1994, to be exact, it came out the third week of my first year of university and they did a midnight album release. So, like all the record stores were open, they would be open all day and then they would close at nine and then they would reopen at midnight so they could sell the record, because it was the next day, it was Tuesday, so it was like Monday night at midnight you would go and get the record before anybody else. 0:08:42 - Speaker 2I remember that Tower used to do that too. 0:08:44 - Speaker 1Right, it was a cool fad and it's just. 0:08:48 - Speaker 2you know it's got like It was Tuesday you said right, That's right. 0:08:51 - Speaker 1Records always came out on Tuesdays. 0:08:53 - Speaker 2And there's a reason for that, and somebody told me the reason. I can't remember, but there was a reason. There's a distinct reason why that was the case, right. 0:09:01 - Speaker 1Okay. Well, if you out there know what it is, use social and let us know. Or shoot us an email at JD, pete or Tim at getting hip to the hipcom. This record means a lot to me. So you know, i'm not going to. I'm not going to beat around the bush this time. Or I am going to no, i'm not going to beat around the bush this time, i'm going to lay it all out right now and say I fucking love this record. So you know, let that not impact your scores. But there may be some arguments because it's just got the, it's got the crisscross of hitting a sweet spot for me with my favorite band at the time and coming out temporarily at just the right time you know to to build a culture around. you know it was produced by the hip with assistance from Howard and Freakin I believe it's Mark Howard and Mark Freakin. Freakin I want to say sound guy for the hip You can listen to fully and completely to get the all, the, all, the detailed information. We always went through that stuff in a big way on that show And this is not what this one's about. This is an addendum. So the label was MCA. This is again another MCA release for the hip Looks in at a record 59 minutes 26 seconds, you know, just a almost an hour. Singles It had six singles. Grace, two was a single, it was the first. One came out right before the record dropped. Greasy jungle was the second one. Nautical disaster was the third one. So hard done by then scared, and then thugs, and I believe that thugs was almost, you know, a full year after the record came out. So this one had legs. All music rated this record a 3.5 or part of me a three out of five, much lower than fully completely, which was the record before this, which got a 4.5 out of five. So a three. Very interesting, very, very interesting, grace. Start off the top with your initial thoughts on this record, mr Leiden. 0:11:32 - Speaker 3I felt it was long, you know, and realize pretty quickly that we were getting some extra songs. What else about it? I did notice some recording kind of changes or uplifts as far as production value goes, which is cool. What else about it? There are some certain songs on there which I absolutely dug. I ended up listening to the first half of the album several times I want to say struggled through to get through the whole album in a sitting, but I just kept finding myself starting over at certain points. Yeah, yeah, yeah, yeah. So we can talk about that more. 0:12:16 - Speaker 1I mean, it's definitely a long record, And could I edit this record? Sure, i could. I'm not going to ever say which songs I would potentially edit out, because they're all my babies and I just couldn't say it, but I secretly know which ones I'd get rid of. Tim, you have been looking for an album. You've been searching for an album throughout this podcast. You know you've talked about Pizza with the Works, you've talked about Mishmash's and collections of songs produced together to round out an album, but it seems to me as though you are seeking not necessarily a concept, but a conceit, and I would have thought that paid off with fully, completely. It didn't. So how about this record? I? 0:13:06 - Speaker 3don't think I'm quite there yet, but I'm close. Okay, i was expecting this album to be maybe more, maybe more concise, since they were driving and had more control, i don't know. I think that just the fact that it was a couple songs longer in the cadence of all the songs and really looking at where their place and all those things that I like to do, you know, it checked a lot of boxes for me, but I didn't. I didn't finish listening to it in a take and go oh yeah, now I'm here. Pretty close though, but I'm pretty close, jd, tell us, tell us, you know, when it came out at 12.01, were you in line buying it, or when did you listen to it? Like, what do you recall from your first listen to this album and how you felt and why it's your fave? 0:14:00 - Speaker 1Well, again, it's got that crossroads right of like culture and time and place And they were my favorite band so it was like so exciting to be in Toronto and buying it right away, because before I would have had to buy it the next day, there had been some concerts leading up to the release of this record where they had dribbled some breadcrumbs of what this record was going to entail And it was so cool to hear it And, more importantly for me, after the very slick sounding fully, completely, i love the. Well, you guys both know that I'm into lo-fi music and this isn't necessarily lo-fi, but this sounds much more self-produced, right Like. It sounds like it's recorded by people who are making their first record in a good way, in a really good way, like it's so fresh sounding after what. The last group of records that we heard were more slick and polished and that sort of bar rock thing. I've always said. This was the record where the Tragically Hip revealed that it hasn't been beer that's been fueling them all these years. It's weed, like they're a total weed band, and this record was the first one that reminded me of that. The rest of the records are sort of beer Okay okay, you know. Yeah, i've had 30 years to gestate on that, though, so bear that in mind. Now Pete has blood pouring out of his mouth right now. He's chewing his tongue off. You know He's dying to jump in here. What does he have to say about all this hullabaloo? 0:15:43 - Speaker 2Well, real quick. You mentioned that this was three out of five, and fully and completely was 4.5 out of five. Who's the company? 0:15:55 - Speaker 1I always use all music. I always use all music, all music, yeah. 0:15:59 - Speaker 2Yeah, they got their heads up their asses, because I don't even remotely see how this is less on the point scale than fully and completely, because I thought this record was fucking awesome. I agree that I felt the same way. That kind of Tim felt that it was a bit lengthy. I felt myself starting at a number of times and struggling a little bit to get through some ladder parts. There's certainly some areas where they could trim the fat, if you will. I'm not going to say which ones they are, but it was like for a band that's producing their first. It's their first go at producing a record themselves. It's kind of like it's just a little too much. It's like going out on a great first date, dinner's great, movie's great go back to the house. Sex is great. Oh, first date That your date's like hey, do you ever want to have kids? You know, it's like. It's like totally could've just done without saying that and the night would've been perfect. Like they just say that, they just ask that. Like on their way out It's like, oh, okay, doesn't mean you're not going to go out with them again, but it's, you know, i love it. I love it. 0:17:30 - Speaker 3I'll leave it there for now to let you say You know, i'll just quickly add on that very you know, very similar token that I had with it. I'm curious to hear the next albums And then to again look back at specific albums to see how I feel about them, because this is probably one. You know you are so excited. You know there's a trilogy of movies coming out on something that you love And you see the first one and you're like God, i hope the next two movies are just as good. Maybe the next one is pretty good or better, and you're like, oh shit, this is going to be great. You know, it's kind of I'm leaning towards that. I'm excited to revisit some of these to see how I feel in a couple of months. Hopefully I won't be like dude, i'm done you guys. No, that's not going to be the case. But yeah, i'm anxious to revisit the future for sure, because this is probably one of those albums. 0:18:30 - Speaker 1Yeah, yeah, i'll be interested to see that too. Maybe again we will have like a 10 year reunion. Pete mentioned that in the last episode. You know we should go back 10 years. Oh, we might. So who knows, maybe we will revisit this on whatever platform the kids are listening to in the future. I'm sure they'll be nuclear powered or something OK. So here's something new An intro song that doesn't just like open with a kick to your ass. It opens in a much different way. It still manages to kick your ass, but in a much different way. It doesn't have like a lick off the top like little bones or courage for human clenin, you know. It just doesn't have or blow a high dough. It doesn't have that same sort of whoop in the butt. It's a taste of like this is what you're going to get. I think You know it's a little bit of like setting the table. It's because you're listening to it and you're like whoa, this isn't the hip that I left behind a year and a half ago. 0:20:08 - Speaker 6Come on, just let's go. She kind of bit her left Geez, I don't know. But I can guarantee That we're now not gonna do. I'm told no proof That we're not gonna do. That's what I'm here for. I come from downtown. I'm already familiar. I'm with the low and weaks of our nation. That's what I'm here for. 0:21:46 - Speaker 7The secret rules of engagement are hard to endure. 0:21:57 - Speaker 6When the appearance of conflict again surrender means the appearance of force. Uncle, uncle, i can guarantee, i can guarantee There'll be no knock on the door. I can guarantee. I'm total proud. That's what I'm prepared for. Yeah, i've come from downtown. I'm ready for you. I'm ready to scale. And it's frustration. I'm ready to scale. And it's frustration. I'm ready to scale. And it's frustration. No, no, no, no, no, no, no, no, no, no, no, no. 0:25:07 - Speaker 7No, no, no, no, no, no. Thank you, music lovers. On behalf of our crew the finest crew in the business, ladies and gentlemen, on behalf of Robbie Gordy, johnny Paul, mr Jim Bryson on Keys, us musicians and the crew and everybody here tonight, we want to thank you. Thank you, music lovers. Thank you and Merci beaucoup. Summer on. Summer on take care of each other, drive the speed limit, wear a life jacket. 0:26:24 - Speaker 2Summer on you mentioned setting the table and I agree. And it's saying that it's a different band. That's like the one of the first things that wrote down. I feel like to be honest with you. I like this song so much. I feel like kind of it's just stupid even talking about it like it's such an honestly, it's a fucking banger. And I think I had sent to you guys in the group text like the SNL performance of this song. Yeah, it's just, it's jaw-dropping. Yeah, it's. It's the line about just. I looked at the phrasing, i looked at the lyrics and the way he did he wrote the lyrics and it's just so cool. Sorry, i wish I could articulate it better, but the rules of engagement are hard to endorse. Yeah, like is this I read a little bit online that it was you know about like a man propositioning a prostitute or a young girl. But I'm also like, is this a song about war? is this like an anti-war line that he's throwing in there? is it a double and tongue girl? I don't know, but I don't know. I could say a million things about this song, but I'll hand it over to to mr Leiden. 0:27:54 - Speaker 3I'm. I'm pretty much in the same boat. I heard this song and I immediately thought this is a stellar hip song. I can't wait to hear the rest of the album. But instead of like really going to the rest of the album, i immediately found the first live version I could find on a Google search, because I thought this song is, is gotta be, you know, quintessential live hip song and that's that's kind of where I went and I ended up finding the, the Woodstock 99. If you guys haven't watched any of the documentary about Woodstock 99, please do. It was a just the demise of Western North America, usa culture right there. But anyways, this recording, this video recording of the band at Woodstock 99, is so good, like chills on my arms, like Goose Pimples, it was just fucking amazing. This, this song. You know, i was basically like okay, that's, that's my single. Should I listen to the rest of the album? I'm pretty happy right now didn't they do. 0:29:12 - Speaker 2What did they do? a 94 and a 99, or did they just do 99 just? 0:29:19 - Speaker 3I think the documentary it's a 99 one, where they set everything on fire and tore down all the stages and rated the food trucks and 99 all those things. And then, you know, with this song in particular, i was anxious to hear the band doing their own thing without, you know, managers or producers looming over them. And there were a couple different things I heard, which are even more so on certain songs. But the drums sounded a little different, a little bigger. Maybe the bass was a little bit more engaged with drumming. And there's there's been some times when the bass is kind of funky feeling, just like really in it there was some kind of I don't know, pete, you might know, but there was some echo, really echoey guitar effects. 0:30:12 - Speaker 2I got, i got that written which were pretty cool. 0:30:15 - Speaker 3Yeah, it was kind of the song just hit all the boxes had kind of this transcendental gonna take you on a journey. You know, i liked it so much I was like I don't even care what it's about, this is just a great listen yeah. 0:30:32 - Speaker 1Tim you talking about. You know the drums being bigger and you know the production just sounding. You know bigger and you know with with some of the guitar effects a lot of it has to do with. They went back to New Orleans but this time they went to that Daniel Inwas studio and the Kingsway studio, which is just a big old house and you know they would do stuff like bedsheets over the stairwells and you know, just like like home studio tricker, but on a bigger, bolder scale, because this house has so many nooks and crannies that you can get different sounds of the different spaces. And they took advantage of that, which is very different from the, the path they took on the record prior. 0:31:22 - Speaker 2Okay, daredevil so daredevil this, the skipping start that they did. Yeah, i feel like that was. So this was. What year was this? again? GD 94, 94. So I feel like I mean that was the height of like CDs like were where literally everybody had a CD player, wasn't like the early days. So I feel like maybe it was a. It was a joke to to make people think their CD was skipped, because if you ever bought a CD and you were unfortunate to buy a scratch CD that was brand new and it skipped, you were fucking pissed. Oh yeah, so that was cool, that was unique. This song certainly does sound way better in the car. I don't know if it's just specifically my car, because I have a pretty good sounds. 0:32:26 - Speaker 3It's the premium audio system. Is that what you guys kept saying? 0:32:30 - Speaker 6premium audio. 0:32:31 - Speaker 3I think we're at a point for an acronym for pass sound system everybody everybody listening. 0:32:37 - Speaker 1How about a? 0:32:38 - Speaker 3t-shirt yeah, if I get, if I get through this. 0:32:41 - Speaker 1Okay, these guys only a ride in Pete's car, the big that dooby or there should be a bingo card where the you know, every time you hear Pete say premium audio sound system, you tick the box, or and then there's of course the free square, and then, if you hear me say so, there's that geez, we're going to Malaga. 0:33:15 - Speaker 3There's this guy there with this premium audio system and he gives people rides. 0:33:22 - Speaker 2I'm just saying that because I'm due you're doing yeah, for sure $25 a song I'm good I think that'd be cool. I think a job this no, this song. Tim mentioned something about the, this bass. You were JD, you were talking about the, the studio and all the trickery. But yeah, this is the first one where I write down the like the guitar solos, for example. They seem way less defined on this record, and I don't mean it in a bad way, i mean it in a way that and then there was a really cool oscillation effect maybe a little more jam. 0:34:13 - Speaker 3I don't know if you know, yeah, yeah, yeah, yeah yeah, i think the flavor is kind of gelled together more the oscillation effect. 0:34:24 - Speaker 2If you've ever heard the the song real emotional trash on the album, real emotional trash yeah, that Steve Malkomis song I know this came before that, but whatever he's using on that guitar solo is exactly the same effect they're using on their level because that oscillation of the guitar is just. It's so cool. I wish I was cool enough to know what it was to ever be able to use myself, because it's fucking rad. Anyway, i dug this song a lot. I really liked it. 0:34:59 - Speaker 1What do you think? what do you think they're damn? 0:35:03 - Speaker 3I did too. I think, yeah, i love the drummer just counting it off at the beginning. That that made it feel like maybe more home recording type scenario. This song, this song, like I was wishing I was in a bar, just like sitting at the bar pull-up and just I felt like I could be watching the band, you know. But it was like the barkeep and the kitchen people and I don't know. This, this one, this one kind of took me in a different direction than than many. After the one minute mark maybe this is kind of what you're talking about, pete like with the guitar and drums it gets kind of heavier or more layer layered. It felt like locomotive, like this train's just really going story wise, i mean, that's probably a podcast itself to talk about Annie Edison Taylor and going over the falls aspect of this one I love. The line in the real wonder of the world is that we don't jump to. Yes, you know, that's. That to me is like it delivers something inspiring. The song is like get out and get after it. Step out, you know, jump off that cliff, you have 50% chance of surviving if you survive. It's gonna be awesome and if you die, it'll be awesome. You know, this sounds really. It really is really cool. 0:36:40 - Speaker 1Where do we go next? we hit track three, and that's greasy jungle. Take it, tim greasy jungle. 0:36:48 - Speaker 3This one, the snares really snappy. I felt like this is where you're kind of hearing different recording, maybe aspects. When I say snappy snare, it's like tuned tighter. Maybe you know there's lots of film references here in this song which we've gotten before. There's congas, like. There's some hand drumming at some point in the song, i believe, which is. I was just like kind of tuned into the drums on this one. Obviously that's a background effect, but a new layer. There's a definitely a new crash cymbal, like there was some new drum gear right on this album. There's a new crash cymbal that's really bright. That's always kind of gets my attention. I didn't realize first few listens that it was like dirty streets, metropolis, correlation with greasy jungle. I didn't know what the heck it was about. You know I didn't for a song three. I always like hope that this is the one that's gonna get maybe somebody around the bases at bat. You know that they're gonna push, push it through and this one didn't do it as much for me. I was more kind of like okay, what's, what's next with. 0:38:21 - Speaker 1This one didn't grab me so much one of the cool little Gord Downey stories is the lyric that you're just talking about metropolis noir. It sounds so elegant and mysterious at the same time. But metropolis noir is a name he saw on a bag of coffee, it's. It's like French roasts, but in French it wasn't French roasts, it was a dark roast or something, or Italian roast. 0:39:00 - Speaker 3Dark roasts. Dark roasts, italian roasts. 0:39:02 - Speaker 1I forget which one it was, but it translated, because everything in Canada has to have a French label and a Canadian label. It translated to matropolis noir. So that's just one of those little things he stuck in his notebook. and then he's writing this greasy jungle, matropolis noir. And all of a sudden you've got this setting and then it takes you on that little story for funeral home sandwiches and coffee. Oh delicious Yeah. 0:39:33 - Speaker 3Yeah, i think that I also read that it maybe referenced a diner that he worked at that had the same name. Oh really, did you guys know that? Yeah, yeah, greasy jungle. Greasy jungle Sounds like a good diner though. 0:39:48 - Speaker 2Yeah, jd, you said French roasts, and it's funny because I always think I don't remember the name of the comedian, but in France they just call it roast, just like Tim and I's definition of Canadian bacon is actually just bacon for you right, JD, No I can't remember the comedian who did that bit, but, tim, i couldn't disagree with you more on this one. However, i will tell you. 0:40:25 - Speaker 1Tim, you're ignorant slut. 0:40:30 - Speaker 3Yes. 0:40:31 - Speaker 2I'm done. I sort of felt like that the first time I heard it And the more I. This was one where I kept digging Actually I didn't really have to do much work, but just the more I listened to it the more I was like okay, i get it. I get why this was a single. This is a banger on the phrasing on it. The vocal phrasing absolute A. Plus another great car song on the solos, super experimental, like again. It's cool, because it's not. Most of the guitar on this record is not like this. It's not a producer going. 0:41:11 - Speaker 1Okay, boys, let's lay down the solo. This is where we're going to put the solo here. Give me 32 bars, let's go. 0:41:18 - Speaker 232 bars, yeah, like it just it's so cool and it's not like that. And this song is the first although not as much, because there's another one we'll bring up and I'm sure you guys know which one it is But this is the first song where I really hear that the influence this band had on a Linus Morrisette. Oh wow, Oh yeah, There's another song on this record that we'll get to. That is clearly. It's clearly. She was sitting in her room listening to this record prior to recording Jagged Little Pill, like which I can't remember what year that came out. 0:42:04 - Speaker 1What year did that come out? It came out, i want to say the summer of 95 was when the was when she broke, when she exploded. 0:42:13 - Speaker 3Yeah, is she a fan? Is she a fan? 0:42:16 - Speaker 2She's a great musician and she's Canadian, so I would be hard pressed to think she's not. At least, i didn't mind. Oh yeah, she's Canadian. Yeah, you fuck her, stick together. So I saw her live in 2018 in LA and she just, i mean, fucking blew the roof off the place. Oh man, it was, it was, it was insane. 0:42:40 - Speaker 1Anyway, my wife had tickets to the 25th anniversary tour of Jagged Little Pill and it got canceled due to COVID. So, yeah, total drag. Yeah, yeah, okay, yeah, i'm, i'm on your side there, pete. As far as Greasy Jungle goes, next one is a cool thing that I don't know if this is something that pre-existed. You know, i don't know if somebody had taken a photograph and of a dog, you know, with its teeth bared, and wondered aloud if it had been yawning or snarling. Because, like, since that time, i've seen so many photos that I say that line in my head. You know, there's so many photos that they're captured and we feel something right away, but then you have to sort of open your mind and go well, wait a minute, maybe that feeling that I'm feeling isn't the right feeling. You know, it was just the way the photo was captured. It could have been yawning or snarling, and that sort of kicks us off. 0:44:08 - Speaker 5The cops go into the crowd under a glaring platter of light and the music's just so loud and the tourists take their t-shirts off and a bus load of kids and gifts to the finger Afternoon, when the sidewalk's hot and the shadows too chilly to linger. 0:44:50 - Speaker 6Both we're in the escuchians and at the bar, and people are helming Downtown. Never, ever been. 0:45:06 - Speaker 5Now just wait for me, I'm gonna resurface. 0:45:17 - Speaker 6I take a look at this photo girl. I don't know how clearly it's taken away. 0:45:28 - Speaker 5I'm gonna get out of here. I never saw it. The picture is never clear. 0:45:41 - Speaker 6I'm gonna make a decision. I mean an incarceration, i mean so much. One night in El Paso, the cops fall into the crowd Under a throbbing bladder of light And the music is just so loud And the tourists turn their TVs off. The box is apart with the sound of a linger Night time when the shadows come And you tilt to the tips of your fingers. But that's the way it goes in our region. I'm so strong, i'm making a chance Downtown, never ever been. Now just wait for you to resurface. Take a look at this photograph. How clearly it's taken away. He could have been the artist, not an artist. This picture is never clear. I'm so good at this photo, girl. How clearly it's taken away. I'm gonna get out of here. 0:47:48 - Speaker 5I'm in a slumber. The story is never clear. Walks right into a Mardi Gras parade. We're touring the south at the bottom of the beard. 0:48:28 - Speaker 2Yonnie and Snarling I first listened to. This record was my favorite song And that was, with my, everything I love about Grace too, it starts out very mad season. I don't know if you know that band. 0:48:52 - Speaker 1Yeah, that was the supergroup right. 0:48:54 - Speaker 2Yeah, that was the supergroup of Pearl Jam and Alice in Chains And that record. When did that record come out? Did it come out in 1993? Maybe, so they were active in 1994 to 1996, So maybe it's the same time, I don't know. Anyway, it starts out like the first and it builds. I don't know. I just loved it. I could say so much about the instrumentation, But lyrically, I don't know if you've got a line on exactly what it's about JD, But there's some historical references in there And talking about El Paso, he brings up the Mexican US border there. I'm pretty sure that runs through the 100th Meridian, Oh wow now, i know that. I could be wrong, but it just kind of feels like it's going, like Cordoni's really going in. He's a big fan of these historical references. I don't know, i dug it. What's saying you, tim? 0:50:11 - Speaker 3I dug it. I think when I first heard it started up I was thinking Okay, here's the spooky, sinister Pipps song of the album Which we often get. You know, if any song that I hear I hear a reference about El Paso or the Rio Grande, it's usually something heavy. It's not about going tubing and fishing and having fun. So yeah, there's a line in there about the cops go into the crowd Throbbing bladder of light. You know, i'd love that phrase, throbbing bladder of light. The music is so loud nighttime when the shadows cough Like this. Lyrically, the song's loaded, it's just it's really really big. I just, you know, somebody beat up and throw it in the river. This is an early song there's a moody guitar ending, i think throughout the song. The bass to me I'm always kind of honing in. It's funny because Pete's on guitar and I'm on bass and drums, which is cool, but the bass is a little punchier, like it's tuned up or I don't know. This one had definitely some home, you know, if they recorded it in the house. I'm just gonna call it home production because it's basically what it was, even if it was like Super Pro Studio, like there's some little things in there that I heard for sure. It's an interesting song. It's pretty cool It was. It's kind of an early song to me. I stuck with it a few times. 0:51:58 - Speaker 1Cool. What's next? It's number five. We're at five. Fire in the hole. 0:52:07 - Speaker 3Yeah, let's fire. Fire in the hole is fucking cool. And I say that because I heard kind of this 90s grungy punk influence with this one, even though it's not like super fast or anything. But then when I started reading into it, you know, because I figured it had something to do with fascism and Nazis And I don't know. There's something you know angry here. There's some different ties to Sonic Youth's Youth, sonic Youth's Youth Against Fascism song. It's very I don't want to say very similar, but there's definitely some things shared. You know, that was a time for me. It was a time of really getting into, like crunchy guitars, a little bit more experimentation, faster rhythms. You know this song, for a hip song maybe, is like a little bit tougher. It's a little bit tougher. And I also just thought you know by its own name and chorus that this one is probably ruckus live. It's probably just fun and, you know, fist in the air. 0:53:30 - Speaker 2Yeah, i agree, i agree, this is a banger for sure. The guitar work on it I definitely. I mean it's weird, i don't know because I'm not the biggest Guns N' Roses fan, but you know, slash's Les Paul guitar tone is pretty distinct, you know, when you hear it, and the guitar tone on this song that he's playing some lines sounds, i mean, identical. It doesn't sound like Guns N' Roses, of course the song doesn't, but that guitar tone just was so reminiscent of that And it kind of made me think, okay, so they're like trying to, they're trying to shed some older skin from the previous records, but you know, it's sort of like you can take the. You know, take the what out of the what, but you can't take the what out of the what. They still got it in their roots. You know what I mean. 0:54:35 - Speaker 1Yeah. 0:54:38 - Speaker 2So that's definitely there. And then, yeah, this is one like the obviously Grace too. I mean that's sort of like the flagship of this record. But this is another song where you're like, okay, gord's found his voice. He's really, you know, If the band is his recliner, like whenever he gets up, you can see his ass imprint. It is always there. He's found his voice. The chair is sunk. It's sunk in. Does that make sense What I'm trying to say? Yeah, he's. Yeah, he's been in that chair so long now for a number of records that it's just comforts Like he's found it. 0:55:29 - Speaker 1He knows where he's at. He's in the groove. He's in the groove Like he's absolutely. And to me, guys, isn't this the heaviest that we've ever heard them. Or is there something on Foley that might be? No, i think you're right, i do. 0:55:46 - Speaker 3I think it's up there. I think it's up there. 0:55:48 - Speaker 1Yeah, because you were saying fast and I was thinking to my head, I was like yeah, it is fast. It's fast and heavy, Like this is a great song alive. 0:55:54 - Speaker 2This is like Foo Fighters, Fast Like I was like whoa. 0:55:59 - Speaker 1Yeah, because it's still, it's still. 0:56:05 - Speaker 3It's interesting. You went to guns and roses. I don't know why I didn't go there Like I. Just I didn't hear that reference, but I want to go back. 0:56:14 - Speaker 2Just the guitar, just the guitar time. 0:56:17 - Speaker 3Yeah, yeah, yeah. 0:56:19 - Speaker 2For me oftentimes that doesn't mean something positive, Just yeah you know, outside of them anybody else I hear sounding like remotely like guns and roses. You just kind of go, eh you know. But I think it was just weird that Tom was there because coming up the hip I feel were such a that was. That was what most bands were sounding like back then. 0:56:49 - Speaker 3I don't know. Yeah, maybe 50 mission cap or something. Oh yeah, yeah, this one, you know. 0:56:56 - Speaker 1Yeah, you might be right, You might be and you might be so hard done by. 0:57:00 - Speaker 2So hard done by. To be honest with you, this is probably my least favorite of the of the record. Hey, we're in the break. Yeah, i just didn't. Yeah, i thought it was, i thought it was a cool chorus, but I just I kept thinking about, like, what would I say about the song? And it's just, you know, maybe in the 10 year reunion by then I'll have something. but this song, sorry, i wish I had I had more for it, but I really just don't. 0:57:42 - Speaker 3I'm with you a bit. I heard Allison Chains right away And I don't think it's like it's not like 100% Allison Chains. That's who I thought of And I'm starting to hear, you know, and occasional references to bands that we're doing well during this time And I'm not a big Allison Chains fan by any means, but it's. you know, there's still some lyric nuggets in here I love. you'll have to wait a minute. It's an en somatic Like. that to me is kind of a phrase of if you want, you know, beauty in life, it's not going to come to you right away. You got to, you got to deal. The ending is kind of rough. You know the yeah, i'm with you, pete. The ending is kind of rough. The snare is too snappy. The snare is like so snappy that it's like that's how you tune a snare for fucking punk rock songs with a high beat per minute. You know it just didn't. it just didn't. 0:58:45 - Speaker 1It's funny that you say that, because the original, like the demo version of this song is totally up tempo. Well so it's. It's a completely different song Me I. I think this is, i think it's fine, i think it's harkens back to like, like it could be on up to here, it could be on road apples. To me it's got that sleazy, not quite stone Z vibe. So I was really surprised to hear you say Alison chains, because I'm I'm going more of like the roots. You know, okay, that's, that's my vibe of John, but but that's, you know, this one, that's just how it was for sure. 0:59:30 - Speaker 3More filler had a rough ending and I was kind of glad it was like, okay, what's next? You want to? you want to add something, pete. 0:59:37 - Speaker 2Oh, all I was going to say was You know, that'd be cool if it was. I mean, maybe it is cool live. And I just just to comment that I always hate when you hear a band play a live version of a song and it's just fucking killer And that's the first way you hear it. And then you hear the studio version and it just absolutely blows. 0:59:59 - Speaker 3So yeah, i'm, i'm with you, I'm with you. Maybe this is that? 1:00:03 - Speaker 2But to answer your question, JD, what's next is not cool. I've actually heard JD sing this song. 1:00:12 - Speaker 1Oh, that's right, I did it. I did it for a, i did it for a hip podcast, like I do a pod list, just like I do for medium alchemists And I sang it. Is that that was right? Yeah, yeah. 1:00:27 - Speaker 3I dug it, I thought it. I thought it was what's, what's that pod JD had that he took off. It was like JD sings in the shower, Was it that one? 1:00:36 - Speaker 2That's what I wanted. Jd sings in the shower. There was a. There was a. There was a video version of the podcast too, but that was yeah that was that, the lovely fans. No, i remember hearing this and the first time you sent it to me I think I was already living in Malaga. But great tune, i, you know this, and JD, you, you, you explained to me what this song was about and I've since forgotten because my brain doesn't work anymore at my age, but I did get. I think the reason why we started talking about it in the first place was because we I mentioned to you the another great Canadian singer, gordon Lightfoot's Right, ricky Deven, if it's Gerald. And so you, you brought this song up and that's kind of how it came into my, my atmosphere, my airspace if you will. 1:01:44 - Speaker 1Well, those are forever linked for me, because the first time I saw this song played live Gordon, he introduced it live as a Canadian musician, would be complete without a song about a nautical disaster. 1:02:04 - Speaker 5This song is called nautical disaster. These are the Dh과a stations for brokers. 1:02:36 - Speaker 6NotOf cybersecurity. This is Darryl, i don't wanna sweat. Ha. What's wrong? What's going on? Can't tell yourself I'm a foreign team. He said hang on, just stop, shut your big mouth and gotta do what you feel is real. He got no peace and false gods Got no Sunni, my baby. She won't know me when I'm thinking about music. I'm a foreign team. Keep it going, man. 1:04:11 - Speaker 7Let's keep the wagon wheel going. Alright, i had this dream where I relished the fray And the screaming filled my head all day. I felt as though I'd been spinned here, Settled in into the pocket. 1:04:44 - Speaker 6In a lighthouse on some rocky socket Of the coast of France, dear One afternoon. Four thousand men died in the water Here And five hundred more repression, matthew, is parasite's life In your blood. Now I'm in a lifeboat Designed for ten. Ten on me. Anything that's systematic Would get you hated. It's not a deal, nor a test, Nor a love of something stated. The selection was quick, the crew was in order And those left in the water Got kicked off the padlock And we headed home. 1:06:24 - Speaker 7And in the dream and when the phone rings, we're doing alright. 1:06:30 - Speaker 6I set it out there Those days and nights, but only a fool would complain. Anyway, susan, if you'd like A conversation To say myself, in my memory Is those fingertips Scratching on my heart, and I'm in a lifeboat Designed for ten. Ten on me. 1:07:41 - Speaker 7Anything that's systematic Would get you hated. It's not a deal, nor a test, nor a love of something stated, no matter how hard it is. You see how hard it is, it's real hard. 1:08:27 - Speaker 5There's a lifeboat Hanging on a wire Sucking up to someone, just a stoke of fire. 1:08:35 - Speaker 7Picking up the highlights of the scenery, saw some little clouds. 1:08:50 - Speaker 5They looked a little like me. I had my hands in the river, my feet back up from banks, looked up to the Lord above, said he'd call me thanks. Some times I feel so good I've got to scream. Said 40 baby, i know exactly what you mean, he said. He said I swear to God. He said Now, now. 1:09:27 - Speaker 6Now, okay, my memory Was my dear watch's river that I nailed. If near or leave a sink in there, then I don't wanna swear Swag, swag, swag, swag. 1:10:42 - Speaker 1Swag, swag, and then they launch into New Orleans' sinking. Oh my gosh, and you're sorta like what? What's going on? And then, in the middle of New Orleans' sinking, is this brand new song, fully fleshed out, not a? 1:11:00 - Speaker 3good one. You know, i read about this And it's fucking holy crap. 1:11:07 - Speaker 1It is a tornado Like it is, so destructive. 1:11:14 - Speaker 3And you know, there's not many bands Who perform live that do Extremely intentional things like that For the audience. There's not many bands that do that Doing something like that, mixing in a new song in the middle of a song People know And then did they circle back? 1:11:31 - Speaker 1Yeah, They finished, then they finished all of these things. 1:11:34 - Speaker 3That's just insane to me. I just love, i just love, love, love that. I just love that. If any, if any songwriters are out there, do that for me. When I come here you live, mix me in a new one. It's a treat, right? Yeah, because it's the opposite of going to a show And hearing a band play Like their album. You know, i've walked out of shows Because it's just boring as fuck. You know, i'll say this about In 18. I believe it was built to spill. Oh my gosh, it was like I could have just put on One of their records and sat at home. So, yeah, to be able to split in another song And keep going and mix it up And do all these things that are so creative And have the confidence to do that, and phew. 1:12:30 - Speaker 2The only thing I'll say in defensive built to spill Is there's always. 1:12:34 - Speaker 3Oh, everybody defends. Built to spill. 1:12:36 - Speaker 2No, no, i'm only saying it live I've never seen them live. Only because they always have a new line up. It's only a singer They do. They do. So if I'm a guy sitting in And part of the band this time around, the only thing I know is the record, because that's probably how they play together, which that's uh. Yeah, my buddy's seen them live And he kind of had the same feeling as you did. 1:13:01 - Speaker 1Same feeling as you did, i'm just starting to get into built. 1:13:04 - Speaker 3Yeah, sorry, bds fans. There you have it. There's another fan that wants to punch me in the gut. Not a cool disaster, i think it's fucking cool. Like my sentiment right away was like Here's the epic storytelling TH song. Here The drums it was like beating. Like we're charging into war Lifeboat designed for ten and ten. Only You know. There's just all these Great metaphors in there for like I don't know. 1:13:34 - Speaker 1Oh, i love the line about getting The remaining people in the water Getting kicked off at Antler. Oh man, i don't know why. Yeah, and this song, there's no structure, there's no verse, there's no chorus, it's just literally Like you said, tim, it's like a story. 1:13:51 - Speaker 3Yeah yeah, i don't know who the Susan reference is. I didn't look too much into that part, like, towards the end there's something about Susan Which I don't know why. With this band, whenever they mention a woman I'm always like. 1:14:03 - Speaker 1She's Evelyn's sister. 1:14:04 - Speaker 3Because it's often something grim. But you know this song there's. There's lots of data in there. This could be a rabbit hole song. It wasn't so much for me, just because I thought it was awesome. 1:14:19 - Speaker 1You're right, it is awesome. It's fucking awesome. Maybe I'm out and we're actually more song for the band. Where do we go next? Um Thugs? 1:14:28 - Speaker 2This is gonna sound really strange, but first of all, i love the chorus on this song. That's fantastic. I really dug this song a lot. It's ironic that it's called thugs and the baseline is a slowed-down version of Grandmaster flashes a message yes or yes? 1:14:54 - Speaker 3Whoa, I didn't go that deep, but I knew it was something like I. I felt there was something go out on in this song And I didn't know what I was you know, i didn't know what it was, but Uh, you keep going it's a deep, deep. 1:15:09 - Speaker 2There's clearly a deep admiration for Grandmaster flash Going on here and The. this the we reference to JD. You mentioned that this is the song where, or this is the record where, you realized they're actually a wee band out of your band. 1:15:30 - Speaker 1Um, yeah, it sort of. It sort of happened at the same time to me as well, no, but you know, there's the reference about All roll or rolling. I'll do the details, you do the roll and I'll do the details. I'm sorry about that. That's all right. 1:15:48 - Speaker 2Yeah, that's, that's kind of where. That's kind of Where I thought on that, the Again the chorus awesome, uh, there's. He keeps doing this high, are you know? it doesn't a couple times and on the record but he does like a high-pitched whoo And this song, that's really cool. And The spacey reverb Guitar is just like. I couldn't think of the song that it reminded me of or the artist, but it's, there's so much reverb on this on that guitar, it's like It's insane. 1:16:26 - Speaker 1Love it, love love, love this one. Yes, it's, yeah, you can swim in it Well said. Yeah, yeah. Where are you on thugs? 1:16:34 - Speaker 3You know I I Felt it was a little bit filler. You know I I didn't get a whole lot from this one I when I Started looking into kind of the movie references or what they get up trying to figure out When I was trying to figure out. You know any details About this song that could make me get into it more? I read and I've read this before, the quote from gourd, that if that's what you think it's about, then that's what it's about Sure, which made me think for this song. Okay, if it's. You know if I think gourd would tell me hey man, if you, if you don't dig this song, then maybe you should try Inevitability of death. You know, if you want to get heavier, then go here. If you don't, you don't get heavy with thugs and let's give you a song about struggling with cancer, which is, i think, inevitability of death. You know, there's what I enjoyed about this song is they mix it up a little bit. You know there's a Chorus singing without drums. You know they're starting to do little creative things on this album That I think help make it stand out and keep my interests more. That's kind of what I, yeah, that's kind of what I've noticed. But then you know, i think everybody probably knows anybody, or sorry, anyone knows someone is diet of cancer and maybe that's what this is about about and living life. You know, trying to Do everything to your fullest. I'm not sure about this. The song was, it was a good jam, it was it was. 1:18:17 - Speaker 1You know what you're not. You're not Far off the track. I don't think, though, when, when you say that about cancer but that would be just so terribly ironic you know Writing a song about that and then succumbing to that illness. You know all those. 1:18:38 - Speaker 3Yeah, exactly. 1:18:40 - Speaker 1Because it came on suddenly. It wasn't something he battled with for very long. It came on suddenly and he was gone, wow, other than a other than a cross-canada tour. But well, you just think, puffy lips, glistening skin, yeah, everything comes rushing in. That could be like reference to, like the chemotherapy you know, like rushing into your body. You know We don't go to hell, just yeah. I love the. I also just love the word play. I thought you'd be the death of inevitability to death just a little bit. I thought you'd be the inevitability of death to death just a little bit like. I love how it's inverted Mm-hmm, very cool, very cool. 1:19:21 - Speaker 2And he makes it work it's crazy that you say like puffy lips and glistening skin. I'm thinking of a. I'm thinking of like Scarlett Johansson and in a bikini like that's who. I'm like. That's right where I went when I heard that. That's so. I'm not even joking. 1:19:43 - Speaker 1That's like what I thought say, could have been yonder somebody somebody just came from LA, i think. 1:19:51 - Speaker 2It's been any time with Scarlett, though The I dig this song It's. It's not one of my favorites, but this was the song that Clearly did the one I mentioned earlier that that Alanis drew a lot of The word play and the way he phrases it is It's. It's exactly what she does in the song. You ought to know like it's. It's 100%. You can't Can't deny it. I'm sure if you had a gun to read she'd say yes, of course It's worth it. She's got the inspiration on. I. 1:20:33 - Speaker 1Don't think it would go that far, just just for the record. No, yeah, if you were interviewing her you would probably, i probably, i probably just ask her. 1:20:39 - Speaker 2Yeah, she seems like a nice person. 1:20:43 - Speaker 3Let's, let's, let's have her guest on the next one. 1:20:45 - Speaker 1He's gonna you have. You have that up, jady Yeah. 1:20:47 - Speaker 3Yeah. 1:20:48 - Speaker 1Yeah, I like the bass that. 1:20:49 - Speaker 2I think the chords are a little bit more. I think the chords are a little bit monotonous. The line if you go to hell, i'll still remember you, that's just. That's a really fucking cool line. But The bass starts to shine at the end, which is cool because because the chords are so I guess I've been honest the bass really isn't doing much, but then it does something that that only Tim Hates is more than I do. It's just faith. 1:21:27 - Speaker 3You know, i will say some of the hip, some of the hips, fadeouts are better than others. Okay, they've had they've had some oh dare I tragic fadeouts oh. I use that because I hate fade out so much. 1:21:47 - Speaker 2Jady, can you, can you You edit this in? can you, can you do that? 1:21:55 - Speaker 3That's funny. You mentioned that cuz a couple weeks ago, jd. I said to JD you know, sometimes I just want to add in a sound effect, like You know, and he's like you do not do that on my podcast, i hate sound effects, because I'm even thinking. 1:22:14 - Speaker 1You know, when you were talking earlier, you were talking about The bass being slowed down from Grandmaster Flash, like, oh, i could intercut. I could intercut like the Grandmaster Flash song so people could hear it. 1:22:27 - Speaker 2But then it's like It's so noticeable man, i mean it's it's so noticeable. It's exact same bass line, but anyway. 1:22:37 - Speaker 1Next song, though. So then we slow it down with scared. 1:22:41 - Speaker 3This that's so scared for me is it's like a. I instantly went to. This song would be an amazing concert concert closer. You know it's. It comes on, you know the night's finishing, it might be the what else? songs. You close your eyes at some point and just listen and get in deep. You know it's, there's, it's layered and story from I don't know Russia and the Germans and Stalin and Trying to make culture and art disappeared and like housekeepers and all these different things. It's like it's. It's. It's a sad kind of beautiful song that It's a little bit of a usual makeup for them with this kind of section of the album, but I thought it was, you know, on that note, kind of dark and lovely overall. 1:23:37 - Speaker 1What do you think, sir? 1:23:39 - Speaker 2I wasn't. I thought this was kind of like just a token. If you will token slow tune like It didn't do it for me, like When it comes to like softer hip songs, like it didn't give me the same Warm, fuzzy feeling is like fiddler's green did. 1:24:02 - Speaker 1Sure, okay, yeah, i mean, fiddler's green is a knockout pie. It is, but my god scared. I love this song really good. 1:24:10 - Speaker 2Maybe it's just positioning on the record, i don't know. I've got a Spend some more time with it and in this was actually one song. There's a couple of tunes. I didn't Get to hear the car, yeah, towards the end, because my car rides weren't as long and they started the record. I would put the first song on when I got in the car, so if I wasn't driving for a long time, obviously the song story the other record didn't didn't didn't make it in the in the car, but there was something really weird on this song. There was a Spacey sort of keyboard sound that kept going off. You know I'm talking about. 1:24:54 - Speaker 3I know, now I don't really yeah, the only thing that certainly stood out to me was the use of acoustic guitars. There's, you know that's. That was a little unusual. I don't remember keyboards. 1:25:05 - Speaker 2There's some sort of keyboard effect going on in there. That is Like the only thing I can equate it to is like you know the. It's like an oscillated version of. You know the sound of the, the metal hitting the, the track on the song. It's a sound of the men working on the chain game. Yeah, it's like it. It's like an echoey, delayed, oscillated, real subtle Vert Sample of that or something, something similar to that, and it's done with the keyboards and said it's on the song 100%. 1:25:46 - Speaker 1Huh, i've got to listen with these headphones. 1:25:49 - Speaker 2But yeah it's. It was a cool song. I dug it and I kind of wish I had more of a feeling the way you guys do about it. But you know it's okay there just hope for you. 1:25:59 - Speaker 1There's hope for you, peter. From there we go to an inch an hour, and this song always impressed me, because the math works out an In an hour today the same way, an inch an hour to feed a day, to moan tonight in this most professional way. 1:26:57 - Speaker 5There's this fucking band. You gotta see they used to care about living shit. I see no profit in talk. No food in town, no rock and roll, no bestiality. 1:27:10 - Speaker 6Makes me feel the same way. An inch an hour to feed a day, to moan tonight with their little mouth to say But our health is best with the people in the space. No stuff of town, no feed you through, no salt on the tev. It works through Making lots and moogs. 1:27:49 - Speaker 5Tonight I'm gonna win and make this gift heart. I want you to see your breath in the spring side. Heart, coffee colors, ice and feeling. First part Sound. The rushing water in the dark Makes me feel the same way. 1:28:06 - Speaker 6An inch an hour to feed a day, to moan tonight with their little mouth to say But our health is best with the people in the space. I mean our health is best with the people in the space. You see, i don't know me. I don't know me at all, i don't know myself. 1:28:47 - Speaker 1I don't know myself. I don't know myself. What did you think of this? 1:29:06 - Speaker 2one. I love the. I don't know if I paid attention to it in the other records, or I'm just hearing this now, or this is the first time they're really doing it, but I feel like the guitar is falling the vocal line, or the vocal line is falling the guitar a little bit more, which is cool, like the melody of what Gord's singing. I thought it was a fucking banger. Again, this is another one where he's like yelping. I can only say yelping because he's not screaming but he's saying oh, oh, like really multiple times during the song. Anyway, i love it. I thought this song would probably be a really good opener. I don't know if they ever opened with it, but Definitely thought it would be a good opener. 1:30:07 - Speaker 3I think this one I was anticipating, without even knowing it, after listening to Scared. Scared was like this epic kind of novel, three-part novel to get through And when an inch and hour came on in the car, within seconds was turning it way up Like. This is one that I kind of needed. With the placement in the album, it truly so. I read that it's potentially, or possibly, if it's about a fan who wrote a fan letter to the band. Supposedly this guy claims to come home at the end of his night shift every day. He would go buy some beer and sit on the stoop of his apartment And just crank tragically hip and drink beers. And he was thumbing through one of their albums and saw an address to write letters into

On the 258th episode of Big Orange Couch: The 90s Nickelodeon Podcast, Andrew, Joey, and Clayton discuss the 2000 Nickelodeon film, "Snow Day!" Also, that month in history (February 2000), bios, trivia, ratings, stray observations, and name the episode. Plus, how does the movie age, actual snow days, lettering, Pete & Pete connections, and so much more! 

Pete Mohr has been an entrepreneur of several businesses, hosts the "Business Owner Breakthrough" podcast, and finds extreme satisfaction with a successful business coaching practice, Simplifying Entrepreneurship. This is where he focuses on helping existing business owners achieve their goals and build successful, scalable businesses. Pete weaves his wisdom to empower his clients to transform their ideas and ambitions into reality. If you have a business or are considering making the leap, learn from someone who lives in the business owner trenches. Pete offers a wealth of knowledge to simplify what we, as entrepreneurs, often try to make complicated. In this episode, you'll learn: The power of going back to revisit why you started your business. The need to create a promise to deliver to your customers.  How you can use accountability to determine where you spend your time A “Love It or Leave It” tool Pete provides for business owners and to share with their teams Connect with Pete Pete's Love It Or Leave It  Website LinkedIn Instagram Connect with Lisa Get her free download: The Essential Guide to Telling Your Story Register for the Take Back Your Life Workshop Want to Leverage What Makes You Uniquely Different? Schedule a Personal Brand Discovery Call Email: lisa@lisamcguire Website LinkedIn Instagram Facebook

Welcome to Old School Lane Throwback, where Patricia takes the audio from the videos of the Old School Lane channel and puts it up on the podcast feed for your listening enjoyment. On this first installment, it's a video from Valentine's Day 2016 on the series From Pilot to Final Product comparing the pilot of the 1993 series The Adventures of Pete "Valentine's Day Massacre" to the series to see what similarities and changes occur. To check out the pilot, check on the link down below. https://www.youtube.com/watch?v=45GaE4lJPY4 --- Support this podcast: https://anchor.fm/old-school-lane/support

Welcome back to another installment of the Forever Bogus Podcast, “Where we've got nostalgia on tap.” The Bogus Boys are back with some Christmas spirit! B-Boy Bogus Bryce and J Dawg celebrate the holiday with the brothers Pete as they take a deep dive into their Christmas special. Then they wrap up the show with some great stories of timeless Christmases. So set back, relax, eat a sugar snack, and prepare yourself because it's once again time to get BOGUS! The Forever Bogus Podcast is sponsored by Ed's Retro Arcade and Chilli. "Take a bite out of Nostalgia!"

This episode Chad, Paul, and Kevin retreat from the harsh horror winter to the safe shelter of The Adventures of Pete & Pete to discuss the episode 'Nightcrawlers', a charming story from the first season about Little Pete and his friends trying to stay up for eleven nights in a row. We do not recommend doing this in real life. OFF TOPICS: Incubus vs Deftones, NuMetal and emo and confusing genre names, milking the guitar's prostate Book Discussion begins at 10:20 You can support Goosebuds, get access to bonus episodes, join our secret Discord, and more at patreon.com/goosebuds Dress your skeleton with Goosebuds apparel at goosebuds.store Email: goosebuds@gmail.com Twitter: @GoosebudsPod Edited by Kevin Cole (@RealKevinCole) Music by Seth Earnest (sethearnest.net) Art by Brock Gallagher (@brockadile)

School is back in full swing, which means that we at Splat Attack need to board the bus. Brett and Alex are joined by friend of the podcast Carl from 90sNickTube as the co-hosts duke it out over these two classic Pete & Pete episodes. Brett defends "Das Bus" while Alex defends "Yellow Fever" with Carl being the impartial judge. Which bus-themed Pete & Pete episode is better? You'll have to hop on and ride the bus with us and Busdriver Stu to find out! Send your feedback to Paramount letting them know you want season 3 of Pete & Pete on DVD or the series out on streaming service: https://help.paramountplus.com/s/contactsupport?fbclid=IwAR2rjf00VjTq_8z8h6ZPTfzspF-3ewxyieIKri5cQw2VdSbw9utyldrehsI Don't forget to reach out to Nickelodeon as well: https://viacom.helpshift.com/hc/en/8-nick/contact-us/?han=1&hpn=1&p=web&hbhf=1 Give some love to Carl and follow him on Instagram: https://www.instagram.com/90snicktube/ Become a patron on Patreon today to access our exclusive 90s content: https://www.patreon.com/SplatAttack To be featured in a future “Mona's Mailbag” segment, email us at SplatAttack2021@gmail.com Follow us on Instagram: @splatattackpodcast Leave us a rating and review on Apple Podcasts, Podbean, and Spotify to let us know how we're doing with delivering quality 90s Nostalgic content to you. Thanks for listening, and we'll splat you later!

Summer is over! Join Chris and Ryan for the last episode of the Summer Block Party as they discuss their favorite 90's Nickelodeon show The Adventures of Pete & Pete. It's a trip down memory lane! WHATEVER CREATIVE - Home (weebly.com) https://whatevercreative.weebly.com/electic-entertainment.html Facebook @electicentertainment Electic Entertainment | Facebook Instagram @electicentertainment Electic Entertainment (@electicentertainment) • Instagram photos and videos Letterboxd @electic ‎electic's profile • Letterboxd Twitter @ElecticEnterta1 Electic Entertainment (@ElecticEnterta1) / Twitter TikTok electicentertainment https://www.tiktok.com/@electicentertainment Check out The Adventures of Danny and Mike here: https://podcasts.apple.com/us/podcast/the-adventures-of-danny-and-mike/id701676914 https://open.spotify.com/show/13jjLynWtqt8TaQVud4OpG?si=d3183a49e5c94503 Time for Fall and for a new series. House of Horrors trailer coming very soon. Thanks for listening! --- Support this podcast: https://podcasters.spotify.com/pod/show/chris-gentry2/support

On this episode we review NFL Week 1. We discuss Russ's return to Seattle, The New MNF, The Atlanta Falcons, and more! I unveils some new segments and we close out with this weeks picks!Parlay Pete's NFL 6 PackRavens (-3.5) vs DolphinsLions (ML) vs CommandersColts (ML) vs JaguarsBuccaneers @ Saints (O44)Raiders (ML) vs Cardinals Vikings (ML) vs Eagles  Parlay Pete's CFB 6 Pack:OU (-9.5) vs NebraskaPurdue (ML) vs SyracuseOregon (ML) vs BYULSU (ML) vs Miss StMichigan St (ML) vs WashingtonOle Miss @ Gt ( 1Q O 13.5)Subscribe, Rate, Review!https://www.buzzsprout.com/?referrer_id=138898Bigbabythegoat.comhttps://podcasts.apple.com/us/podcast/big-babys-podcast/id1439220928https://youtube.com/channel/UC9hcDFT96IyFGllwlO0T-ughttps://open.spotify.com/show/0uHPE4M6r8vtVcbybsG6dU?si=Y_S_pW5sTuiInqo22PWaaABustin' Chops & Callin' ShotsEach week Josh and Jon sit down to give their take on travel sports and everything in...Listen on: Apple Podcasts Spotify Jo Patt on the BetsCollege Football/Sports betting podcastListen on: Apple Podcasts SpotifySupport the show

Preview of both the Bournemouth and Man City games with legendary guest Pete, who offers a different perspective on his beloved Manchester Blue!

This week on the Afterlife Chronicles host Nicole Strickland welcomes Pete Orbea – Port Gamble Paranormal and Host of the “Paranormal Pete Show”. Pete Orbea joins the Afterlife Chronicles again for another great discussion. This time, he'll be talking about evidence review, photography | audio | video captures, shadow people vs. apparitions, and more. Listeners will get an extra treat as Pete will be showcasing some of his favorite audio captures from his paranormal investigations. Join us live on your favorite social media platform on wltkdb.com at 8 PM CST.

Jump into the pool and grab some ice cream, because we're headed to Wellsville for a wet n' wild ride! Today, two summer-themed Pete & Pete episodes duke it out for a shot at victory, leaving one to be crowned "King of Summer." Who will reign triumphant? Will it be "Splashdown!", an underrated Season 3 tale that will make you drop an atomic cannonball in defiance into the public pool? Or, will the mystery man of frozen treats, Mr. Tastee steal your heart with a Blue Tornado Bar? Our guest judge and Pete & Pete expert Joey from Big Orange Couch Podcast will help us see the winner clearly amidst the sweltering heat in this Episode Battle, a versus between two episodes of the same show under one theme. Become a patron on Patreon today to access our exclusive content: https://www.patreon.com/SplatAttack Support the show with a Splat Attack mug or shirt from our Bonfire store: https://www.bonfire.com/store/splat-attack-store/ To be featured in a future “Mona's Mailbag” segment, email us at SplatAttack2021@gmail.com To see the video version of this episode, subscribe to our YouTube channel, Splat Attack Podcast Follow us on Instagram: @splatattackpodcast Leave us a rating and review on Apple Podcasts, Podbean, and Spotify to let us know how we're doing with delivering quality 90s Nostalgic content to you. Thanks for listening, and we'll splat you later!

This week I welcome Daniel Claxton and Pete Ritchie of Blue Ridge Marble on the show to share their story as a recent business startup, and new ICPA member. We’re super excited to have them as a part of our association.

Michael Maronna makes Content™ with Ray as they talk all things Pete & Pete, 90's Nickelodeon, and tired dads? It's part two of a Pete & Pete week & week. Enjoy!

This week the fellas spend a little time with show favorites Frank Grillo and Gerard Butler in Joe Carnahan's Copshop.  A movie that based on the poor choices of it's characters that it's just a natural fit for the show.   Also starring Alexis Louder (The Tomorrow War); Chad L. Coleman (The Expanse) and Toby Huss (The Adventures of Pete & Pete). The group also discusses the slight drama that happened with the final cut of the film and propose a prequel for an Anthony Lamb story Also Fatty and Corporal declare their desire to see the Carnahan cut while Sarcastro waits for their review of it.  

Danny Tamberelli makes Content™ with Ray as they talk all things Pete & Pete, 90's Nickelodeon, and Mark Twain's ghost? It's part one of a Pete & Pete week & week. Enjoy!

In this epic parody we spoof the final season of the legendary HBO show Game of Thrones. Together with improv juggernauts Billy Merritt (https://twitter.com/BillyMerritt), Pam Murphy (https://twitter.com/murphyplease), and Billy Ritter (https://www.youtube.com/channel/UCYK9tIC-Yf-SohwvM-3Uq0Q) we finally give you what everyone's been waiting for: a satisfying final season for one of the greatest TV shows of all time. CAST Jeannie Ceglar as Dany, Arya, and Podrick Peter Graff as Jaime, Bran, Melisandre, Qyburn, Pete Pete the Dragon, and Sean Bean Billy Merritt as Tyrion, Theon, and the Godswood Tree Pam Murphy as Cersei, Brienne, Varys, Sansa, and the Night King Billy Ritter as Jon, Sam, Euron, and Thormund MUSIC Artist: The Random Sunshines Title: The Peterbutter and Jeannie Jingle Artist: Ross Bugden Title: Ice and fire Genre: Cinematic / Soun dtrack Mood: Heroic / Dramatic http://www.mediafire.com/file/w246274... Artist: INSTAGRAM! : https://instagram.com/rossbugden/ (rossbugden) TWITTER! : https://twitter.com/RossBugden (@rossbugden) YOUTUBE: https://www.youtube.com/channel/UCQKG... Creative Commons — Attribution-ShareAlike 3.0 Unported - CC BY-SA 3.0 https://creativecommons.org/licenses/... Music provided by "COPYRIGHT FREE CREATOR-TUNES" https://www.youtube.com/channel/UCoXJ... FOLLOW US EVERYWHERE https://linktr.ee/peterbutterandjeannie

The Bible is sort of like a means of grace. It's almost like it's not a sacrament, but it's almost like a sacrament. It's something you engage and by the act of engaging it and even struggling with it, you're actually communing with God in some way.               — Pete Enns This is an honest and invigorating conversation with Dr. Peter Enns, scholar and author.  Steve explores What is the Bible? How do we interpret the Bible in today's world?  Controversial evangelical Bible scholar, popular blogger, podcast host of The Bible for Normal People, and author of The Bible Tells Me So and The Sin of Certainty, Dr. Peter Enns explains that the Bible is not an instruction manual or rule book but a powerful learning tool that nurtures our spiritual growth by refusing to provide us with easy answers but instead forces us to acquire wisdom. Is the Bible authoritative in our daily life and world events?   What did God have in mind in offering us 66 books? This is a conversation that will disturb some of us and challenge others. It's time to re-think the Bible in light of the Bible becoming a weapon to beat up each other with. ABOUT PETER ENNS Dr. Peter Enns (PhD, Harvard University) is Abram S. Clemens professor of Biblical Studies at Eastern University, St. Davids, PA. He has taught courses at several other institutions including Harvard University, Fuller Theological Seminary, and Princeton Theological Seminary. Enns is a frequent contributor to journals and encyclopedias, and is the author of several books, including The Sin of Certainty, How the Bible Actually Works, and The Bible Tells Me So.   Learn more about Pete Pete's Website The Bible for Normal People Podcast   MENTIONED IN PODCAST Psalms 26:4-5 Psalms 13 Psalms 139:12 Psalm 73 Beldon Lane Podcast “Nature and the Soul.”   MUSIC USED IN PODCAST First Music Break at 38:46: River Flows in You by James Bartholomew Second Music Break at 1:02:07:  Cantate Domino – Performed by Abbaye Notre-Dame de Fidélité.   SUPPORT THE PODCAST We have two ways to make it easy for you: Use our Donation Page on our Website Donate using our new App CONTACT US podcast@pottersinn.com INTERESTED IN MORE SOUL CARE RESOURCES? Check out our recommended reading, books on spiritual growth, and our soul care blog. Want to experience soul care in person? Learn more about our soul care intensives and retreats.       

This week Ken welcomes writer/director/Box Mac co-host and Red Cow Entertainment Head Honcho Frankie Frain. Ken and Frankie discuss how much Ken loves everything Frankie does, the shock that Ken and Frankie don't already know each other, Emerson College, making niche content, The Angry Video Game Nerd/Cinemassacre controversy, making feature films, getting interest in the content you make, growing up with strict parents, the first R Rated movie Frankie every saw, how Frankie's dad experiences films differently, getting hid hard by F Bombs, quality films you never want to see again, the shift of sitcoms to reality TV, The American Underdog experience, wanting to see the rich and famous fail, Barney Miller, Car 54, Where Are You?, Kate & Alley, Mad About You, Boys Meets World, TV38, how M*A*S*H was old man TV, surviving under the smelliest conditions, TV tapings, Kelsey Grammer's return to television, Ken's early days at MMTV Melrose Mass cable access TV, how Ken is Forrest Gump, meeting Fred Willard, how awful having viral Tweets is, Ricky Gervais, the power of not giving a damn, the weird pivot of the famous and infamous to try stand up comedy, how Children put your life in tatters, body horror, Box Mac Holiday parodies, MST3K, the power of the right font, how the identification of Tweens as a consumer group ruined multi-cam sitcoms, Children's TV, Bluey, dogs, the infamous AIDS episode of Mr. Belvedere "Wesley's Friend", the long strange fascinating journey of Alvin and Chipmonks, The Adventures of Pete & Pete, Adventure Time, Frankie's daughter throwing up in his face, encouraging children's interests, asking questions about production, how people react to being filmed now vs in the 1980s, All in the Family, younger generations lack of historical knowledge of TV, why Friends is the Brady Bunch of Millennials/Gen Z, how great Molly Hagan is, the greatness of Frankie's muse John Hunt, the importance of sincerity, trying too hard, and the comfort we can provide with the content we make.

To commemorate the end of 2021 we return to The Adventures of Pete & Pete's "New Year's Pete". This delightful episode of TV has delicious cocktail wieners, non-glamorous smoking, Debbie Harry, Salvatore 'Big Pussy' Bonpensiero, telepathically-controlled hamster bowling, and jetpack dreams. It all ends with some sweet hope about the holiday and looking forward to the next calendar year. We get some much need calibration by discussing it and hope you enjoy the episode as much as we did. OFF TOPICS: Geoff Keighley's The Game Awards, The Goosebuds' The Game Awards, Deep Rock Galactic, ElecHead, Inscryption Episode discussion begins at: 12:45 You can support the show, get access to bonus episodes, vote on upcoming titles, and more at patreon.com/goosebuds Dress your skeleton with Goosebuds apparel at goosebuds.store Email: goosebuds@gmail.com Twitter: @GoosebudsPod Edited by Kevin Cole (@RealKevinCole) Music by Seth Earnest (sethearnest.net) Art by Brock Gallagher (@brockadile)

Today's featured artist is Mr. Iggy Pop whose career spans six decades and counting, and has influenced pretty much every rock band, punk band, and post-punk band that would follow in his wake. He has released dozens of records over the years, contributed to numerous movie soundtracks, and has appeared in movies and television shows like Cry-Baby, Cigarettes & Coffee, and The Adventures of Pete & Pete. And he's probably the only person on the planet capable of outliving Keith Richards. Recommended reading: Open Up and Bleed by Paul Trynka If you like the show please subscribe on iTunes to automatically get all new episodes. If you really, like the show please leave us a review. Follow us on Instagram @birp60406 Or shoot us a message at blueislandradio@gmail.com

Hot damn is this a fun episode of fall television! Chad, Paul, and Kevin revisit the Nickelodeon classic (and arguably the best thing they've ever produced) The Adventures of Pete & Pete and this anti-capitalist story about the extinction of bears, the nirvana of a perfect golf swing, and the freedom of a fur suit.   OFF-TOPICS: Too Hot To Handle aka 'Bone Island', "Soaking" at BYU, God's awkward multiple date situation, Skinwalker Ranch's latest monetization scheme/reality show aka 'Dorky Umbrella Corp'.   Episode discussion begins at 20:21 You can support the show, get access to bonus episodes, vote on upcoming titles, and more at patreon.com/goosebuds Dress your skeleton with Goosebuds apparel at goosebuds.store Email: goosebuds@gmail.com Twitter: @GoosebudsPod Edited by Kevin Cole (@RealKevinCole) Music by Seth Earnest (sethearnest.net) Art by Brock Gallagher (@brockadile)

We attempt for the first time writing episodes of our favorite 90s series in a new episode segment we're calling "90s Fan Fiction!" First up is Ally who wrote her very own original script for The Adventures of Pete & Pete called "Pete State Fair." Ally, Andy, Jeff, and Maria all portray the roles of the beloved series. We play a round of "Do You Know It?!" with Quizmaster Andy, and Ally leads a Pete-centric "Then & Now!" There's also a little surprise after the script in the form of a trailer for our new podcast Dungeons & Decades! *** Find Dungeons & Decades Find Maria's JWIN Playlists Find more of Notable Nostalgia Ally's Original Clarissa Explains it All Script --- Send in a voice message: https://anchor.fm/notablenostalgia/message

In this episode, the guys talk about forearm tattoos, the strongest man in the world, and why Pete & Pete is just as relevant today as it was way back in the early 90s. --- Send in a voice message: https://podcasters.spotify.com/pod/show/heyyouguys/message

Tommy makes his first appearance on the SatMat! Pete's in Seattle with SO MANY PODCASTERS at the first ever PodCon! Plus … Andy and Steve! We've got FOUR great trailers to talk about — or maybe THREE great trailers plus Cameron's new one. And a list of great foreign films that have been made into completely lame American remakes! Thanks for your support everybody.  Andy's Trailer: Lean on Pete Pete's Trailer: Alita: Battle AngelBattle Angel Alita! Steve's Trailer: Please Stand By Tommy's Trailer: You Were Never Really Here THE LIST! Foreign films that have been remade to American Films! Pete's List Taxi — Taxi Godzilla (1998) — Godzilla City of Angels — Wings of Desire Tommy's List With Honors — With Honors. Seriously. The Vanishing — The Vanishing OldBoy — OldBoy Steve's List Let Me In — Let the Right One In Ghost in the Shell — Ghost in the Shell Point of No Return — La Femme Nikita Andy's List Last Man Standing — Yojimbo Solaris — Solaris Death at a Funeral — Death at a Funeral Next Week's List: Best sinister thugs.

Tommy makes his first appearance on the SatMat! Pete's in Seattle with SO MANY PODCASTERS at the first ever PodCon! Plus … Andy and Steve! We've got FOUR great trailers to talk about — or maybe THREE great trailers plus Cameron's new one. And a list of great foreign films that have been made into completely lame American remakes! Thanks for your support everybody.  Andy's Trailer: Lean on Pete Pete's Trailer: Alita: Battle AngelBattle Angel Alita! Steve's Trailer: Please Stand By Tommy's Trailer: You Were Never Really Here THE LIST! Foreign films that have been remade to American Films! Pete's List Taxi — Taxi Godzilla (1998) — Godzilla City of Angels — Wings of Desire Tommy's List With Honors — With Honors. Seriously. The Vanishing — The Vanishing OldBoy — OldBoy Steve's List Let Me In — Let the Right One In Ghost in the Shell — Ghost in the Shell Point of No Return — La Femme Nikita Andy's List Last Man Standing — Yojimbo Solaris — Solaris Death at a Funeral — Death at a Funeral Next Week's List: Best sinister thugs.

On today's show I talk to actor and electrician Mike Maronna. Born in Brooklyn, Mike began acting from a young age. From 1993 to 1996, Mike starred as Big Pete on the seminal Nickelodeon show The Adventures of Pete & Pete and also starred as one of Macauley Culkin's siblings in the Home Alone movies. While he's acted in a number of projects since then, he fell in love with lighting while on the set of Pete & Pete and works in the Electric Department for Feature Films and Television. You can hear Mike along with Danny Tamborelli (AKA Little Pete) on their own podcast The Adventures of Danny and Mike.Check out the website for Beginnings, subscribe on iTunes, follow me on Twitter!

Ever wonder what Rob & Sean's top 5 Any'tizers are? No? Well, too bad. They also review the Pete & Pete episode "Halloweenie". Feeny is a weenie.