Getting Hip to The Hip

jD, Pete, and Tim discuss the documentary Long Time Running.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

jD, Pete, and Tim are back and this time they're immersing themselves with four different versions of New Orleans Is Sinking.TranscriptRediscovering the 80s and 90s on SpotifyAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Join jD, Pete, and Tim as they go off the cuff and then get down to business to discuss some Hip music videos and live footage.Grace, Too - Live from London - https://www.youtube.com/watch?v=FJBu9Ls5CaUFiddler's Green - Live from Abbotsford - https://www.youtube.com/watch?v=35mJvcY104MCourage - Live from Woodstock '99 - https://www.youtube.com/watch?v=Yxi5rXtqbVwAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

jD, Pete, and Tim are in learning mode as they speak with Sarah Midanik from the DWFDon't forget to get your tickets to the event this coming Friday at gettinghiptothehip.comTranscriptTrack 2:[5:23] Hey, it's JD here and we are back with another episode in our Talking With series. So far we've talked with 50 Mission, Trevor Stickman, Paul Langlois, Gord Sinclair, and today we are really thrilled to be joined by the President and CEO of the Downey Wenchak Fund,which we are supporting with our event tonight, if you are listening to this on Friday, September 1st. We have with us Sarah Medanek and I'm really thrilled to have you here with us. How are you doing? Track 3:[6:03] I'm good. Thanks so much for the invitation to join. Track 2:[6:09] Yeah, we're thrilled to learn more about the organization and your role in it and all that good stuff. So without further ado, let's go. Tim, do you have anything? Hey, Sarah. Track 5:[6:22] Good to meet you. Yeah, I'm just curious about the kind of inception of the fund and how it all kind of began. I watched some of the videos on your site and read quite a bit. But I'm curious about how it all really, kind of the conversation started with Gord and then when you came along, if you don't mind touching on that. Track 3:[6:43] Yeah, for sure. So, I've had the great pleasure and slightly intimidating responsibility of being with the Gord Downie and Chani Wenjack Fund from the very beginning, so beforeGord passed. It was, you know, it was a really unique sort of moment in time. There was, of course, all of the momentum of the HIP's final tour and, you know, very public shout out to Trudeau around reconciliation by Gord to do more as Canadians and how wecould do better. Of course, that was coupled with the work being done by... [7:32] The Truth and Reconciliation Commission and the release of the 94 Calls to Action, and also the Secret Path Project, which tells the story of Chani Wenjack. And so Gord had done a series of concerts playing the Secret Path album with the Secret Path Band. And for anyone who hasn't seen The Secret Path, you can visit that material on an art website. It was, of course, became a series of poems which became the album, which became the graphic novel, which became the animated film. So there's a lot of really incredible material to visit there. And so there is sort of just a unique moment in time where there was a lot of momentum and a lot of, you know, people in Canada wondering what their role was in reconciliation andwhat they could do, to contribute in a meaningful way. And so that's really the root of Downy Wendjack is, you know, there is all this momentum and there is all these folks wondering what to do next and our programs and the work we do isreally based around that, the pillars of awareness, education, and action. [8:54] And so we have two national programs. One is Legacy Schools and so we are in 6,000 schools in every province and territory with over 7,000 educators and we provide them withfree educational tools and resources to be better equipped to teach about the true history and legacy of residential schools and the true history of Indigenous people in Canada, but to alsobe able to incorporate strength-based learning and Indigenous ways of knowing and being into core curriculars. Because you know there is sort of that, that sentiment, you know, well, we didn't learn about this in schools. There was still like back when we were getting started, I would say there was still a pretty big gap in people's general awareness and understanding around residential schools. And that'schanged a lot in the past five years. But curriculum doesn't necessarily get reformed that quickly. Track 5:[9:53] Right, right, yeah. Track 3:[9:57] So we still see the need, and of course we do lots of really cool stuff in the Legacy Schools program. We have the Artist Ambassador program, which brings Indigenous and non-Indigenous musicians, artists, role models into classrooms. And the Youth Ambassador program, which is a four-week leadership program that we run and every summer, we had 105 youth go through it this summer where they learn how to bechampions for reconciliation within their schools and communities. And we do a lot of programming in which we bring Indigenous and non-Indigenous peoples together. We had a big music festival here in Toronto this spring called Siguan, which featured incredible Indigenous artists, and we always do a ton of programming for June, for NationalIndigenous History Month, and for Secret Path Week, which is coming up here right around the corner from October 17th till the 22nd, and of course, the National Day for Truth andReconciliation on September 30th. Track 2:[11:08] Wow, that is a lot. Track 3:[11:10] Well, that's just one program. We also have the Legacy Space Program. So when I talk about what we do at Downey Bunjack, I call it the sandwich, which maybe I should find something a bit more. Track 4:[11:24] Everybody likes sandwiches. What is wrong with a sandwich? Track 5:[11:28] We've had many food analogies on our show. Right? Track 3:[11:33] So it's through Legacy Schools, we educate the littles, the young people, so that the next generation of people in Canada understand the true history. But for those folks that are not in school, where do you learn? And that's often through your workplace and professional development opportunities. So the Legacy Space Program really leverages the concept of indigenous placemaking to create physical space within an organization, a corporation, a community that is representative ofthe internal commitment to do the work further reconciliation. And, you know, from a corporate standpoint, is that, you know, equity, diversity and inclusion, hiring and retention practices for Indigenous employees, you know, reconciliation plans,procurement, right, working with Indigenous businesses, so. I always say, you know, we educate the littles and we try and educate the bigs. And in the middle is all the, you know, fun stuff that we get to do in terms of, you know, amplifying Indigenous voices. Like we're taking over almost every radio station in Canada again this year on a day to listen, which will be September 30th. [12:52] Yeah, if you haven't checked it out, this will be our third year, which is very exciting. And we do a series of interviews that amplify indigenous voices each year. And they're, they're really powerful, powerful stuff. So I'd, I'd encourage everyone to check it out. Track 5:[13:12] Do you have any kind of standout examples? I don't know, in the past, you know, summer or this year of working with specific businesses, small businesses or specific schools, justto kind to give our listeners like an example of like anything that really pulled on your heartstrings of seeing action in work and just, you know, when you when you do volunteer time,you spend so much time on your own. And then when you kind of finally get out in the field and away from the computer, you get to experience some things. I'm just curious if you can give us like some standout example ofsomething that happened. Track 4:[13:48] Oh, gosh. Track 5:[13:48] Could you put you as many as him is my my questions are going to be super softball, so don't worry I was I was watching the the, the film last night the graphic novel film and youknow some of the interviewing at the end I think it was with Pearl, you know Pearl said Channy's sister right she said you know we need schools in all of our communities, not just publicschools like outside our own communities. We need schools within our own communities. She said a few things that just really made me, you know, kind of more realize what's been going on up there. And even from the U.S., you know, we never had heard of any of this stuff. Track 3:[14:36] Well, and it still happens, right? Like a lot of youth have to leave their communities to go to high school still in their village. The model, the experience that indigenous children experience in residential schools, that model still exists, but it's perpetuated in different systems, whether it's child welfare or justice, ormissing and murdered Indigenous women and girls. Residential schools don't operate anymore technically, but how are there still those systems of oppression, right? And I think that's something that, you know, we try and help to unpack and, you know, the content that we share because, you know, when you look at, you know, the social indicators ofhealth for indigenous peoples compared to non-indigenous and the disparity is so great, you need to dig a little deeper and ask why, right? Track 5:[15:45] Sure, sure. Track 3:[15:46] Yeah. Track 4:[15:51] I... Oh, go ahead. Track 3:[15:51] Go ahead, I was going to say, but to answer your question about heartwarming examples, Yeah, yeah. I mean, it's tough, I think, for me to answer that question because literally every single day there's something that is just really beautiful. But maybe I'll just say it Because I flew back from summer vacation, my family lives in northern Alberta, and taking the UP Express from Pearson Airport. We have a partnership with Union Station, and we have a Legacy space there. [16:31] They're featuring an installation by one of our artist ambassadors, Blake Angeknyb. These incredible panels featured in Union until the end of October. The art is so beautiful and so powerful. There's actually a piece that he did of Gord in the series. Just seeing tourists, people not from Canada, but there's such high volume of traffic through Union Station, you know, interacting and learning and literally like tens of. [17:26] Thousands of impressions the opportunity to work with a partner like Union Station in a space like that. Because reconciliation isn't going to happen overnight. I always make the sort of joke that it's slow pressure applied over time, right? Like we're talking about systemic change. So, you know, creating these learning opportunities in our everyday existence. So it's not a question of are we contributing to reconciliation in a meaningful way? It's just a part of our practice. Track 5:[18:04] Yeah, that's great. Track 3:[18:05] That's great. Track 4:[18:09] I want to, I feel like I should break up some of the things I was gonna say to you and some of the things I wrote down, because I feel like it's just gonna be too much of a mouthful.And you'd be like, what was your question again? But I, so I haven't had time to watch the film yet. Because these jokers know I've been traveling all weekend. And I, I just, I'm going to probably watch it if I get a chance to download it on the plane when I'm on my way over to Toronto. But I've done a fair amount of research and I watched the ceremony where Gord was, I don't know how to properly say it, but invited into the community. Track 3:[18:51] Given a traditional name. Track 4:[18:57] Which like was a, you know, whatever. It was like a super, super duper emotional to even watch it. And a friend of mine had sent it to me. She's from, she's from Canada as well. And she, we talk about her on the show a lot. She's a huge hit fan. Sent it to me after the fact. And I was like, Barb, I've watched it. It's, it's just, and one of the things, sorry, this is a side note. Not related about what I was going to ask you but one of the things I loved about Gord's response in that video or when he spoke afterward he didn't say much and I think he was verycognizant of the situation in that a lot of people would go up there and kind of pontificate and make comparisons and say yeah this is like this and like but he kind of got the The fact that,like... He's like, there's nothing I can say. Like, in a sense of like, like, I can't even relate to some of the suffering, the things that have gone on. I'm just, you know, grateful to be invited into this community and to be a part of it and to do whatever he can. That was one of the cool things, side note. But what I, I guess what I was going to ask you was was because we've talked about it a lot on the pod. I don't know if you've ever, you're aware of at least the concept of this podcast and like, how it came about. Track 3:[20:23] I was creeping you guys this morning. All right, I got to listen to a couple. I got to listen to a couple. Track 4:[20:33] Well, because of JD, like, yeah, this is about the tragically hit, but like, you know, take the snowball effect over time. Like, I had no idea. I mean, honestly, I had heard mutterings on political podcasts and things that I listened to about reconciliation in Canada. But other than that, it's like a of the surface of what your average American would even know. It's like you hear something in passing at a coffee shop, and that's it. Other than that, I would have never known about the Downey Wendzik fund and all this story of Chani Wendzik, Nothing. I don't know, because I feel like Gord, especially when he called out Trudeau, at the concert, he looked right dead at him. [21:26] I took some guts, man. and you know, the call to action, which I love the education aspect of it, but I feel like that call to action is such an important factor when it comes to thework that you guys do. And like, you know, I guess my question is like, is, do you think, is there anything that you would think if like there's Americans listening to this right now we can do other than just talkto people and be like, Hey, do you know this story about this kid? Do you know, and like share it? Because we learned about it by listening to the tragically hip. That's the only other, there's no other reason we would have, we would have figured this out. Track 3:[22:10] And I mean, the experience of Native Americans, uh, is mirrored closely to to that of Indigenous people in Canada too, right? I would say, yeah, I find that in our work. So we have some of our legacy space partners, you know, have offices in the U.S. and, you know, our, you know, North American companies, I guess. And, you know, what's been expressed to us is just like how far behind work around reconciliation and even just any awareness at all of like the true history of indigenous or NativeAmerican people in Canada and the US. And I think, you know, there's really important work being done in the US too that I think will come to the forefront. It just it takes time, right? Like it's, you know, it's by design in terms of how that's been set up. That's right. But, you know, as Indigenous people, you know, as we become lawyers and doctors and politicians and you know, learn how to fight for, you know, rights and restitution,these things has come up. Track 2:[27:30] I really like, you know, you're talking about the call to action a minute ago, Pete, and I like the messaging around your current call to action, Sarah, the do something. The do something hashtag is like, I've used that in an email just that I sent out today, you know, reminding people of this event, that that's one way you can do something, You can come toour event or you can donate directly to Downey Wenchak Fund through a link that we have. What was the genesis of that sort of campaign and idea? Because it's very bold. Do something can be very bold, I think. I'm just interested in learning. Track 4:[28:21] It's sort of aggressive, which is maybe it's not by design, but it's good. I like it. Track 2:[28:26] Yeah. Yeah. Yeah. Track 4:[28:28] It's almost aggressive. Track 3:[28:31] I think there was sort of this feeling of like, well, you know, that happened a long time ago and you know, I was, I, I was not responsible for the creation of residential schools. So like, what is, what is my role or responsibility? And to that, I would argue, if you live in Canada, if you are part of this society, then you have something that you can do, and that social contract of what we all agree to live here together,that's part of it. And whether it's just learning so that you're a little less racist, a little less ignorant, it's not a bad thing. It's not harmful to you and it only creates a more just and equitable and safe society for indigenous peoples in this country. So, you know, the do something was A. Don't be immobilized by this sort of deferral of responsibility. Don't feel like you don't have a role to play or something to contribute. And seriously, do something because those small actions, we call them reconcili-actions or meaningful acts that drive... Track 4:[29:58] That's a cool, cool word, man. Reconcili-action. Track 3:[30:03] And it's, you know, it makes a difference, right? Even if it's just, you know, talking to your kids and finding out what they're learning in schools, or, you know, going, looking atwhat's happening in the company that you work for, or, you know, maybe just one of your buddies is, makes a slightly offside joke, and you're just like, dude, that's not okay, right? It's, you know, taking that step to, you know, lean into the discomfort and just do something that creates meaningful and positive change. Track 2:[30:38] Yeah, that's beautiful. Track 3:[30:42] And it's an excellent hashtag. Track 2:[30:43] It is an excellent hashtag. Yeah. Track 5:[30:47] That's good. I'm finding kind of a lot of what you're talking about being being executed the smartest way by younger people. You know, my son is basically studying sociology and social issues in university right now and he schools us all all the time. You know, it's just he born and raised in Portland, Oregon, probably the most progressive city in the US really. And it's just so reassuring to hear things from him. He had no idea about the indigenous struggles in Canada, but it wasn't necessarily news to him. He was kind of half expecting what I was talking about as I was talking about it. And it's just so good to share these ideas and share these issues, especially with the younger folks, because they're the ones who have to continue living it. Like you said, all of these things become pandemic across all these other issues. Even though the system may have ended, it's still alive. So it's so good to tap into the younger folks with all this stuff. It's just really. Track 2:[32:02] I've done all my learning through my oldest daughter. She's 13. So I'm one of those people, Sarah, who was like, my eyes were widened. And it was like, we didn't learn this in school, Riley. Like, we didn't, like, you're talking to me so matter of fact right now, and I'm so happy to hear you talking matter of fact, but it's like, Ididn't know any of this, you know? Track 4:[32:31] Sarah, I wanted to ask you something too, And this is more, and I don't know if this is like a. Opinion of like Donnie Wendjick or your opinion, or feel free to like, be like, this is Sarah speaking and not Donnie Wendjick's being or whatever, however, but I feel like, because youmentioned earlier about the, the kind of this, the same sort of dynamic in terms of the United States and indigenous Native Americans in the United States and, and kind of that struggle. But in terms of the call to action, and I'm sorry if this sounds like a very complex question, but I'll try to be articulate. [33:17] I think when it, because a lot of conversation that I see and occurs in the United States in terms of indigenous people, minority and underrepresented groups in the United States. A lot of times there's the education of it and I feel like the United States is more or less good at educating people and that awareness is there. But in terms of connecting the dots, there's not a really good way that we do it in in the United States. And one of the things that always comes to mind when I think about this issue is a speech that Martin Luther King gave at the Riverside Church one year to the day before he died, right? And you know who Martin Luther King is. You're not living under a rock, but I don't know how much you guys study him in your schools and who he was and what he was really actuallyabout, because they've got statues of him in Washington DC now, but during the time where he was most powerful, people hated him. [34:30] And this particular speech at Riverside Church, he talked about the relationship between the imperialist power of the United States and the military, and how that relationshipdirectly affected the oppression of minority and indigenous groups and civil rights in the United States. He made that connection. Whereas I don't think people, meaning that like, okay, yeah, we can be all for it here, but when we're doing it in other countries, it's like, what's... [35:05] How does that change? And as you know, Canada is very supportive of the United States in many of its overseas conquests, so to speak, as we say here in Spain. So I guess the question I'm asking is, do you even personally, and again, you don't have to speak from Danny Wenjack perspective, but do you, because that's something I talk about withpeople. Do you guys have that connection? Do you guys see that? Is that something that you hear whispers of within this conversation? Because I think it's important. I feel like it's important. I feel like there's value in drawing that connection between oppression and past crimes of a country and what the country's doing atthe moment. And it helps speed along that process of the call to action, as we said. I don't know, does that make any remote sense of what I'm trying to say to you? Track 3:[36:03] Yeah, well, I would say, I would say yes. And I can say that is Sarah or as Downey Wenjack. I think, you know, I think that connection is really what allows an organization like the Gord Downey and Chani Wenjack Fund toexist, right? If you think about, you know, What is the true role of rock stars, right? Typically, like political activists, right? Or, you know, poets, but they've always pushed, right? You think of all the greats, there's a social commentary there that's, you know, reflecting on the choices we make and how we live. And sometimes they explicitly call out the Prime Minister, right? You know? And I think. You know, there's been so much work done by incredible Indigenous leaders to ensure that, you know, this didn't stay hidden, like the injustices inflicted upon Indigenous peoples in thiscountry, you know, came to the forefront of, you know, the general understanding of our history in this country and our identity as Canadians, and what that means, and how do you workthrough it, and what does that mean really from a policy perspective. [37:32] I honestly, I've seen so much change in the last five years even, where people actually want to know what the platforms are of politicians with regards to indigenous relations andreconciliation, whereas I would say ten years ago, you wouldn't even be able to find anything. [37:57] On their web pages or whatever around that. That speaks to how far we've come, but there's still a long ways to go. It's just continuing to look at the systems themselves and saying, does this still serve us? Does this still make the most sense? How can we continue to evolve and grow as we evolve and grow as humans and societies? And, you know, it's important for us to be intentional and reflective and sometimes critical, right? We've, you know, I, my sister and my niece came to visit and we were talking about, like, you know, the show Friends and how, like, it has not held up to, like, the test of time, like, it'sextremely homophobic and it's, you know, like, you see a show like Seinfeld, and those jokes are still, they're still funny, right. But, you know, some of the that content that you know, the big hit show, and you're just like, this is so cringy. I can't even like watch this stuff anymore. Right. Track 4:[39:18] And I think sitcoms are the lowest common denominator, right of the day when it comes to comedy. So yeah, For sure. Track 3:[39:26] But I think, you know, to wrap it all up, I think those connections are pretty prominent in Canada, but I think that's also a byproduct of the fact that Indigenous Peoples have rightsand are, you know, title holder to treaties and also land, right? And getting land back after being displaced, or having the land back. The terms of the treaty is not honoured, right? And, you know, as we become more sophisticated and become fancy lawyers, you know, these things work their way through the justice system and you see Indigenous peoples andcommunities winning those cases. And so it kind of also comes to the point of, like, we have to care about this, right? Track 4:[40:28] Yeah, you, I mean, you, you summed it up and I think the, the, the thing that I, that I like about, like you guys, you said sometimes even being critical, which is really cool because alot of, I feel like not, I wouldn't even say a lot, but I, I, sometimes there are examples of organizations that it's weird, like, you know, they, they, they get a win or they get a big win. And then after that, it's kind of like, yeah, we got to win, win for the day. Like, let's, let's pack it up, go home for let's take a vacation or something. No, no. And, and when you talked about like, having the indigenous and non indigenous events, like that's the that's this, that's the again, the call to action, because what you're doing is you'rebringing people together. You know, when you hear people's stories. Everybody can relate. You know, it's easy to say you're so different than me because you're this, you're that, you speak this language, you're born to here, your skin colors that whatever.But like everybody's the same dude. We all try coming out of our mama. We all poop when we're kids. And we all cry the day the moment before we die. You know, everybody's the same. Everybody wants the same. I feel like when you have those, you make those connections with people through those events is really important. Track 3:[41:52] When you create cross cultural understanding, it's really hard to other each other, right? Track 4:[41:59] Totally. Track 3:[41:59] Because there's an appreciation and a respect and an understanding for the strength and beauty and resilience of Indigenous peoples and cultures, right? So, yeah, it's... Track 4:[42:11] You recognize the human being in front of you and you're like, Oh, we're literally the same thing. Track 2:[42:16] Yeah. Track 4:[42:17] Where are we? Where are we? Yeah, dude, that's, that's cool. Track 2:[42:23] Is there anything else that you want to add, Sarah, about Truth and Reconciliation Day or the Secret Path Week? Oh, yeah. Track 3:[42:34] Well, I guess sort of the thing I always say is if you don't know where to start on your own reconciliation journey, or you know, you haven't really engaged in the conversation thatI'll always say, that's okay. You can always do something, right? And Downey-Wenjack makes that pretty easy, for people to have a place to start. You know, we have the National Day for Truth and Reconciliation coming up on September 30th. So we have a bunch of different webinars and learning opportunities that we're doing ourselves. [43:12] You know, whether it's like for parents about teaching your kids about residential schools. We have one of our team members at Downey-Von Jack, his whole family is talking about intergenerational resilience and sharing stories from families of residential school survivors. So, you know, we have a whole bunch of different opportunities to learn and engage and so I just really encourage everyone to follow us on socials if you don't know where to start. Start. And, you know, when you're doom scrolling, you'll see some content in between, you know, the recipe for next week and some push notifications for waterproof shoes. And maybe that that one that one post will be the one to inspire you to to join us in this path towards reconciliation. Track 2:[44:07] That's great. Well, thank you so much for joining us today. It's, It's really nice to get a better understanding of both the Downey Wenjack Fund and your story, to hear your story. We're grateful that you made some time to join us today. So thank you very much. Track 3:[44:29] Well, and thank you for supporting our work at the Downey Wenjack Fund through the event. I think it's happening tonight. Yes. Track 2:[44:37] Yes. Track 3:[44:38] And thank you. Thank you for everyone who's listening and coming out. We really appreciate the support. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

jD, Pete, and Tim welcome Trevor Sticket to the pod to dicusss the artwork that he donated to the Finale, his start in art, his Hip influences, and much much more.Tour Dates:Toronto September 23rd Liss GalleryTampa November 17th Michael Murphy GalleriesEdmonton November 25th Sterling GalleryLA, Denver, Austin, NYC to come...Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Ready to decode the legacy of The Tragically Hip and the enduring impact they've had on Canadian music and culture? Promise us your ears and we'll share an exciting exploration of the band's influence, creativity, and unique place in the hearts of their fans. Today, we're joined by the Emcee of Longslice Presents: Getting Hip to the Hip - An Evening for the Downie Wenjack Fund, Delhi stand-up, Pete Van Dyk. Today he plays the host on his podcast, "Live from the Dutch Hall." And he's invited jD, Pete, & Tim along for the ride. Together we reflect on our personal connections to The Hip, discuss the band's Canadian roots, and consider why their sound may not have resonated as widely beyond Canada's borders.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/GHTTHTicketsTranscript0:00:10 - Speaker 2Long Slice Brewery presents Getting Hip to the Hip. 0:00:27 - Speaker 3Hey, it's JD here and I am sans Pete and Tim at the moment, but they'll be joining us in just a few minutes. I am here to set up what is a new series within Getting Hip to the Hip. It's called Getting to Know Your MC And there will be a second installment of this called Getting to Know Your Band, And basically these episodes are designed to allow you to get inside of Long Slice Presents Getting Hip to the Hip an evening for the Downy Wend Jack Fund before that event even occurs. That way, when you buy your tickets and you can buy them at GettingHipToTheHipcom and clicking on the ticket button From there it's easy peasy you just have to show up at the event. So there's that. I would say that Pete van Dijk is a great stand-up comedian and he will be emceeing us. He's also a podcaster, hosting a show called Live from the Dutch Hall, And just recently he had Pete and Tim and myself on as guests And he graciously gave us a copy of the tape. He had it flown in live from Delhi and I'm going to put it up on our feed. It's going to be well. It's going to come up to you in just a second, So why don't I stop Blither Blathering and we'll get to Live from the Dutch Hall with Pete van Dijk and our friends Pete and Tim, as we discuss the podcast on Live from the Dutch Hall. 0:02:41 - Speaker 4Hey, hey, hey, hey. Welcome everybody to the Dutch Hall. We're coming to you live from the Pool Shed in Pine Grove, ontario, for episode 445, believe it or not. 445 times we have done this stupid thing, and this time we have roped two people from different parts of the planet and one person who was from here but had to come back here on a long journey today. That's right, and I'm very happy to have them in. All first timers, all Dutch Hall virgins, and they're here to promote a podcast, which is a really interesting concept, especially for a guy like me from Southern Ontario. The hip is really was really a band that was pivotal, pivotal, pivotal Is that right? That's right. Pivotal to a kid like me. It came up at the right time. They were like hitting it the same time that I was getting in to be in the most awesomeest part of my life, you know, and these guys, two of these fellas have no such experience at all. One of these fellas would have a very similar one, and the idea of the podcast is to let these two guys understand what us two guys feel about this band. And so I entered with these myself. Yet, jamie, yeah, you haven't really now. Oh well, i'll start off by introducing myself. I am the host of the show. In two time You're supposed to say two time, two time. There you go. President's Club Award winner, pete Van Dyke No applause, no applause. And our guest today, the one that's come from Waterford, ontario. He's a. He's a Waterford native, that's right, norfolk County boy. But he's moved to the big city and he's made a life for himself. First time here in the Dutch Hall, ladies and gentlemen, say hello to Jamie, do everybody, jamie do. 0:04:40 - Speaker 3It is great to be back. Great to be back to Norfolk. I mean great to be back in Ontario's garden. Oh yes, Thank you. 0:04:49 - Speaker 4Shout out to us and our guests And you're going to have to help me, jamie, on the last names here, let's try, i will. From San Diego, california, is Tim Lion, lion, everybody, i'll take it Yeah. 0:05:07 - Speaker 5Happy to be here. Thanks for having me. 0:05:10 - Speaker 4Thank you, Tim, And coming from Malaga, Spain. 0:05:14 - Speaker 3Malaga, spain. This is Pete from Spain. He doesn't have a last name. Yes, of course he does Marchica, pete, marchica, everybody. 0:05:22 - Speaker 4Pete Marchica. 0:05:26 - Speaker 1My middle name is is is from Spain. What's your middle? 0:05:29 - Speaker 4name From Spain. Oh, i'm joking, i'm your. You know, actually I have a. I have a nephew and his middle name, his name is this is seriously, his name is Adrian adventure Pitaski And, like it's just so, he could go around his parents name on that So he could tell people my, my adventure is my middle name, right? Wow, i love it. That's my nephew, that's real, that's my nephew, like that's that is cool. Like you want to get named. It's like your parents just made you James Bond, yeah Right. Like it is major, coolest. No, this kid's got to live up to that middle name. He's got to live life, yeah Right, yeah, hopefully he's not trepidatious of everything, yeah. 0:06:10 - Speaker 3What if he's just like an accountant, You know? 0:06:14 - Speaker 4it'll probably be cooking the books. Yeah Yeah, the name like adventure. You know that's a, that's just a gift, that's a gift from your parents, so uh, I think it's a little bit of a, a little bit of a, a little bit of a. It's a gift, that's a gift from your parents. So, uh, i want, I hope so, yeah, yeah, i hope so, or curse, or curse. Um, i wanted to say the band we're talking about is tragically hip. That's right. The band, uh, that, uh, if you the credit tragic lips, from Kingston, ontario, and for some reason the tragically hip have been a band that have uh made it in Canada. They were enormous in Canada, but as much as we tried to explain them to the rest of the band, we tried to explain them to the rest of the world, the rest of the world just didn't get them. 0:06:57 - Speaker 3No, Would you agree with that, Jamie? I would agree with that. And uh, these two are the avatars for the rest of the world. 0:07:03 - Speaker 4Yeah, And now is there a. Is there a band, uh, either in the United States or in Spain, that you would say would be like a band that is beloved in your country, but the rest of the world doesn't get it, You know. 0:07:21 - Speaker 1Tim, you want to take that one for the US Oh tough one, Yeah that is a tough one for US actually. 0:07:26 - Speaker 5Yeah, yeah, i have no idea, because I feel like if you break, i'm going to have to do some homework. 0:07:31 - Speaker 3I feel like if you break in the US, part of that breaking in the US is breaking internationally. 0:07:37 - Speaker 4Yeah, like the rest of the world will like what you guys like. Yeah, there's not much that you guys like, unless there's some guy like you know, like what's the name of that fella? He's, like you know, proud to be an American, or like the, or like one of those country guys who were really like patriotic and over the top. That might be a little bit. That's the country singer. 0:08:00 - Speaker 3What's his? 0:08:00 - Speaker 4name. That might be too much for like people outside the States. 0:08:04 - Speaker 1Yeah, that's true. No, I know what you're saying. 0:08:07 - Speaker 4You know what's the guy's name The big? Yeah, i know who you mean. See, that's me. We're from Canada. We don't know the guy's name? Danim Vast. Yeah, we got tons of them. You know how? about Spain? 0:08:22 - Speaker 1You know there's a band here called Los Planetes, which translates to the planets, if you will, and you know they're extremely popular. I mean they've got like there's a couple of the members have spinoff bands. I mean you can't you can't go to any corner of this country and not know somebody who knows Los Planetes. So they're like sort of as an indie rock band, sort of like I guess you'd say the hip did. But but yeah, dude, outside of if you mentioned Los Planetes outside of Spain, nobody knows what they're talking about. 0:08:54 - Speaker 3Yeah, i've never heard of them, yeah. 0:08:56 - Speaker 4I know that the tragically hip themselves were friends with the band the real statics out of England because they had the same issue as them. They were huge in England but the rest of the world Real statics are from the town. No, not real statics, stereophonics They say those bands were on. Oh, it was about to correct. Yes, i apologize. The real stacks actually open for the hip, yeah, but the stereophonics, and so they'd always, if they came out with an album, the hip would give an album to the stereophonics, stereophonics would give an album to the hips when they came out with a new one, because they had this mutual like kind of like, you know, like sister cities and stuff like that. 0:09:36 - Speaker 3It was like the same thing, but like sister bands, you know, i feel like the last time stereophonics played in Toronto it was post score dying and they played a hip song. Yeah, that would make a huge sense And I didn't. But I didn't know that there was that connection. 0:09:47 - Speaker 4I just thought they were just doing a tribute to oh no, they were big fans of it, like big fans of each other, and they both had the same thing. They could never break in the States and they were like huge in their own countries And even in Canada the stereophonics didn't really make too much of a splash. I just remember that having a stay song. Yeah, i like that band actually. Yeah. 0:10:07 - Speaker 5I can only think of bands from the U S that have done well outside the U S. You know like bigger tours outside the U S, but there are a ton. 0:10:16 - Speaker 1There are a ton of like Canadian bands that like have had broken through to me, for Christ's sake. You got Neil Young, you've got the Lannis, you've got Brian Adams, right, nickelback, you know. 0:10:29 - Speaker 5Nickelback. Yeah, that one band Rush. is that what they're called? 0:10:33 - Speaker 1Yeah, yeah, i mean one of the greatest bands of all time. It's a real crowd splitter rush. 0:10:41 - Speaker 3I agree Because. I've never I was never a Rush guy. 0:10:43 - Speaker 4If you don't, if you like Rush, you really like Rush Big time. I think it's like Bruce Springsteen. You know, bruce Springsteen, the guys that like Bruce, they love Bruce, Like they really like Oh my gosh. 0:10:54 - Speaker 5Yeah, we have a good friend who follows Bruce and I just Yeah, they're like, they're you and Target on that. God bless Michelle. 0:11:02 - Speaker 4Yeah, and my cousin's husband is like that, he's traveled all around to see Bruce, eh, and he knows him Like it. Just it means so much to him. Man, i envy that about him, but I just don't get it. Yeah, it just doesn't. 0:11:18 - Speaker 3I like Springsteen, but I'm not. I wouldn't do a follow along, or Yeah. 0:11:23 - Speaker 4You're in camp too, like either you love him or you're like oh, he's the boss, you know he's good. 0:11:29 - Speaker 5Yeah, i like a couple, you know I like it enough It's fine, there's lots of bands I would go see perform live if I got a free ticket. 0:11:38 - Speaker 1Right, yeah, i got free tickets to see Springsteen. That's the only reason I saw him. But back in the day I think we told this on the pod or I may have mentioned it on the pod when we did some, when we recorded, but back in the day, when I started playing in bands, like 25 years ago, you were, if you were a Rush fan, you were closeted. Like and I'm not even like joking Like in the US like if you liked Rush and you had Rush records, you were closeted. You didn't talk about it. I remember I was playing in a band with a guy named Jason Hirsch and he was our bass player and we played in a band for like seven or eight months and then one day it went over his house and it was like I found a bunch of porno mags in his corner. Like he's like, yeah, dude, i like Rush, and like the same was for Zappa, and I was like, dude, it's cool man, this is a safe space. 0:12:30 - Speaker 4I have a huge kit set up in the closet. I drummed a new apparel. That's funny man, but it was kind of that. There was like you just didn't know if you're, because they split the room, you either love it, like people hated Rush, or they loved Rush. You know, even in Canada, even in Canada, they're hardcore. I don't get it, you know. I think some It might be musicians though too, because like Rush, right, because they're technically Yeah, i mean because you just. 0:13:01 - Speaker 1The work of like the musicianship is like the fact that Geddy Lee can play His multi-instrumentalist on stage and singing is fucking stupid, yeah, like you know It's like Radiohead too. 0:13:16 - Speaker 4Right Like Radiohead, like Yeah, if the musicians get them more than the non-musicians, would you say that's true. 0:13:26 - Speaker 5I don't think so. I think Rush had a special kind of nerd dump. You know, like, if you ever knew, like a group of kids that played D&D, yeah, yeah, yeah. Like you know, like I don't know, rush has their own collective. Like, i have lots of friends who are radiohead fans and many of whom are not. 0:13:44 - Speaker 1We now ostracized the Rush crowd from Pete's podcast and now ostracized the D&D. 0:13:55 - Speaker 4I don't know. 0:13:57 - Speaker 5I saw D&D. friends, we're all good with each other. 0:14:01 - Speaker 4I've never played before. Have you done that Never? 0:14:05 - Speaker 5I won't touch a 12-side. I tried, like, when it became a thing, i tried with some kids in my neighborhood and I sat down with them and I was like are we going to drink some wine? Or you know, and that was the seventh grade Like it just felt like we were supposed to be naked or I don't know. It was just weird. Yeah, like It was really weird. I was like how far can we take role play right now? 0:14:26 - Speaker 4Yeah, you were an advanced. 0:14:27 - Speaker 5There's too much of a tease for me. 0:14:29 - Speaker 4No, i was like you were saying Dungeons Dragons makes a seemed a little like they was going to get a role. Did people wear costumes for that stuff? 0:14:37 - Speaker 5Well, no, i just felt like it was this level of intellectualism, you know, like that wasn't it being experiencing games and rush was kind of the same way, and maybe, you know, maybe the hip was too smart for the US, maybe it might be. 0:14:51 - Speaker 4It might be like there's, but I don't know how smart it was. It was like there's a. It's an interesting thing because I've only because of this podcast started. You know he's kind of reflect on you know I was a hip like, i am a hip fan and it, but I don't know if I'm associating it is just because they were around through a good part of my life. You know what I mean. Yeah, like I was young and having a good time and every show I went to or I could see them a lot, you know. So they were at a lot of like festivals and concerts that I would get a chance to go to. 0:15:25 - Speaker 3They were always on the bar, like whatever bar you go to, they were playing hip, you know yeah. 0:15:30 - Speaker 1They were like the LA. They were like Canada's version of X. If you live in LA, right, sure They were. They were still playing Cause like yeah, right, i know, but actually you could like go to any club on a given night in the 80s and 90s and that band was playing, and they're still playing. 0:15:51 - Speaker 4Yeah, they're still playing, and then I never seen a. The other thing that I think was was interesting about the hip, when you'd see them live, is like I've seen a lot of bands that would jam, you know, like they would like jam out a song, so it didn't sound like a radio version of it, like, but the hips the only one I can really say that vocalist was doing it too Like where the vocalist was jamming vocals, you know, and so you'd go to see them at a show and he'd be like gibberishing up there, you know, while they were like jamming something else out in the middle of a song, and then you'd go see the next tour and it would actually be a song that was on that album, you know, and like, do you remember seeing that too? Absolutely, yeah, i was called it breadcrumbs, right, like it was like little breadcrumbs and you're like that's going to be something like. I remember nautical disaster before it was nautical disaster, right, and then like, so, like I thought that was kind of cool, cause you kind of I don't remember another band that kind of let you in on the what's to come, you know, like, and and and let you watch the creative process, like the writing process, on stage, you know as obvious. 0:17:05 - Speaker 5Maybe the, maybe the doors, yeah, yeah, that's what's good. Jim Morrison did a fair amount of that, but there's not many. I mean, that was like lead singers riffing Yeah, there's not. Not many people are able to do that at all, is this? 0:17:19 - Speaker 4douchey. It really like it has the potential to go a little bit yourself in grandizing. You know, like, where it's like. Look at me, i'm an intellectual and you know even Jim Morrison and then Gord Downey. They both kind of you know they're like I'm not gonna do that. Their critics could accuse them of that, of being a little bit like you know in their own head or like too impressed by themselves. But I didn't get that impression from either of them but because I liked them. 0:17:47 - Speaker 3Yeah, me too. 0:17:48 - Speaker 4But and I like watching the creativity of it, you know, But doors is a perfect example, because that would be, I would say, the closest which I never got. to see them, So yeah. 0:18:00 - Speaker 1Pete, did you have you? because I don't know how much you dug into the pod, but we you know, one of the things that Tim and I struggle with is that you know, when we did the, when we did the pod, we recorded everything, because everything's recorded up into this point. Pretty much We're just kind of trickling the pods out leading up to the finale. But like a lot of folks, like you know, we had a week to digest the record and then it was week over week over week over week And, like so many people, like dude had fucking a year or two years to like and it had their whole lives to get to know this band. I think it's, you know, i'm not gonna we'll smoke up my own ass, but maybe I'll hold a little Tim's ass. But we, you know, i think it's, you know, i think it's, you know it's a little bit of a Tim's ass, but we, you know, i'm. I think it's pretty impressive because at this point, now that we're kind of all done, i fucking love this band. I mean, i've gone back and listened to the records we weren't super keen on and they're just dude, they're. I don't know what American rock fans were fucking thinking back in the day when this band was like pinky. 0:19:14 - Speaker 5Is that why? Yeah, i really think that a big part of why they didn't quote make it in the US, which they did to a degree, they just weren't selling out stadiums. But I think a big part of it had to do must have had to have been because of ill attempted marketing. Like, like, when bands go on tour, there are people behind the scenes that are doing promotions in every city. They're hanging posters, they're giving away tickets, they're talking about on the radio all of these things. You know everybody in LA who does this for a living And I talked to him briefly about it and he said marketing probably was marketing, i and can't. And I'm like, oh, you know, and the labels, when the hip was on with labels who weren't promoting them in the US, like, oh, they're gonna play in these six epicenter cities, we're gonna sell out them, sell out them more, maybe if all the Canadians show up, sure, that was, that was what happened. But man, if they were promoted more in a real way, like other bands on their US labels which I can't remember right now, i think they would have totally hit it. When they were on in my house the other day I said to my wife if this was playing in 1992, i would have been totally into it, cause we were talking about bands we were into in 1992. And some of them, like right now, i might have thought they were pretty good back then, but some of them right now I absolutely do not listen to. But if I would have, heard the hip in 1992, I would definitely be going back to albums right now, I believe. 0:20:48 - Speaker 4Yeah, it's interesting, that's really all. but with both what you guys said, it's really interesting cause I it's not what I expected, like number one, you've just let my audience know you've been, you've been through the entire catalog of the hip, which, when you said it takes you time to process a tragically hip album, i mean I remember like in real time, when these things came out and we would like line up at sunrise at midnight to get the new road apples or whatever you know. And but each album like road apples compared up to here and day for night compared to road apples, or like, or fully, completely, you know they were. they were as soon as you put in the new album you were like, ah, like this is, this isn't as good as the last stuff, and then you'd listen to it like a hundred times and then it would become your favorite album. you know, like totally. And I find Jack White like I'm a huge Jack White fan and it's the same thing with his stuff, cause he's pushing himself and he's growing, you know, and then it kind of takes you a bit to get your head around what he's trying to do And then after a while you start digging it, you know. That's a good example And I think that's. That's the kind of like I. You never liked the hip album when you first got it. You always liked it a couple of weeks later. You know, Like Is it. 0:22:15 - Speaker 5Sorry, is that true? Is that true for you, jamie? Were there any albums you just were like just had on repeat, psyched, go, go, go, go listen to it a hundred times a week. 0:22:26 - Speaker 3I was in love with like from the moment I heard it Like. So There you go, but and fully, completely too Trouble at the hen house. The first time I heard it I was like I'm not sure about this, but you're right, it was, it was, it was different, they were, they were, you're right, They, they were growing and I was stuck behind. Yeah, yeah, now that's like my favorite record. 0:22:46 - Speaker 4Yeah, yeah. 0:22:48 - Speaker 3Like like hands down. 0:22:50 - Speaker 4Yeah, and then, like I, yeah, cause yeah up to here was the only one I would say that I was like I'm in, this is everything's great. And then the only thing is that a lot of songs kind of sounded similar maybe, but but but then everything I was comparing everything up to here And then, and that's just. And then I just wasn't like like you said, i just wasn't developing like the. That's why it takes me a bit just to catch up, cause I'm slow, i'm just. You know, you're just a consumer, you're being fed, fed shit, you only know what you know And then get something new and takes you a bit. 0:23:28 - Speaker 1But you also never know how long it's going to take. I had a. I had a record I won't need to mention cause it's just not even important, but the record from a band that I really liked And when they're it took seven years. Seven years. It came out in 2007 and it wasn't until 2014 when I picked it up again And I literally thought this was the shittiest record I had ever heard. And I picked it up again and it turns out being my favorite record And it was like like it takes time, but for for what, tim and I? the gauntlet that fucking JD's put us through the last seven months, like how many? 0:24:05 - Speaker 3albums There's 14, 14 hours, 14 or 15. Yeah wow. 0:24:11 - Speaker 4And then, uh, yeah, that's crazy, man, that's crazy. So the what was I thinking? Oh, you're to um, you know, david Bowie's black star, that album, last album, yeah, yeah, same thing. I was like you know, i wanted Ziggy Stardust and I got black star. I was upset. And then, uh, you listen to it and you're like this is the greatest thing he's ever done. This is man. That album is incredible. Oh, yeah, and uh, yeah. And then the more you know the fact that he, uh, he doesn't, he, he leaves on an open note Like he doesn't, uh, he doesn't end on the top, on the home note, the number one, the one he doesn't end on, the one you know that's a and he knows he's going to die. 0:24:53 - Speaker 1You know, that's crazy, That album it's funny because I remember when I bought that album right when it came out, right after he died, because he died a couple of days before my birthday, because he died a few days after his birthday, which is January 8th Mine's a 16th and I bought it and I just didn't. I wanted to get it, i couldn't. And then a friend, when I moved back to Spain, explained to me that it was a lot of the songs are built on flamenco chords, spanish flamenco chords, and I was like get the fuck out of here. And then I we listened to it together and explained it to me And I was like, because a drummer of our band? and I was like, oh, that makes sense. And then the whole record made sense to me. 0:25:33 - Speaker 4It took years, isn't that great. That's a beautiful thing about music, our art in general. You know like, no matter what kind of the art, the comedy is the same way you can work your whole life. You're never going to know all the risks and all about it You're never going to. It's just so infinite in the amount. So like, that's what I like about it, about it, you know, like you can, you're never going to feel like you've got all the answers you know, when you find art, when you find art like that, that's timeless, that's, that's, that's the best stuff I think you know. 0:26:04 - Speaker 5Yeah, that's right. Yeah, something you can put on, i mean, just at any point in time. It's just that's, that's. Those are the keepers. Yeah, i don't know if we'll feel the same way. Pete, have you gone back to any any? Bob Rock produced albums. 0:26:18 - Speaker 1You know it's funny. I haven't yet, tim, but I really am looking forward to it because I think it's going to happen. I think eventually all end up like sending a letter Is Bob Rock still alive? 0:26:28 - Speaker 5Yes, oh, my gosh Yeah. 0:26:30 - Speaker 1Okay, then I'll send him like an apology letter and like be like Bob, i'm sorry, cause there are people that love. 0:26:36 - Speaker 3We are the same now And when it came out it was pretty universally derided. And there are people that absolutely adore that record now And I'm I'm one of them. Like, like, i really did not like that record the first time I heard it. Like I remember meeting Greg in the grocery store We were doing fully and completely at the time And I was like, so I did some pre listening and uh, wow, every song sounds the same. It's all droney, it's you know. And now I think, like depression suite is amazing. I love morning moon, um, queen of the Furrows is like weird and out there. But I but I dig it, but it's not, it's not. It still doesn't feel quite like a hip record because there's no Lang Lawn and St Clair backup vocals. You know it's, it's, it's just different. 0:27:24 - Speaker 4Yeah, do you hear that? Uh, i think it was at the Gino's or something. Uh, after CORE Downey died, uh, muse filled in and they did um, it's a, she did a cut. No, it's not, it's not. I said the wrong name FIEST, fiest. Yeah, fiest did, uh, did the vocals and it was for it's. Uh, it's a good life if you don't weaken. Yeah, it's a good life if you don't weaken and uh and. But like when the background vocals kicked in and then it was like, then you're like Oh, this is the hip. Yeah, cause before it was just a cover, you know. And then, as soon as you heard St Clair's backing, it was like Oh man, this is, this is cool, you know, yeah, yeah. 0:28:07 - Speaker 5Um, yeah, i was. I was asking Pete, because this morning when Amy was making coffee, I was like coffee girl. It just happened. So, bob, bob is coming in. Hey, knock on the door. 0:28:23 - Speaker 4Hey, i was hoping, uh, we, so this has been. This is really cool. If you guys, uh, who are listening to this show, if you want to check out this podcast and see how these two people were converted to the ways of the tragically hip um, uh, how can they find the show, jamie? 0:28:39 - Speaker 3go to getting hip to the hipcom and, uh, you can go anywhere that you find your podcasts you'll get getting hip to the hip And it is. 0:28:49 - Speaker 4It's going to all uh, culminate with a grand finale live show in Toronto on September 1st. Yes, sir, and people can get tickets for the show Same place. 0:29:00 - Speaker 3Getting hip to the hipcom and, uh, click on tickets and, uh, you know, uh, we'll get a great host for that evening. 0:29:08 - Speaker 4Well, thank you. Yeah, i'll be hosted by myself and uh, we have uh the finale of the podcast and you have uh entertaining the audience of uh. was it 50 mission cap or? 50 mission 50 mission, which is a hip cover band. They'll be playing, and where is it? 0:29:25 - Speaker 3It's at the rec room in Toronto on Bremner, right across from the sky dome. 0:29:29 - Speaker 4Oh sweet, it's going to be super fun. So please check us out And, uh, we will be running a uh draw here at the Dutch hall for a listener to get a free uh free ticket to the event. How about? 0:29:40 - Speaker 1a pair A pair. 0:29:41 - Speaker 4You can bring a friend. Thank you, that's nice, yeah, and I can even give you a ride if you want, if you're local. So we got all those things working for us, and there'll be details on that at the end of the show, but I don't want to keep these guys any longer doing business. Um does. 0:29:59 - Speaker 1This is the sky down where the blue jays play. Yeah, Oh fuck, that'd be cool. They're playing a game that they're not, they're out of town. 0:30:08 - Speaker 3Are we taking a game? for sure, yeah, Hey, pete. 0:30:12 - Speaker 1Pete, i've been wanting to tell you a joke, man Come tell you a joke, yeah, please do, just to turn After he's done. 0:30:20 - Speaker 5Then, pete, you play guitar to Pete and see if you guys can trade. 0:30:25 - Speaker 4Yeah, you have to do that. Okay, I'll trade your talents. I know two chords. 0:30:30 - Speaker 1So so you know Creedence, right. You know Creed's Clearwater, right. Yeah, yeah, ccr yeah. Yeah, so do you know what the difference between John Fogarty and Marvin Gaye is? 0:30:43 - Speaker 4No, I don't. 0:30:45 - Speaker 1So Marvin Gaye heard it through the grapevine, but John Fogarty played it through the grapevine. Yeah right, Tim, just snickered at that one. It's one of my all-time favorites Whoa man, don't tell that at the finale. Pete, let it sit there. 0:31:09 - Speaker 4Only if I'm really stuck I'm going to pull that one out of the toolbox. You're not going to speak to people like this. No, guys, i want to thank you for spending this time with me and getting to, for taking the time to get to know me and my audience. I really am excited about the podcast And I think it's going to be interesting. Yeah, i hope so. You guys got you guys did kind of shit on them a little bit right. Oh, yeah, they hold back. Yeah, but I think it is interesting to know that even some of the opinions that you held not so long ago may have already changed by the time the finale is going to be For sure. Yeah, Totally have. Yeah, yeah, that's cool, man, and I think that's kind of a testament to why I think they're worthy enough to still be concentrating on. You know is because this shit can happen. This stuff can really happen where people can be turned on to something new and it's new to them. So who cares if Gord's dead? you know, like these guys, never. You know, if you never heard it, like my daughter's. A perfect example Her and the bass player in her band. The bass player in her band said did you hear. Remember when the hip came out with those new tracks? Yeah, and they were all like 90s era sounding. 0:32:27 - Speaker 3They were like road apples. 0:32:28 - Speaker 4Yeah, yeah, they were great, you know, and my daughter's friend brought that to me and they're like, have you heard this? And then they started getting into it and it was brand new to them. Oh, that's hilarious, and so like to watch my kids get into it. What I was into is really a kick. So like, and then like, i think that this is a great example of it. And one time I went fishing in BC and the guy was Australian. That was like running our tour And I asked him about the question what in your country is the band that you guys would love and nobody else gets? Do they say midnight oil? He did say midnight oil And I go well, we all know midnight oil. You know, like beds are burning. And he goes like fuck that song. You know, like you guys don't know midnight oil. If you think it's beds are burning, look into their back catalog when they're a punk band, you know. And then, and it was way different, really Way different, and nothing like anything that made them popular, but it's so, it's. maybe there's bands like this everywhere. You know you can. I never knew about like all all that old good soul music because it never played on any radios that I got to listen to. You know, like I just found out about Al Green like five years ago, like that breaks my heart. You know where was Al Green my whole life? But so there is a lot of good stuff out there And I think this podcast kind of shines a light on that. So I think it was going to be, while we're checking out, so getting hip to the hit, check it out. Everybody And Tim, thank you very much for, for, for the, for doing this for me. 0:34:03 - Speaker 5Yeah, thanks, pete. 0:34:04 - Speaker 1Thanks Pete. Thanks JD, Good to see you guys? 0:34:07 - Speaker 4Good to see you guys. Yeah, and we will see you on September 1st Sounds great. See you September 1st, can't wait. All right, take care, guys. Okay, this show would be nothing without our sponsors at CleanFlow. If you'd like to support them, go to cleanflowcom That's K L, e, e, n, f L O dot com and check out all the great products. Lube up your life with clean flow. And if you'd like to support our show, go to patreoncom. slash dutch hall And you can join our queen, jen Husko, and being a part of dutch hall royalty. And if you're a business that's looking at any sponsorship opportunities, you can also look on Patreon and look at options there. And every time someone on our show gets a little tight ass about what we're putting out on social media, i will put that on Patreon. There was one just recently that Kevin made me not agree not to put out, so I put that on Patreon. And we also have the one that Charter's obviously banned us from putting out. It's on Patreon, so all the band materials on there. So it is well worth the money. There'll be content And you'll also get invited to special events, like my 50th birthday show that's going to be happening in October. This will happen if you are joining our Patreon, or if you even are too cheap to do that. You can go and give us $5 a year. Just E-transfer that to the dutchhallgmailcom and you will become a shareholder of our program, and shareholders get the same rights as the Patreon supporters do. So that's a way you can help us out as well. And lastly, oh, it goes to Port. Johnny's show at the Lazy Flamingo and Hus Village and Hamilton every Monday starts around 8.39 ish around there. Go to see Johnny at the Lazy Flamingo and I will be headlining there tomorrow. And that is it. That is all of our sponsors. I think you can give us some feedback at the dutchhall gmocom or we are at the tall on Instagram. That is it for sponsors, jamie. That is it for sponsors. I promise that's everything. And, of course, you got to keep getting hip to the hip. What You got to keep the lights on. I keep the lights on exactly getting hip to the hip and the go get some tickets to the grand finale, the rec room in Toronto on September 1st. Jamie, thanks again for coming in. Thank you very much. It's been really nice And, as I said, you, i've been watching you promote this thing, i've been watching you put it together and the way that you have curated it, the way that you've cared for it and the way that you've, like, put thoughtful effort into every step of it. It shows through This is being done at a high level, and I'm really proud of the effort you put in. So keep it up, and I'm going to continue to support everything you do, cause I'm real happy to know a guy like you. So thanks for coming in, buddy. 0:37:18 - Speaker 3Thanks for having me. It's great to be here. Finally, yeah, finally We worked it out. 0:37:22 - Speaker 4Yeah. So everyone that's been our show 445 tele friend shared around, be nice to each other And until next week we will see you and T see you next Thursday. 0:38:01 - Speaker 3Thanks for listening to getting hip to the hip. Please subscribe share rate and subscribe podcast, some such. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

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

In this special episode of the podcast jD, Pete, and Tim sit down with Gord Sinclair for a broad conversation about touring with the Hip, the future of Rock music, and his new record In Continental Divide. Stay tuned for the big announcement following this episode. If you know you know. RateThisPodcast.com/ghtthTranscript0:00:00 - Speaker 1Well, we're really, really thrilled that you could take some time with us today. This is a pretty exciting And this is my pleasure. 0:00:07 - Speaker 2I appreciate it I. 0:00:09 - Speaker 1Don't know if you know what the premise of our podcast is, but I want to give you a. Snip it so you get a. You get an understanding of who these two gentlemen that you're, that you're with, are sure. 0:00:21 - Speaker 3Maybe you should tell them at the end JD, let's get the Way. 0:00:28 - Speaker 1No way, no way, i'm sorry out. So I did a podcast called meeting Malcolm s and it was about pavement and I met these two guys in Europe last year Going to see pavement a bunch of times and we got talking about music And I really love the way they talk about music, the thoughtfulness and the way they understand it and so, naturally me being a very big, tragically hip fan your, your name came up and Them being from Southern California, one by way of Malaga, spain, and one by way of Portland, portland, oregon. Now They hadn't, they hadn't had much experience with you. So I thought, dreamt up this idea of the podcast taking them through your discography, one record at a time, so that The listeners can experience, can experience what it's like to hear your music for the first time. Again, cool. 0:01:27 - Speaker 3It's been. It's been a journey man, it's been really. 0:01:31 - Speaker 2What do you guys up to now like record-wise? is it still work in progress or we have just released up to here. 0:01:39 - Speaker 1So Okay. Here's a fun fact for you. Did you know that if you take your entire catalog and Release them, starting on May 2 4 weekend, and release one a week for the summer, it ends on Labor Day? 0:01:58 - Speaker 2Oh, no, I didn't know that you're your catalog. 0:02:01 - Speaker 1Your catalog is perfect for the summer man. 0:02:03 - Speaker 2Okay, great, well, that's, that is kind of appropriate. For sure We're, you know, sir It. We're unlike Southern California. We kind of lived for the for the three or four months where You can actually sit outside and play guitar with it, your fingers falling off, you know. 0:02:21 - Speaker 4That's, that's definitely me. in Portland, oregon, we had the the soggy a spring I could remember in my 22 years here. 0:02:28 - Speaker 2Yeah, yeah, that's a great town. We we played Portland a bunch, the Aladdin theater, remember that place. 0:02:36 - Speaker 4Yeah, it's an awesome theater. 0:02:37 - Speaker 2Yeah, it's great Yeah. 0:02:39 - Speaker 4Yeah, it was. It was a cool room. It was fun to play that. We'd love to have you back there with your your current gig. So it would be yeah well, it would be great. 0:02:48 - Speaker 2It would be great. Things have changed for the live music business. Unfortunately, Do it for the most true. 0:02:56 - Speaker 1Yeah, so for now, the tour, the tour that you're doing In Toronto and like Southern Ontario, yeah, is that? is that what we're expecting to see for now, or will there be more dates in the future? 0:03:10 - Speaker 2I mean it's still. It's still up in the air. I I'm certainly not averse to doing more dates, but we, you know, yeah, but, but we'll, but we'll wait and see. You know it's it's it's not an easy proposition. Taking the show on the road, i mean the expenses are kind of through the roof from, just in terms of putting the boys up. That's why we're staying pretty close to home. To start, not only on my band leader now, but I'm also a father. My, my youngest son, is Playing bass in the group and he's got a day job, so I got to get him back. It would be irresponsible for for me to have him run away to the circus like I did, you know. But what it needs to be seen, you know it remains to be seen. 0:04:03 - Speaker 1So how is that turn? turning around to your left or right and seeing your son, you know, in your familiar spot? 0:04:08 - Speaker 2It's, it's, it's, it's pretty great, i gotta say it's pretty great. He's a On his own. He is an amazing musician. All my, all my kids can play, but but he, this one's got a particular Ear and talent Guitar and piano or his principal instruments. He's not really a bass player But he can play just about anything. He's just one of these kids that can hear a melody on the radio or on record and sit down the piano and play it back to you. So, on that regard, it's really, really great to see him actually playing the. The flip side of it is as a He's a singer, songwriter in his own right and it's in the process of finishing a record that he did while he was at university, mcgill. And it's tough, you know, it's tough for young kids starting out today to get that, to get that leg up. You know that opportunity to that a group like ours had, you know where we, you know We were able to start playing gigs while we were in school, you know, and and kind of built it up from there very, very, very organically. We got better as we played more and and and as we played more, more people came and Then we got more gigs and it sort of snowballed from there and, like we like most, we started as a cover band And, crazily enough, like back in the 80s when we were playing, they didn't really want original artists in the clubs in Canada. So we would, you know, we would we were playing mostly kind of B sides of old stone songs and pre things and Kinks and stuff like that and then thrown in on, and so when we played at our song we said, oh that's, you know, that's from an old Damn record from from 1967, just absolutely bullshitting our way because there's some clubs that you had to write down your set list, make sure you weren't playing original material, bizarre. So. So now it's yeah, it's just a different scene. I'd love to see him working and playing, making it, taking a go at it. 0:06:18 - Speaker 4Yeah, i kind of feel like this day and age to Make it in a band and get on an actual tour That's further away than your closest region, it's like, it's almost like becoming a professional athlete. Yeah, you know, it's just like your chance. Yeah, getting that notoriety and getting embraced and carried through it, it's, it's just tougher. I have a close, close cousin of mine is in a band here in Portland and They're going at it so hard and you know they're lucky to get, i don't know, the six, six or eight West Coast swing. Yeah, and happy about it, but I tell you the cost for them and all that. Just like you said, it's, it's, it's, it's a tough, that's a tough go. 0:06:58 - Speaker 2Yeah, it's, it's. It's very much the same here. It's like anything, you know it, that You put a group together, you just, you get that, jones, you know, you do it for the love of it, and if you see a little glimpse of light at the end of the tunnel, it's enough to keep you going. Right, the one gig leads to the next, the next, but, but, boy, if you get continued roadblocks thrown up against you, it's a little demoralizing. And certainly up in Canada the live music scene Was in a tough spot even before COVID, and COVID really, just, you know, cut the head off the vampire It was. It was just made it so, so difficult, particularly at the at the early stage gigs, like in most downtown cores They've been. You know, the small rooms where it would be your first gig when you came to Winnipeg, or your first gig when you came to London, ontario, those rooms don't exist anymore. Yeah, you know, in fact I was talking to my agent a little while ago and Again, it's been a while since I've been out to Western Canada But he was saying that there's not really a gig in Vancouver and Calgary, you know, you know, in a 500 seat capacity and that's, and that's tough when you're just coming through town for the first time. I mean it's tough is on a regional level. If you're a young band story or a colonial, let alone From Kingston, ontario, you know, which is a real shame. I mean, the great thing about being from Canada, you know I The biggest obstacle to touring in this country Is actually our greatest assets, the sheer size of the country. You know, once you, once you kind of break out of your region and play in the crap little clubs around your hometown, then you've got eight, ten, twelve hours in some cases driving in between The, the gigs and you learn really early and really really quickly How to play. You know an empty room on a Tuesday night and a shithole on a Wednesday night With the object of getting to a win, a peg, you know, for Friday and Saturday night and maybe selling some tickets. You either You either fall in love with the lifestyle and the guys in your group or the gals in your group is the case. Maybe you're you bust up before you get you out of our problem, yeah, ontario. And so you get a lot of hearty souls that are doing it and then in the meantime, during all the traveling, you just develop this rapport with your bandmates and if you're a composer at all, it's great. You have so much time sitting in the band or sitting hotel room. You, just you're right, shoot the shit and Become what you become. It's true for musicians, it's true for crew people in this country as well. You know, you look at any international group and their crews are populated by Canadians. Because they have that experience, you learn how to travel. You know, get along with people in a confined space of a Band or tour bus, and it's a real asset that we have. The, fortunately, is getting more and more difficult. 0:10:17 - Speaker 3It's a bummer, because I love you guys you guys own your, i mean, and I we know this. I know this because We've pretty much gone through the, the majority of the discography, at least for the hip, and You guys really honed your skills of those Tuesday, wednesday night shittles, yeah, that you're playing To get you know, you can either take those is like Oh man, there's, there's five people here. What do we do? Like let's, let's, let's, let's treat it like a really tight rehearsal. Yeah, you know, whatever, and it it shows, at least from my perspective, on those records, those early records, and like to you guys just peak and just, you know, coast at 35,000 feet, so to speak. But it's funny you mentioned about the touring scene because I live in Malaga, i grew up in Southern California but I live in Malaga, spain and I We had a record come out last year and we're getting ready to do a second record And it's in the city center. They don't want anything original, they want stones, beatles, you know, maybe a couple Zeppelin tunes thrown in. They don't, they don't want they, they want cover bands, that's all they want. 0:11:39 - Speaker 2Yeah yeah, it's, it's tough, it's, it's a funny time And in a lot of ways I think it's a kind of a dangerous time from a cultural perspective. I mean, i, i'm a Stones fan and I'm a Beatles fan and I'm Zeppelin fan, you know, got it second hand from older brothers and sisters, you know. But but I, honestly, you know, i honestly believe that every generation needs their own stones. They need their. They need, like I grew up on the clash, right, you know, and the jam and and that was I was able to define Myself away from older brothers and sisters because of the tunes that I was like. And then, you know, and I've been Quite honestly, i've been waiting around for the next Nirvana and honest believing in my heart that's somewhere in the world, in some mom and dad's basement, there is the next Nirvana, working it and learning how to do it. I just, i really honestly believe it. I mean, again, i we're very fortunate Over the course of our career, touring, you know, we have Mums and dads that are bringing their kids to the, to our shows, and now those kids are, you know, so great, right, stealing to the hip and stuff, which is awesome. But but I worry, we're For Canada anyway, where that next hip is actually gonna come from. You know, and it's again, i think it's a cultural thing and, and you know, into your point about the Learning how to play the empty rooms, i mean That's what allowed us to. We were back and forth across Canada a number of times before we got the opportunity to Make that left turn and British Columbia and start playing in the United States, and it was literally like starting over. So by that point we were playing like larger clubs and doing really, really well. And then You know, you go down to Seattle and you're back to, you know, 20 to 50 people and and It's actually it's really informed our career. You know, we learned really early on to play to each other, it totally, and and how to play on stage and we always had this mantra we learned to play The hockey rinks like they were clubs and we learned to play the clubs like they were hockey rinks. You know, and Cool, cool. 0:14:08 - Speaker 4I love it. 0:14:08 - Speaker 2And we were really. We were also really really fortunate that we would go to a region like the Pacific Northwest In the States and, you know, at the club live and you could look out and you could see familiar faces, the folks that were really into it, like maybe it actually bought the records and you can see them in the first couple rows and and It was the same when we started in Canada. So we would change up the set every night. You know, try to throw in as many different tunes and we wouldn't open with the same tune, we wouldn't close with the same tune and to make it look like we were Not even look like we were trying, we were really trying to entertain these folks. You know, and you guys are all music fans and there's nothing worse than you know, you catch an act and you catch the, the acclater and the tour and it's like Hello Cleveland on the teleprompter. You know yes, agreed, agreed 100% and it's kind of like If you avoid phoning it in, consciously avoid phoning it in, then you're not phoning it in and You're not thinking about your laundry or the fight you just had with your partner. While you're out on the road You're actually engaged with your fellow musicians and particularly with the crowd. And, yeah, it's important to me as a music fan, you know, i just think it's really when there's still groups out there, you know, at the rink level, that do that, you know. 0:15:29 - Speaker 4Yeah, yeah, to comment quickly about your, your wish for the new Nirvana, like I think it's happening in in these sub capsules, like these regional areas. You know, i, i, i hear about bands doing a West Coast tour and doing in small clubs, smallish clubs, but also doing house parties along the way. And When I first heard this one band, i followed when I first heard they were doing, you know, in between, let's say, san Francisco and Eugene, they're doing house parties in Arcada, california, or Eugene, you know, south of Eugene or in Ashland is like. So they're doing house parties, like people are showing up and getting shit-faced and rocking out and in. To me It was kind of brilliant. It was very old-school feeling like you know, i remember stuff like this happening in the 80s, but at the same time I'm like, Well, if that's a way to hustle and get more fans to support you know, your, your venue climb, then that's that's just amazing. So I think it's happening with, you know, some of these kind of post-punk, kind of yeah, yeah, art rock bands. You know it's, it's happening, but it's it's so, it's so capsule-based, yeah. 0:16:45 - Speaker 2Yeah. 0:16:46 - Speaker 4So to break out of that, it's pretty tough. 0:16:48 - Speaker 2Yeah, i mean that that's my understanding of it as well that the first show I've got is part of a festival in our hometown called Spring Reverb and we again, it's a very, very local promoter who who's, you know? God bless them there. They're all in on live performance and they're they're they're like the Don Quixote's of music in this particular region And they'll do whatever it takes and there's tons of groups on the bill That I haven't heard before. It's and it's an exciting, you know, and it's a. It's a really, really good thing. But I think for your average music consumer, my age, it's like No one's trying to Pitch new music to me in any way. You know which is a real kind of drag. I, i have the dough to buy the records, but I don't know which ones to buy. You know, and it's I Still it's a. It's a bit of a problem. 0:17:47 - Speaker 4I'd love to send you a list. I'm bugging these two guys all the time. Hey, you gotta. You know. I told these guys all the time Hey, please, listen to this. There's one band in particular. I told them three times listen to it. Just make me a playlist. Maybe I'll listen to it later. 0:18:02 - Speaker 2And it's cool. It's never been easier to produce a record, like again when I started. Recording was expensive and you had to have a deal to do it and Someone had to invest the money in it, which, again, was maybe part of the advantage that we had that we did have some resources behind us with our first, even with our first DP, private resources and but you know that that patronage system is, i mean, kind of goes back to the Mozart days where you know folks that had the resources were able to Have house concerts, just happened to be in Palaces, right, right, but right, it's a good thing. I mean. I think you know the kids will find a way. It's just, it's just how, how to take it to the next level. I mean we, when we first started touring the States You know it was still regional radio was a real big deal. It was just before Ronald Reagan and the clear channel days kind of ruined it so many ways where you And it's a real shame as a music fan and as an artist you know you could be stiffen in one market, but then you go to like Austin, texas, for us it's like holy crap, where did all these people come from? And then you find out that a local DJ's got an affection for the band and they're kind of, they're kind of paving the road for you in advance And it was such a great. It was a great time. It was a great time for music. 0:19:48 - Speaker 3It's about what's played to you, gord, because I mean I just want to you talk. You mentioned the Clear Channel thing, but it's about what you're exposed to. Like you said, the DJ, that it's got a, that's got a. You know, it's got an affinity for your band. I know, joke. I'm in California right now because I'm visiting family out here And I saw two of my best friends. One flew out from Texas, the other one lives out and he's got to play some Mexico but he works the train. And so we all met up and on separate occasions I told him about this podcast and we listened to, to some hip tunes and they're like who the fuck are these guys? And and like immediate fans. Strangely enough, and because we have the same like taste in music, the three of us we grew up we played in bands the others were five, but never, never were exposed to it. Yeah, Yeah. Never had it. 0:20:44 - Speaker 2Yeah, we would get that a lot over the course of our career. You know, we've always benefited from really passionate fans that that they would, they would get it, and just the old fashioned word of mouth thing, you know, we would come back through town like 18 months later and they, they would have brought all their friends and maybe got turned into some more corded music, but then they would see the band play live and it would all make sense Like live music is supposed to. It's just like, oh, i didn't even think of that song on the record, but when they play it it's like, ah, you know, that's my new favorite song. And then it grew just really, really organically. You know, we, we never really had the benefit in the United States of a single that was big enough to open up like a national type of market, but we, we, we maintained this ability to tour around this, the circumference of the country, you know, and, um, yeah, and you know, wherever they had a professional hockey team, we would do pretty good, you know, right? 0:21:56 - Speaker 4So And I will say, though, i read, i read, i read you know something about you guys playing the, the Fillmore in the nineties in San Francisco, and there was some comment. It was like, yeah, they always do, they always have a big crowd here because every Canadian in California comes to the show, you know. so it's, it's hard to, it was hard to get tickets because all the Canadians would show up. So, you know, i love, i love the story of how everything happened organically and you guys kind of started from playing small clubs and what have you, and cover songs and how it. that rise is just totally remarkable And it's, you know, it's obviously worthy of of sharing, which we're we're doing now. I I gotta fast forward and ask about this. this uh, air stream, though, and you guys recording and you tell us about that. So cool. We have our own fantasy in our minds right now. Well, it was really it was a. 0:22:54 - Speaker 2Again, it's a kind of a a, a, a, a, a, a, a, a, a, a, a. It's a COVID based reality that that I faced, sure, the group myself, we, we own a recording studio in in Bath, ontario. It's a residential studio. So, um, COVID, it was really super busy because you know, artists, musicians, could, you could test up and and you'd live there. You didn't have to go anywhere and and as long as our, our engineer, um, you know, was safe. It was, so I I couldn't get into it, you know, like I just couldn't. It was booked out and and, um, i had, uh, you know, i'd I'd put out a record called taxi dancers previously And it's one of those things like I had tunes left over from writing with the hip and stuff. She got years and years to do that and then. But COVID was great for me as a, as a songwriter. I was locked down in my home with my family and um, and I was writing and using the guitar and and and writing lyrics as my means of journalism journaling really And I wrote this record fairly quickly. My buddy James, who played with me a bunch, i produced a bunch of records for his band, uh, peterborough, called the Spades, and so we've just always had a really close relationship, And he is an engineer and producer in Peterborough, um, and had this great idea this summer, before COVID, and he bought up an Airstream trailer And he rigged it up so that he was able to strip down his gear from his studio space and transplant everything into the airstream and go completely mobile So he could record live shows and, you know, any sort of situational stuff which I thought was a genius idea. And then COVID hit and it kind of you know, it kind of went on the back burner and then we got talking and said, you know I got enough tunes for a record And you know he played with me on the first one and engineered, so we want to try to do it again. And so he literally recorded it in my house. We parked the airstream in the driveway and ran a snake underneath my garage door and plugged in And it was kind of great. I hoofed my family out and it was just. It was just James and Jeff Housechuck and I are a drummer And we kind of stripped things down. We learned all the songs as a three piece, you know, with me playing the bass and then and then tracked kind of pretty much live And Jeff and I would play together and put the bed tracks down to like a scratch guitar, scratch, vocal and kind of did it like that. It was really kind of wicked and and not only in office is recording is, you know. We learned the songs and we kind of had all the beds done in like three, four days. It was just bang bang bang, kind of like that It was. It was a lot of fun, like kind of old school recording. You know We trying to almost emulate it doing its 16 track. You know, really minimal overdubs and just to get that sound. You know we spent the majority of our time miking up the drum kit, you know, so that we could. You know the Jeff Housechuck the drummer is just a fantastic player, jazz guy, and he decided to slum it with us rock and rollers And he brought that, that complexity and the touch where you could actually hear the notes on the drums. 0:26:48 - Speaker 4Yeah, yeah. 0:26:49 - Speaker 2I could hear it. That's great. We actually ran into him. Ironically, james and I were supporting the group classic Canadian story. but our very first show of the tour that we were doing supporting the troops got snowed out. We got to the bottom of George and Bay and the road was closed. It was drifted in. and so we drove back down to Toronto and went to this great club called the Rex Jazz Club And and Jeff was playing with this organ trio you know like real kind of like just fantastic player and had a couple beers with him after and said, hey, do you want to want to do this If I ever make another record? he said yeah, tommy, and the rest is kind of his. Yeah, it's wicked, yeah actually the phone. 0:27:34 - Speaker 3Yeah, Yeah, No, like, for example, the song over and over. I think it is Yeah. Yeah you can tell. I mean you can tell throughout the record, but like that one in particular. Like, however, because once you lay down your initial, you know your drums and bass, your guitar, your bones you start playing with arrangements. And that I was wondering, like thinking about your process, you know how you go about recording and once you get stuff down, but the way you explain the Airstream that had to have promoted like some level of like creativity, like where you see something you're like let's do this, let's try this, because you're not sitting in a traditional studio, yeah, you know, with four walls, yeah, and a window and like do you know what I'm saying? Does that? Yeah? 0:28:29 - Speaker 2no, 100% That's. That's exactly what we were able to do, you know, within the confines of the house, like I have a small home studio, i have an open house, so I got curtains everywhere to kind of allow, you know, for not only privacy but to kind of the dead and the sound and stuff. We had to be creative with what we were doing and trying to figure out where we're going to put drums and what we're going to do with bass. And it was literally because of the way Jeff played And my natural affinity for records that were done in the 70s that we wanted to, instead of getting the big, boomy Bob Rock kind of like we're going to play in the cabin, smash, smash, smash drum kit, we wanted to, like Jeff plays with jazz sticks, that's, you know it's with. Well, let's put them in this curtained off room where everything's totally dead and and do the do the Jeff Emmerich, you know and kind of play and play and play and move the mic and move the stand until we got the kit sounding perfectly. And then in the meantime, you know, we're rehearsing And James is playing with us, and then we, you know, we get tempos down and stuff and, and you know, do a scratch acoustic guitar and vocal. So we know the arrangement And then Jeff or James would go out into the air stream and we counted off and Jeff and I would play together, you know. And the bass amp is elsewhere in the house So there's no chance of it bleeding in, but we didn't have walls or rooms or anything like that. And again, it was the same process. Most of the bass is not DI, it's, it's. I've got an old, you know, portaflex B15 from 1965, the James Jamerson right And it was kind of like you stick the right mic in front of it And it sounds like, it sounds like Motown, you know, and and that's that's kind of the way we get it And obviously I knew the tunes real well And Jeff is just such a good enough player. That was like, oh, you know, you kind of get it in one or two takes and go out and listen to it. And then again is a cool thing that we go to the driveway, to the air stream, which was really our control room, and you listen to it all stripped away or it's just bass and drums And it's kind of like, oh, it's got even without a lyric and without a guitar or even a music Or even a melody. It's like, oh, this sounds pretty wicked. It's kind of the inverse of being a songwriter where I've always believed if you can sing a song around a campfire, and it can, and it can exist on that level and subsist on that level. And it's like, oh, okay, this is a decent song. And we kind of combined those two ethos and to make this record And it was again, it was just because of the circumstances of making it that you know, we all had to be tested up And we, you know, it was just the three of us and we were also living together and eating together and drinking beer together and playing pool pool table in one part of my house And it was great. It's like it's the band camp, you know it's the hardest way to kill time 0:31:49 - Speaker 1you know, sure, gord, i have a question from somebody on Twitter. We let them know that we were meeting with you And he said it's Craig Rogers from Twitter. And he said, curious if he curious of Gord finds himself writing on guitar or bass more often, or a mixture both with this album and when he wrote for the hip. His bass playing is very melodic, so does he have a chord progression in mind first and then works out a baseline, or does the bass melody come first? 0:32:17 - Speaker 2I primarily write on on guitar, for sure, you know, certainly with the hit, even the songs I would bring to the hip, i would have written riffs and started out on acoustic guitar, not all the time Like they were. on occasion I would try to do something on bass. Bass is kind of tough to sit around on your own. Keep yourself entertained. You know you can play along and stuff. But certainly like my main contributions writing with the hip because we had developed that cooperative songwriting style where you know no one in the group would bring a finished idea to the band. You know we would basically throw out a riff, be it a guitar riff, in some cases a bass riff, and we would start playing together And Gord would start putting a melody on top and a lyric on top And it was great that way. As the bass player you'd like oh here are all these holes all like add melody in here. Or in a lot of cases it was from the middle of songs while you were jamming or sound checks. You know we were always playing And but yeah, it was great fun. I miss making music with those guys big time because it was as a songwriter. It's different now, like you, never when you're, when I was in the hip, you never had to finish an idea And even if you had writers, if you were stuck with something, we would get together frequently And someone always had something new and fresh And that would, you know, cause a light bulb to come on And it would suggest a change that maybe the guy that brought the briefing hadn't thought of it Meanwhile, gord just being Gord, he would be riffing on top and his melody would suggest a change that he would make. And it was great. I loved being in that band And I miss it because it's like you know, like, yeah, you start, i still start the same way, i start with the riff, but man, it takes a lot longer, you know, to come up with complimentary parts and the lyrics and stuff. And again, i credit Gord. I really, you know, i tried to bring some heft to the lyrics that I was writing for this project and my previous one as well, cause he's, you know, he set a pretty high bar as a songwriter you know and can't really you can't really put out a solo record I've said this a few times, but it's absolutely true Like you can't write. Yummy, yummy, yummy. I've got love in my tummy, you know, and feel good about yourself with some of the lyrics that Gord has, Yeah. So yeah, the writing's a, it's a. It's a, it's a fun, it's a fun process. I'm not a sit down and write every day kind of guy. I don't do the Stephen King and lock myself in my studio for 2,500 words a day. You know, I kind of sit around and watch hockey playoffs or baseball playoffs and with the guitar in my lap and noodling all the while, and then you're like, oh, and The cascade begins from there. You know, kind of not really paying attention to either, and It's amazing if you're receptive to the idea, It'll come from somewhere. It's, it's great fun, It's great fun. 0:35:47 - Speaker 1Gordon, i'm so thrilled that you laid down in 2020, you laid down get back again. Yeah, so it was. So we have a like a proper studio version of that song, because I gotta tell you, that was one of the hip songs that I came to early on and in my young hip career, and I was like whoa, this is something that's not on the record. It's like this is like a bootleg, or this is so cool And I gotta I gotta wonder, though, how did it never end up on a record like that? It's such a phenomenal song. 0:36:17 - Speaker 2It's, it's a funny one. I mean that it was That's. It's an old song. I mean that was back from the day when we were we were kind of clubbing it, he just kind of in southeastern Ontario and and we were all learning how to write and we were Writing a little bit together. You know Gord Downey and I would and Paul were living together at a student house But yeah, and it it was kind of a mainstay when we would play live and it was in the running, you know for for up to here for sure as a song. But interestingly enough we We recorded a demo version of it. That was just dynamite. Like You know, the performance across the board is great, particularly by Gord, like he just sang the song beautifully. And it was one of those circumstances where the The, the guy that was helping us the demo, said, oh, that was really really great, one more time just like that and we'll run tape. And we're like, oh, what do you mean? you weren't running tape? and oh, tried it again and collectively we were so disappointed. You know that I don't know we never, we never seemed to Capture that vibe that we had on this unrecorded Demo. You know this is again, we were really young, we were still learning how to play in the studio where it sounded like us and Again it sounds old-fashioned and everything, but it was back in the day We recorded live like we would, you know, put the bass somewhere and you know, drums are in a booth and gorge in a booth And we were learning how to do it, but still get that feeling like with headphones on that, we know, you know It sounds like awesome. We're listening to each other Again and then, yeah, it just never. It just never made the cut. After that, i guess I mean there is a version of it somewhere, at least I thought we had reported it for up to here There is some kind of version of it somewhere. We're finding it Odd with. We've always been signed to Universal in various shapes or forms. We were signed to MCA back in the day. But the tracking down on old tapes, a little demo stuff And studio stuff, is proving very, very challenging from an archival point of view. Like stuff is You'd think it'd be, you know, t, hip or Or it would be alphabetized or the Dewey decimal system or something, but it seems pretty random and stuff is in different storage area Areas and our drummer John has just been. He's just been like a dog on a bone tracking down Material and just relentless trying to find stuff. We kind of process kind of started for us with Road apples and but we were still. We were only able to manage to find Two-thirds of the tapes. You'd think they'd all be somewhere together. You know, when we heard about that fire on the universal lot we hit the panic button like right. You know, wow is our? do you think some our stuff is in there? and then read the list in the paper and there was our name. You know, in between Mel Torme and the down Trop family singers, you know it's like oh crap, i hope we do, because that, that, because, to your point, that's exactly the kind of stuff that we were looking for. Turns out there were dupes and some of its backup in Canada. Definitely Yeah, it's a. 0:40:11 - Speaker 3I just I'd be remiss if I didn't ask a gear question What, what, what, what, what? what type of guitar do you do you like to sit in? Because when you're sitting watching a ball game and you're just noodling or you're just whatever like what's your go-to? 0:40:26 - Speaker 2I, honestly, i've got a. I've got a few favorites, in fact, like there's a song on this, this latest record called change your mind, i I bought a. I bought an old Martin D18, saw it. I bought it sight unseen because it's just always wandered one and down. I Picked it up and Literally pulled it out of the case and it became my main guitar for about a week and that was that that. I Written that song on it within Got probably a day or two, you know it. Just it felt right, sounded right. 0:41:08 - Speaker 1What's that? there's sort of like a dreamy stony sound on that song. 0:41:11 - Speaker 2Yeah, and I would credit the guitar. You know, i guess I I Have a lot of, i've got a lot of instruments laying around the house and I will, you know, i will, i'll trick myself and I'll keep one guitar With a capo on the second fret, you know, and thereby changing the key of the song. But you just, in certain cases, different chord shapes and different you know, composite chords, like you know, a D over G or whatever to sound different in a different key or it'll trigger something melodically and then that will Send it in a different direction. So I I kind of rotate them in and out. You know I I Got an old the first kind of cool guitar about was an old J 160, you know mid 50s old beaver of a guitar, and it's always out on a stand somewhere and I'll Pick it up and I'm playing. Right now I'm going out and playing this old, the ES 125, like a, like a hollow-bodied arched top, electric and And it's been laying around and it's just, you know It sounds kind of got a little more sound to it. Yeah, i just kind of believe in the magic of it. You know that it's just like oh, this, you know it's rules right and sounds right in the. The tones of these older instruments, to my ear anyway, are so nuanced that that each one has a different character and Suggests different things, you know, and some chords sound better on them than others. And yeah, it's so, so it's cool. I like I say, i trick myself and I mix it up. 0:42:50 - Speaker 3That's the per. That's the perfect answer. Had you said this is the guitar, that's trick Bs and me bulls it me right on that school Yeah my question was more what kind of beer we were you drinking where you were recording and the Not as young as I used to be, so I. 0:43:13 - Speaker 2There's always a case of the in this kicking around here, for sure, but I'm more of a light beer guy now. Unfortunately, i just I can't afford to Drink the loaf of bread like I used to when I was a young man. Live to tell it. 0:43:29 - Speaker 4I'm right there with you. Yeah, i'm right there with you, gord. 0:43:33 - Speaker 2Yeah, I'm pretty much a logger and a Guinness guy. 0:43:36 - Speaker 4Yeah, sorry. 0:43:49 - Speaker 1Well, I'd love to talk more about the. I'd love to talk more about the. The record sure. You gotta ask the video to man and we haven't touched. We haven't even touched on the video. 0:43:59 - Speaker 2Yeah, I'm glad you like it. I, i yeah, that's a friend of my, my youngest son's It's aspiring filmmaker and videographer and, obviously, videos on what there used to be. I'm like I'm a survivor of the MTV era where You just saw your recoupable account go up and up and up with your record company because you'd spend more money making videos And you would make the record. But it's. But he's a creative young guy having feral is his name and I I Was reading the newspaper And there was an article I can't think this one Facebook change just named in Metta, and Mr Zuckerberg had proclaimed that the future of the world, the future of reality, is going to be virtual reality. And They ran a little clip of the journalists were testing it out with the, with those goggles or that, whatever that is. I said, wow, this is the future of reality. The graphics are kind of shitty, you know, and and And I bounced it off heaven and I want to make this video about these tech guys that are kind of changing the way we interact with each other and getting rich in the process. And could we make a virtual reality kind of video for this song about kind of love in the VR world? and and man he ran with it. He was like I know exactly what you're talking about. 0:45:34 - Speaker 3And it's clear who everybody is. It's very clear who everybody is. 0:45:37 - Speaker 2He ran into a little problem with the record. Here it was, it was clear, still in the legal department And hit the panic button real quick. But we just, i think. 0:45:52 - Speaker 4You know, it's a good thing when that happens And it was fun. 0:45:55 - Speaker 2The song I think Google Guy has a bit of a sense of humor to it And yeah, i got when all that stuff was going on, when they were talking about how their algorithm there were purports to bring people together was actually the algorithm itself was based on making people butt heads, because there was more engagement when the conversation was contentious, as opposed to fluffy, puffy stuff. And that young woman, francis Hogan, really kind of went official with it. She kind of blew the whistle on these, these guys, and I thought right away to myself like oh, what would what would Joe Strummer do with a concept like this? You know, like you wouldn't know all have very much and try to call the guy out. And it was actually the last song I wrote for the record And it came real, real quick because I kind of got my dander up just a little bit. I'm not a social media guy. I understand how people do it. It's a great way to stay in touch with friends all over the world and stuff, and I get it. But God, imagine if you're Instagramming or Facebooking with your pals. But there was a artificial intelligence kind of trying to get you guys to fight about something you may have said to each other in high school and dragging that your relationship through them. 0:47:21 - Speaker 3I'm sure it's already there. 0:47:22 - Speaker 2Exactly, you know. I mean, i'm in a. I was in a band with my high school friends and, oh my God, we fought about crap that was 35 years old. You know, sometimes it was kind of anyway, yeah, so I yeah anyway, i glad you liked the video. It was fun to do. I'm going to do a follow up. He's one of them for call Yeah, but I don't know, i haven't seen it, yet I'm dying. He's okay. I'll be anxious to check that out. 0:47:56 - Speaker 4I enjoyed the video and the song and the song. Honestly it brought me. There's this kind of 80s feel to it, like it's it's interesting kind of the juxtaposition of I don't know had money for nothing Yeah yeah, and then what? Yeah, I'm not, i'm not sure, yeah it's. Yeah, it's reminded me of I don't know a couple of things, but anyways, the the video is great, and it was just I love the personification of the characters, and it's just. I just really related it. I was, i was in, i was in Italy recently. We were staying with family and I'm kind of a handy guy, so I was helping them do some stuff and I said, well, can you work and we get this? you know, we needed something in particular. My aunt there says, well, we could just order it on Amazon, and sure enough it was there the next day. And I'm like I mean Italy and Jeff, jeff, still knocking on the front door delivering, yeah yeah, it's not so I conveniently unbelievable. 0:48:57 - Speaker 2I totally understood. And obviously the pandemic Unbelievable fall for those companies because all the stores are closed, you know, but Massive. You know I'm from a small, small ish city. You know we got 150,000, 200,000 people here. You know, if the if you don't support your local hardware store owner, who may very well be your neighbor down the street, you know it's, it's kind of like the kind of the 100 mile Right Diet approach to living. You know where you live in a community and if you got a couple Extra bucks for things like I get it like people go to the big box stores to buy 10,000 rolls of toilet paper and junk like that. But but you know I go to the local record store and my local stereo shop and my local guitar store and we shop at a small little market And it's important, you know it's. It's important if, if the pandemic taught us anything, it was to kind of value community Because we would support each other more. And meanwhile, that's what I love to do. Devon's portrayal of the of. They call themselves founders. I understand the founders in the orbiting space station above, above the world, that slowly falling apart. And frankly, that's what I try to articulate in the, in the lyric of the songs, that we all know the reason, and the reason is really us. It's up to us, you know, to build community and to support community And and everyone wants to save a buck. I understand that stuff, but at what cost, you know. And what cost? Yeah, in many cases, like mm. Hmm, there's a lot of each cylinder vans all over North America as we speak, idling in people's driveways dropping off stuff that they ordered on Amazon last night, you know, and there's a cost to that, ever, you know. And that's what I was trying to articulate anyway, yeah, yeah. 0:51:21 - Speaker 4What I notice nowadays on, i mean, i'm in Portland, we're in the city, you know, downtown Portland is about three miles away, and what I notice is, when we don't have any deliveries, like, i'll just stop, i'm mostly home. I'll stop in the house and think, boy, it's actually been quiet today. You know it's. You have to wait for the white, the white noise to go away in order to I have a Kingston question for you. 0:51:45 - Speaker 1These gentlemen we are recording, we're doing a live finale for this podcast in Toronto on September 1st. So Pete is coming from Spain and Tim is coming from Portland and we're doing it at the rec room in Toronto. We're doing like a live podcast. There's going to be a standup comedian, There's going to be a hip tribute band, et cetera. But as part of their coming to Toronto, I've booked us a day in Kingston and I booked an Airbnb just yesterday. What are some? what are some hip, hip must see spots, Some you mentioned a record store earlier, a guitar store. What are some cool spots that we should go when we're? Yeah, I got to hit the store. 0:52:29 - Speaker 2You know what there's there's. so there's so many of it like this. First off, about Kingston. You know I'm born and bred and raised here. I went to university here and you know, like most young men, like Rob Baker and I, grew up across the street from each other And all through high school together and you know, gordon, Paul and I lived together in university And John was a little bit younger than us behind us, but all went to the same high school Parents, on to each other, and nonetheless, like most young men, we couldn't wait to shape the dust off this one horse town off our boots. You know, move on, or big city, and as it turned out, you know, our career took this home, over Europe and North America and traveling all the time And we kept coming back home And because it was home, you kind of learn to fall in love with where you're from By leaving it, you know, and you kind of realize, oh, there's no better place to come back to. And it still is a really, it's a really special place. Even even with the, the dearth of of live music venues and various cities and stuff, we still have five, six places in town that run live entertainment nightly. You know, and I think that's a big reason Kingston is as it is is produce so many great recording artists, you know Sarah Harmer, headstones and the Glorious Suns, and because they all came up the way I came up, you know, you kind of start playing in downtown Kingston and you play the bigger bar and the bigger bar after that. So there's, there's some great live music venues. The place I'm playing in town is called the, called the the Brune factory, which is kind of a multi multimedia approach to live. It's a film place, it's comedy, it's an office building for the local promoter during the day And it's, it's great. It's very DIY in town, you know it's. Also Kingston is an interesting place because it's a university town, a very large, very good university here. So we kind of punch above our weight for for restaurants and actually activities to do. We have a local symphony orchestra to symphony halls. You know it's just there's, it's a, it's a really special place And it's also it's right at the confluence of Lake Ontario and the St Lawrence River. So it's where the Great Lakes kind of funnel all down and the area just east of us is the start of the Thousand Islands, which is again it's we kind of take it for granted. But you guys coming from out of town, you know it's worth jumping on a, on a boat, and you've never seen anything like it. It's, it's just absolutely spectacular, you know, and it's, yeah, it's just really, really cool. There's so many great rooms. You know, the club that we played our first gig was called the the toucan, but it still exists, you know, and it's still still there. It's not a great place to see music or play music, but it's still running live. It's pretty wicked. There's another place called the mansion. That that they're again. They're fighting the good fight. They're trying to bring acts in all the time and get people a place to play. You know, and it's in, it's kind of great. It's kind of a great place to be. I feel very comfortable here. You guys are like it. 0:56:15 - Speaker 3If people, if they have places to play there and there's places that they make available, i mean there's. there's no doubt that's why the city thrives. 0:56:25 - Speaker 2I really think so as well, because people, obviously they people get used to live music being a viable option. You know, that was something that we experienced as young musicians First time we went to Europe. You know, it was again like starting over. But we got to the Netherlands And it was like that was. It was the case of like, where are all these people come from? how do they? but it's because the the nature of the culture and it was back in the CD days, when they were Ridiculously expensive, you know. So you'd have to pony up whatever 30, 40 Gelder's they were called back then so people would literally would go see a band play live before they would pull me up for the record, which was perfect for a group like us, because you know they huh, there are all these Magnificently tall people standing there and all speaking English, hang them boards, every word, yeah, it was great. It's all like. That's all about the amazing thing. I am such a such a believer. It's just so important. 0:57:36 - Speaker 1I I totally feel the song sometimes. Yeah, did you write that? like thinking, live in mind, like, like that feels like a live song. 0:57:46 - Speaker 2Yeah, i Did it's, it's, It's for sure, it's. There's an anger to it for sure, and it's it's not the easiest thing when you're sitting by yourself in a pandemic to To write an uptempo song. But like I, like I was seeing earlier, i was using that experience, i would close the sliding doors of our family room and, and, like everybody, there were moments during when I was locked down or where I was Wasn't quite myself. You know I was feeling. You know, being locked down in the middle of the winter in Canada is You get some dark days for sure, not only Physically dark days, but but the mood kind of translates on you and that's that's really what that song's about. And and I Attempted to turn that frown upside down and kind of went back to the old punk rock me, and It's basically like a confessional more than anything, because it was true, sometimes I felt like I was losing my mind, you know, and and sometimes you know, weed, weeds legal up here and and and so maybe sometimes I'm they've, you know, smoked a bomber a little too early in the day, you know, or maybe a little Bailey's in my morning coffee just to take the edge off. Even quite confessional about that as well. Much sugar in, yeah. 0:59:23 - Speaker 3That's really cool of you sharing my songs with us Share. 0:59:28 - Speaker 1I mean, for me it's been. It's been 38 years of you sharing songs with me, so I really appreciate that and Love that you made time for us today, well. 0:59:39 - Speaker 2I appreciate that. I appreciate that I'm a music fan as well and I and I I Made music with guys I know really well, guys I love, you know, and and We always took it really, really seriously and we always never took whatever success we may have achieved, we never took that for granted, you know, and we knew it was because of the people that liked our music and that supported the group and we, you know, with the past, you know Gordon Lightfoot. It was also such a huge believer in live performance and the love and respect for his audience. you know We came up, you know, very much the same way, just like getting our getting in front of people and, you know, and thanking them. You know, and being truly grateful and trying to allow the music to reflect our growth as people and but our commitment to making really good music and you know I'm I Love it I'm still trying to do it on my own. You know, i'd give anything to have gourd still here and be working my, my normal day job, you know. But but In no small way he still is. You know, he wouldn't have wanted any of us to stop playing, you know, and to stop making music and Yeah, and so I'm kind of doing it to honor him, but it's also it's because it's the only thing I know how to do. I kind of They caught into my, it's my, my yearly cycle of like, oh I'm, you should be making a record soon. I think the song start pouring out. Anyway, i'd go on, but I appreciate you guys for doing this and listening as it is intently, as I Listen to music like that's the way I listen to it too, you know I turn it up. 1:01:31 - Speaker 3Yeah, pleasure's our pleasure We've. 1:01:34 - Speaker 4we've got great time, so thank you so much. 1:01:37 - Speaker 2I'll get a list of places to see in Kingston, and there's some that would be great. It's a pretty, it's a pretty special. It's a pretty special little town. You'll, you'll get the vibe right away. You know, september is a great time of year. Kids are just coming back to school and the and the sailors are still hanging around. It's a touristy town. So there's a. There's a good, it's a good vibe here. It's a nice place to visit. I can't wait. Yeah, i can't wait awesome, awesome. 1:02:02 - Speaker 1Well, thank you so much Thanks for a pleasure, guys. 1:02:06 - Speaker 2I really really appreciate your time. It's fun. 1:02:08 - Speaker 3Yeah, thank you boys. 1:02:10 - Speaker 2Okay, take care, we'll see you real soon. Yeah, thank you. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

If you’ve ever wondered what it would be like to hear the Tragically Hip’s music for the first time again, here’s you’re chance. Join Pete, Tim and their guide jD as they work their way through the discography of seminal Canadian band the Tragically Hip! Advertising Inquiries: https://redcircle.com/brands Privacy & Opt-Out: https://redcircle.com/privacy