4. Equestrian Analogies!

The Tragically Hip Top Forty Countdown

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!

Transcript

0:00:01 - Speaker 1

When 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 3

Doing 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 1

Sounds good.

0:03:05 - Speaker 4

It's snowing there, i take it.

0:03:06 - Speaker 3

Almost.

0:03:07 - Speaker 4

Okay.

0:03:08 - Speaker 3

Almost.

0:03:09 - Speaker 4

I'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 1

Holiday travel, man Everything.

0:03:36 - Speaker 4

Fully and completely for the hip.

0:03:38 - Speaker 1

Well, 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 3

I 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 4

I 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 1

you put that car as a horse.

0:04:45 - Speaker 4

No, 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 3

You 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 1

This 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 4

I 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 1

Alright. 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 4

I 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 1

The rhythm guitarist, rhythm guitar player. Yeah, all along.

0:08:42 - Speaker 4

Those 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 3

Yeah, 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 1

This 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 4

It'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 1

so 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 3

I 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 1

Yeah, 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 3

Well, 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 1

Yeah, borders. How did you feel about looking for a place to have a beat?

0:15:02 - Speaker 4

It'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 3

I 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 4

But, but to know it was that this was being.

0:17:09 - Speaker 3

This 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 1

Yeah, 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 3

Ready Mark.

0:18:08 - Speaker 5

Roll 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 3

All things backups. Can we do karaoke with this one?

0:21:09 - Speaker 1

This became a lot. Yeah, i would do karaoke this. This became a life staple, for sure as well.

0:21:13 - Speaker 3

I'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 4

Pretty 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 1

I 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 4

Put to be, to put that in two songs in a row on a record got me something.

0:24:04 - Speaker 1

Yeah, 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 3

Yeah, 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 1

Now, 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 4

So 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 1

Sit. The birds took or of the birds that the birds took.

0:26:36 - Speaker 4

There'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 3

I 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 4

Anyway, it's against the law to play that at a bar in long Beach. Yeah, it's against the law.

0:28:03 - Speaker 3

It 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 1

So weird, yeah, fun song we go to another album track, and this is one called lion eyes.

0:30:01 - Speaker 3

So 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 4

It'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 1

Yeah, 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 5

Some. 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 4

Let me out, let me out.

0:37:28 - Speaker 1

Let me out.

0:37:53 - Speaker 4

I 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 3

I 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 1

Yeah, 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 3

Yeah, 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 1

They've all gone and will go too.

0:41:27 - Speaker 3

I 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 1

How about you Pete?

0:42:01 - Speaker 4

I'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 1

Well, 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 4

Feels 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 1

You 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 3

You 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 1

Well, the next next track we get is the titular fully, completely.

0:45:37 - Speaker 3

As 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 1

This is our first title track we've ever got as well Right. Yeah, can I?

0:46:44 - Speaker 4

ask you, JD, was this a single?

0:46:46 - Speaker 1

This was. This was the last single on the record.

0:46:49 - Speaker 4

Okay, 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 3

Yeah, 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 4

You 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 1

That'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 3

Just 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 4

Tim, 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 1

All right. Next up, we go to 50 mission cap.

0:49:59 - Speaker 5

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. 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 3

It's my fifth mission. I worked it in.

0:53:54 - Speaker 5

I worked it in. I worked it in, i worked it in.

0:54:07 - Speaker 3

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. I worked it in.

0:54:42 - Speaker 1

I worked it in. I worked it in, i worked it in.

0:54:58 - Speaker 3

I worked it in. I worked it in. I worked it in. I worked it in I worked it in.

0:55:17 - Speaker 1

Basically, 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 4

Okay, 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 1

like Oh, I worked it in to look like that.

0:56:30 - Speaker 4

I 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 1

They found his body, and then the Leafs won it.

0:57:07 - Speaker 4

It'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 1

Yeah, they were tired.

0:58:53 - Speaker 4

But 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 3

Loved 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 1

Well, 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 4

You want to take it to him.

0:59:55 - Speaker 3

I 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 4

I 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 3

I thought of the same. I thought of the same.

1:01:24 - Speaker 4

Yep, 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 1

Oh, right Yeah.

1:02:20 - Speaker 4

It 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 1

Yeah, 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 3

So 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 5

What did he not?

1:04:45 - Speaker 3

do? 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 1

And where do they take you next?

1:05:19 - Speaker 3

Where 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 4

I.

1:05:46 - Speaker 3

This song, JD the producer what you said. His name? Christiane Arias.

1:05:51 - Speaker 1

Yeah, right, it's a Greek last name.

1:05:53 - Speaker 3

He 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 4

Yeah, 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 1

We'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 4

Yeah, so, so, that's, that's what I got.

1:08:16 - Speaker 1

Okay, so that brings us to the last song on the record, and that is El Dorado.

1:08:44 - Speaker 5

El 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 4

Wow, 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 1

Oh no, none of that Dude.

1:13:51 - Speaker 3

My 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 5

It's um.

1:16:09 - Speaker 4

I don't know, were you born in Canada too? No, oh.

1:16:15 - Speaker 3

What was it called?

1:16:18 - Speaker 1

His pick Canadian accent, doesn't it? Come on, tell me voted guys. I'd have to edit that out.

1:16:25 - Speaker 4

Hey now, hey now.

1:16:27 - Speaker 3

But 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 1

Yeah, I do too. Pete, where are you with this one?

1:17:02 - Speaker 4

I 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 3

I 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 4

Wasn't Charlie Vietnam.

1:18:55 - Speaker 1

No, 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 3

Yeah, it's the crossing point between East and West Berlin Shows my World War II. It still exists.

1:19:16 - Speaker 1

It 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 4

Seriously 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 1

It'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 4

This podcast took a really dark turn. I love it.

1:20:01 - Speaker 1

So 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 3

Which was unusual for them, right.

1:20:23 - Speaker 1

It'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 3

Why the hustle I?

1:20:49 - Speaker 1

don't know, i don't know, was it?

1:20:52 - Speaker 3

a. 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 1

They 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 3

Oh, 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 4

I 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 3

Yeah, 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 1

Yeah, 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 3

I 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 4

Same 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 3

Love and the smell of fuel.

1:25:26 - Speaker 1

Yeah, 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 3

Yes, 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 4

I can't wait, man.

1:25:58 - Speaker 3

Just 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 1

Cool. What do you? what's going to be your playlist song there, pete?

1:26:33 - Speaker 4

The 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 1

Awesome. 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 2

Thanks for listening to Getting Hip to the Hip. Please subscribe, share rate and review the show at GettingHiptotheHipcom. Find us on Twitter and Instagram at Getting Hip Pod And join our Facebook group at Facebookcom. Slash groups slash fully and completely. Questions or concerns. Email us at JD at GettingHiptotheHipcom. We'd love to hear from you.

Support this podcast at — https://redcircle.com/tthtop40/donations
Advertising Inquiries: https://redcircle.com/brands
Privacy & Opt-Out: https://redcircle.com/privacy