Turn it up stupid; I'm on the fifteenth floor!

The Tragically Hip Top Forty Countdown

What happens when an iconic band leaves a lasting impression on you? Join us and our special guest, Dan from London, as we reminisce about the Tragically Hip's fifth studio album, Trouble at the Henhouse. We explore the album's lyrical genius and discuss tracks like "Don't Wake Daddy" and "Springtime in Vienna," while also delving into the technicalities behind each track.

From the anticipation leading up to its release for jD to the experience of listening to this album for the first time, we'll analyze dark, politically charged lyrics and the unique phrasing, strange tempo, and guitar work that make certain songs stand out from the rest.

Step back in time with us as we appreciate the album and discuss the raw energy and chaotic elements that make it truly iconic. With Dan's perspective, we'll explore the album's success in different countries and the sense of mystery surrounding it. So tune in and join our captivating conversation about this timeless musical masterpiece.

Transcript

0:00:00 - Speaker 1

Hey, it's JD here and I'm with Pete and Tim and we have a really big announcement we want to make. Are you strapped in Good? Mark your calendars for Friday, september 1st, as long-sliced brewery brings to you getting hip to the hip on evening for the Downey Wend Jack Fund.

0:00:22 - Speaker 2

Join us at the Rec Room in Toronto for a night of music, unity and making a meaningful impact. This event is dedicated to honoring the legacy of the tragically hip, while supporting the Downey Wend Jack Fund.

0:00:32 - Speaker 3

Immerse yourself in a powerful tribute performance by 50 Mission, celebrating timeless classics that have shaped Canadian rock history. We'll also wrap up the podcast in a memorable way by doing our finale live that evening, but it doesn't stop there.

0:00:48 - Speaker 1

This event is all about making a difference. So we've got a silent auction with prizes. you've got to see, from Blue Jays tickets to tragically hip ephemera to kitchen appliances. If you're looking for something cool, chances are you'll find it at our silent auction.

0:01:05 - Speaker 2

All proceeds for the evening will go directly to the Downey Wend Jack Fund supporting healing, reconciliation and positive changes for Indigenous communities.

0:01:13 - Speaker 1

Tickets are on sale June 1st and can be picked up by visiting gettinghiptothehipcom and clicking on finale By attending Getting Hip to the Hip, you're not only enjoying a night of incredible music and comedy, but also contributing to a brighter future.

0:01:30 - Speaker 2

Join a community of like-minded individuals who believe in the power of music and unity Tickets are only $40, so mark your calendars and visit our webpage to secure your spot at this unforgettable event to celebrate the hip with fellow hip fans.

0:01:45 - Speaker 3

Getting Hip to the Hip. An evening for the Downey Wend Jack Fund promises to be an experience that leaves a lasting impact. Please join us at the Rec Room in Toronto on September 1st and be part of something truly meaningful. We'd love to see you there.

0:02:02 - Speaker 1

For months leading up to the release of the hip's fifth studio long play, i felt a palpable sense of mystery about what the band was going to do next. One day that feeling became a reality as I logged into my York email from the hip instructing me to visit a URL. At the URL was a long road leading to a horizon and a bolt of lightning flashed through the desert sky. What the hell was this, i wondered out loud to my friends. To them, though, this was just another hip record, but to me this was an album coming from a band that was white-hot at its apex or so it seemed at the time and poised to make something memorable. I was intrigued and delighted when May 14th 1996, rolled around and I opened the beautiful gatefold CD with the mysterious cover I say mysterious because I can't say for sure if the dog on the front is the menace or the hero Thanks yawning or snarling. At any rate, from the opening strains of Gift Shop through the last notes of Put It Off, i was musically stoned. This album was like hash, putting me into a body buzz that I couldn't explain with words if I tried. That was my experience with this record. What was your experience, and do we have any idea at this point what Pete and Tim might think? Now we've also thrown a curveball at you because we've got a special guest on this episode, and that's Dan from London. What will he think? Let's get right to it on this episode of Getting Hip to the Hip.

Long Slice Brewery Presents Getting Hip to the Hip.

If you've ever wondered to yourself what it would sound like if two people who had never heard of the Tragically Hip before got taken on a tour through their discography in chronological order. well, it's not going to sound something like this, because today we have three people. We have a special guest, that's right. I am proud to introduce you to Dan from London. Dan, how's it going?

0:04:55 - Speaker 6

Good, all good down here. Even the sun is out today.

0:05:00 - Speaker 1

Oh, the sun is sort of out here, but it's cold. It's very cold, and I'm joined by my usual cohorts, pete and Tim from Portland. How you doing fellas? I'm doing good, i'm great, you know Just awesome.

0:05:19 - Speaker 7

Dan has been sunnier there since the Queen pass. That's what I heard.

0:05:24 - Speaker 6

No, No, the whole place is in decline at the moment. Put it that way.

0:05:32 - Speaker 2

If things are not good. I thought you were going to say since Harry and Meghan left. Oh, thank you.

0:05:42 - Speaker 6

Listen, listen, I am not a royalist, so don't ask me anything about any of that. It's not my concern.

0:05:49 - Speaker 2

Me too, dude. I do not follow that crap at all. And people are just like did you see the thing with the, with Harry's? And I'm like who the fuck has time to follow that shit? No, really, dude.

0:06:03 - Speaker 1

A lot of people apparently. Yeah, apparently. My sister, my sister, it's a whole industry for having sex, you know.

0:06:14 - Speaker 2

It's like, it's like Disney, when they I don't know if you know the pin people. No. I don't know what Disney is personally.

0:06:24 - Speaker 7

Well, yeah well there, yeah, there's a.

0:06:27 - Speaker 2

I mean, because I grew up 15 minutes from Disney. My guys, right, but they have these pins. They're like you know those. you know those If he was my babysitter Yeah. It was actually actually, actually Donald was, but that's no. there's. there's pins that people keep like lapel pins And like you know, i don't know, And like there's like this weird subculture of people who collect these pins and trade them and like, like you can go into a store at Disney and ask them to trade one of your pins. It's very, it's like furry level.

No Punks to anybody listening who's a furry?

0:07:11 - Speaker 1

Not that that's, yeah, there was hopper audience. Thanks, trying to get furry. We're huge in the furry huge in the furry, in the furry demo. Oh man.

Well, today we are here to discuss the band's fifth full length LP. It came out May 14th 1996. I remember it well because it was like my third year of university and we had a computer lab and the hip were one of the first bands I remember that had like a website and they had this ominous picture of a road with a lightning bolt at the end of it and trouble at the henhouse coming soon, you know, and it was like wow, i cannot wait for this record. This is going to be so good because it was coming off, you know, such a triumvirate of records road apples, then fully completely, then day for night which I adored as a teenager. So this record was highly anticipated by me.

But I wasn't sure what to expect, given the sharp turn from fully completely and day for night. What was it going to be? another sharp turn? Was it going to be more of the same? Was it going to be a subtle difference? I didn't have a clue And I'm curious. This one Dan will be for just him and Pete, because they've been doing project from the go. I'm just curious what your initial thoughts were on the record in that regard.

0:08:53 - Speaker 7

Or no, it was Pete's favorite, So I'm just going to click commute and take a little nap, go ahead.

0:09:01 - Speaker 2

Pete, Oh, I thought you were asking Dan first. Dan, where do you go? Well, just to start off all music, that website, you pulled those ratings from JD.

0:09:18 - Speaker 1

Yeah, they butchered it. Fuck those people dude. Two out of five. I didn't look it up, oh yeah, two out of five They can go.

0:09:28 - Speaker 2

Yeah, i mean disgusting. This is the record that I love so much And, to be honest with you, this last week, listening to it, i even come to love it way more than I loved it before. I don't want to. I don't want to. You know, spoil the spoil the porridge, just chat, because I got a lot when we go song to song. But this fucking album made me not just be thankful that JD has allowed us to be on this journey with him, but made me really like this morning, when I was writing some notes, i was like God damn, i feel so ashamed. I never saw this band live. It's like I remember I had a chance to see David Bowie before he passed away and I blew it. I didn't do it, i just was like, eh, you know, and then he dies. That's painful, it's like this. I feel ashamed. They never saw this band live. So I mean, this record means a lot to me.

0:10:39 - Speaker 1

It's very loose, fitting right. It is like live sounding And I think they recorded a lot of it. you know, again, this is the first record they recorded while they recorded it at the Kingsway again, which is where they recorded Day for Night. But they also in the interim had built a studio in a town just outside Kingston called Bath And this was the first thing that they released to us, that we got to hear that was done in that Bath studio. So there's that.

0:11:21 - Speaker 7

Yeah.

I felt it had, you know, next level all the way around. I think it was just the next level All the way around. Sound production I'm always, like I've said, talking about the drummer in the bass guitarist working together, and this one was next level. I think this album was really good. It was similar sentiments as you, pete, you know, with the live comment. That's happening to me more and more for sure, because there's a couple songs on here where I thought maybe as a recorded track, this one, i'd rather hear life. You know that happens.

0:11:59 - Speaker 1

That kind of happens. Make sure to point those out when we get there.

0:12:03 - Speaker 7

Yeah, yeah, yeah, for sure.

0:12:05 - Speaker 1

Yeah, all right. so, dan, this is your. this is your first taste of the Tragically Hub. Yeah, and I'm wondering how you approached it.

0:12:17 - Speaker 6

based on that, there's no approach Just listen and listen and listen and just see what forms, see what grows. I mean, i had initial impressions and then a lot of those just completely transformed. Yeah, so the journey isn't it which an album should be, but it is difficult not having a reference point with the band and the previous work And even things like you know where, where would they are in their career at this point. you know how big word A and again is. this, is this? I don't know. is this, is this a sort of offbeat turn for the band or not? I don't know.

0:12:55 - Speaker 1

Oh, that's interesting Oh you can you, can you can answer a question from a previous podcast, because I was going to say, to quantify you know your your comment the record did six times platinum in Canada, which is 600,000 copies In America. Six times platinum would be 6 million copies. Is the system the same in the UK? Like did they talk about? like platinum gold, yeah, so diamond, all that shit, yeah.

0:13:27 - Speaker 6

But, but as you say, i think, isn't it sort of like economies of scale? So doesn't it be based on the population, i don't know Or does it base itself on world? why, i don't know you know.

0:13:40 - Speaker 1

That's why I don't, that's why I don't know, like in the UK, what's platinum? do you know? How many records do you have to sell?

0:13:47 - Speaker 6

I've never sold that many records, i can tell you.

0:13:51 - Speaker 1

Oh God, i don't know, we'll have to look at it, okay, yeah, again, if anybody knows info at fully and completely dot ca, that would be cool to put a put a button in this subject. Any other comments?

0:14:08 - Speaker 7

The picture for us? did Yeah, yeah, it's for Dan, did you? can you paint the picture for us? Did you like listen on headphones at home, or kind of what was your, what was your first listen scenario?

0:14:18 - Speaker 6

Okay, commutes to work basically here. So a lot of this has been on the road And then when I ran out of time towards the end of the week, a lot of it from home as well. But I much more appreciated listening to this on the road, and for me that is on the brand new section of London underground, the Elizabeth line, and you know that starts off going through a real, you know, urban landscape past the Olympic Park before descending into tunnels. So I get that. You know I get a subterranean vibe going on as well as passing through urban stuff. But a lot of it was great for, yeah, just traveling, especially passing through the rain, you know, yeah sure, sure Cool.

0:15:04 - Speaker 1

I know that commute, dan, that's so cool You do. Well, shall we crack open this record and put on side one?

0:15:17 - Speaker 7

Yeah, yeah, let's do it Yeah.

0:15:19 - Speaker 1

All right, we open with the very spacious and vibey opening track. This is similar to day for night. You know an opening track that is almost built to be played live, like it just sounds like. It sounds like it almost is live. In a sense It's gift shop. Who wants to go first? I'll go.

0:15:51 - Speaker 7

So I saved this album for a car ride and then it didn't listen to it again. I listened to the whole thing on two car rides and then it listened to it again until I took the Amtrak from train from Portland to Seattle. So, dan, it was, it was fun to listen to, like you did on the train. I thought this one. The first time I heard this one I thought it felt danceable, like I was happy, like it's, it's got this tempo to it, like toad happened, like it was just sounded like a good, positive opener. Yet it's like Blake, it's kind of a Blake song. So that juxtaposition to me was fucking awesome. I was like, damn there, this span reels you in and can pull you apart in a couple of different ways at the same time. The who does the synth work for them, the synthesizer, and this one's really cool.

0:16:48 - Speaker 1

It's interesting. I don't know the answer to that And if I look on the, if I look on the wiki page, it's got like the band listing and it doesn't have any additional band play. I could get out the liner notes and yeah, but I but I don't know offhand.

0:17:06 - Speaker 7

Yeah.

0:17:06 - Speaker 1

I mean, there's great right.

0:17:08 - Speaker 7

Yeah, but there's and also there's like a minute and a half build up, which I love, you know. so this, this was a banger of a of a start off. I was happy.

0:17:21 - Speaker 1

Nice Yeah. What did you think?

0:17:26 - Speaker 6

Yeah. so as an opener I mean it's good, It's a builder. I mean you know good, moody, atmospheric star, and then, yeah, you've got that sort of growth, that little step up into the second verse and then it goes into like the you know, fully fulfilled chorus, basically because you've already heard a downplayed chorus before. And then, yeah, from that point on it it's just going, it's great And it really feels like it's going to lead you into something next. And I like the guitar work at the end as well. He almost slidey, sort of sustained. that tricks you into thinking the guitar's going into reverse on a few occasions. Lovely.

0:18:07 - Speaker 2

Cool Pete I mean, what a fucking, what an opener Dude. I mean I put myself in the in the camp of like, if I was a, if I was a young hit fan and this was just coming out and, having heard the previous records being excited, this is the record store and then just this, being the first track on the record, will lose my shit. The line. The pendulum swings when that hits. It's just fucking. And I listened to it on because I have this record courtesy of Mr JD, had this record on vinyl And so my wife's got a pretty sweet turntable that we run through. I wouldn't say it's, it's, it's, it's. It sounds really good, but listening to it in the car, listening to it on headphones, there's that oscillating. You, tim, you said it was a, was a synth, but I don't know if there. Maybe it works for that.

I thought maybe there were other parts of like a guitar effect that was like this A lot of these weird guitar effects that I that.

0:19:17 - Speaker 7

I yeah, yeah, that's what really layered in on this one.

0:19:22 - Speaker 2

Yeah, a lot of them. And then there's like a bop that I wrote bop, bop, da bop bop. I can't remember a melody of it, but just a little something towards the end of the song. Some backup, just just yeah it's a great song, yeah, but what is wrong? And it was a single too.

0:19:43 - Speaker 7

So, but I was a little nervous. I was. I was, you know, hoping Dan wouldn't be like guys. I stopped at this one. I just can't do it anymore because, I have to tell you the first, the first couple albums that you know, there were times where both Pete and I were like fuck, all the fans listening to this are going to think we're fucking assholes, you know. But so so at the start of this one I was like let's keep going. The horse is out the gate.

0:20:12 - Speaker 6

Yeah, it's just opinions. We're not killing anybody with this, surely? And don't call me surely?

0:20:26 - Speaker 1

Um we live, to survive our paradoxes. Springtime in Vienna.

0:20:33 - Speaker 9

Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna.

0:22:04 - Speaker 4

Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. Springtime in Vienna.

0:23:00 - Speaker 9

Springtime in Vienna. Springtime in Vienna. Springtime in Vienna. The bomb is just inside Territory of his own. The spinning from the new time.

0:24:19 - Speaker 4

We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes.

0:24:50 - Speaker 6

We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes, we live to survive our paradoxes.

0:25:50 - Speaker 1

We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes.

0:26:20 - Speaker 7

We live to survive our paradoxes. We live to survive our paradoxes.

0:27:01 - Speaker 2

We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. We live to survive our paradoxes. It's unlike any other U2 album It's a cool record. It's a cool record. It's a cool record.

0:28:40 - Speaker 8

It's a cool record It's a cool record.

0:29:04 - Speaker 2

It's a cool record.

0:29:11 - Speaker 6

It's a cool record. It's a cool record.

0:29:31 - Speaker 1

It's a cool record. It's a cool record.

0:29:51 - Speaker 7

It's a cool record It's a cool record. It's a cool record. It's a cool record. It's a cool record. It's a cool record.

0:30:50 - Speaker 1

It's a cool record. It was on the. They played New Orleans, the Synchon, and in the middle they started playing this little jam and the lyrics went as follows So like vulgar, vulgar, vulgar, put some, put some coins in the swear jar, gord, and you know, tweak this song into something that became the biggest single in Canadian history. That's got to be why they played it last, that's got to be why. But you are right, it does stump you that. The last lyric is disappointing. You's getting me down. Oh boy, that shivers down my spine.

0:32:06 - Speaker 2

Pete, what were you thinking of this one? I wrote down that line to the melody line. The guitar I love the half step flat that he does. It's kind of strange on the ear, it just lands right with me. And then the vongos, the percussion. When the drums come in after the rain falls, it just Yeah, i don't know that it's Oh, it just got buzzed, man again. Anyway, i love the song. I thought it was fantastic. The last thing I'll say is that the melody line that's when the horn had stung me. That melody is just fucking so good. God damn, i wish that guy was still alive So they would see him alive. Man, sorry, i'd say.

0:33:19 - Speaker 1

Mr Dan.

0:33:20 - Speaker 6

Yeah, i can't really improve on much that Pete said. I mean it's, um, it's lush, you know it's, it's. It's a beautiful little track and it builds up in the right places. And, as you say, rain falls in real time. When that kicks in, i mean that's like, isn't that like kind of almost like halfway through the verse, you know? so it's another time to kick in, But when it does it's, it's emphasizing what it needs to do, and I just love technicalities like that. I think that's why I love most of the first side of this album. It's, it's full of little things like that, you know, little formal technicalities that are in the background that just get in there to build things up. But I say I had such a hard time getting past this track. This is the one that just firmly embedded itself and made me come back to this album for more, you know, but I just it's just hard to get past that track, but eventually I did, which is good news for all of us.

0:34:16 - Speaker 1

Well say keep, keep. Keep the wagon real rolling then and tell us what you thought. I don't like daddy.

0:34:23 - Speaker 6

Okay. So following on by yeah from that, which is the best selling single, Yeah, you'd want something that does well. And yeah, don't wait, daddy, doesn't disappoint. Yeah, Space is opening. I love all of the base on this as well. I'm not so keen on the, you know kind of the sort of slower, don't wait, daddy section, But it has its place And I just, I just love yeah, every everything else. I mean the lyrics again are fantastic. Again, the bass at the end is a really nice sort of kind of base bend in there really, with the whole, you can stuff your void of your astronaut Asteroid. Yeah, And the. I think the lyrics to this are great as well. There's some, there's some key lyrics in here as well. I like it, Love the pace. I think it's great.

0:35:29 - Speaker 1

Wicked Yeah. Any other lyrical faves in this one Pete for you.

0:35:37 - Speaker 2

I can concur with Dan. I like the, the chorus itself. I didn't see how don't wait, daddy, fit in, but I fucking love the song. You can stuff your void with an asteroid, That part when he goes really high. There's a part when he says you're, you're damned as he whispers it.

0:36:04 - Speaker 1

Yes, It's just, and then it doesn't he go, doesn't he whisper it and then, and then it's right after that. Yeah, yeah, yeah.

0:36:15 - Speaker 2

It's a fucking great band. The baseline to your there's. There's a lot of amazing bass work on this record, but this is the first song where I was like whoa. Okay. Everybody, everybody's clearly starting to master their instrument in this band at this point, am I?

0:36:38 - Speaker 6

they're not just fucking you know a bar band anymore.

0:36:45 - Speaker 8

Clearly.

0:36:45 - Speaker 7

Yeah, jd, is this. is this truly the Kurt Cobain, song? Is this the one? In what regards sorry. Is it this song kind of have the heavy reference to Kurt Cobain's passing?

0:36:58 - Speaker 1

Oh, absolutely, i mean that lyric that lyric off the top, like just imagine, just imagine the, the I don't even know the word the imagination to come up with a concept. You know that, like Kurt Cobain reincarnated is like a sled dog somewhere in the tundra, you know, Sighing and still sighing though, And then licking his face. Just what great imagery. And then I don't know how much the rest of the song is Exactly about, about Kurt Cobain, but it's got another one of my favorite lyrics in it as well, which is you teach your children some fashion sense, And they fashioned some of their own, And I fucking love that. I just love that.

0:38:05 - Speaker 7

Yeah, i don't have any more to say. I think everybody has said it all It's a good, it's a good heavy one And it's there's a good gore. Fade out of even his singing, you know, like disappearing off into nothing.

0:38:20 - Speaker 6

Yeah, good, good. The final lyric is sing to end all songs. To end all songs, which is again in itself as a paradoxical bit of madness. Yeah, it's great.

0:39:16 - Speaker 9

And then I don't know how much the rest of the song is Don't play daddy, don't play daddy, don't play daddy, don't play daddy, don't play daddy. You can scalp your boy in the air, stirrionettes hurtling toward the air. You can drop the bomb at the stores of town when promises reverse. Don't play daddy, don't play daddy. It's the perfect time now for a plentiful joy. They're all asleep by pastels. It's time to hear your voice. I sing to end all songs, to end all songs. I sing to end all songs, to end all songs, which is again in itself as a paradoxical bit of madness. Don't play daddy. Yeah, thanks a lot.

0:43:34 - Speaker 1

Well, tim, do you want to kick off Flamenco?

0:43:38 - Speaker 7

Flamenco, slow, quiet, kind of this politically dark, gorgeous song, i like to sweep the air and weave the sky. Stamp for feet for everyone. If I ever have to tell one of my sons that you might need to prostitute to teach how to take a compliment, i mean, there's a hell of a line right there. Oh, my God, this song, for being, you know, a number five, slow one, which I think fits well in the cadence of what's going on so far, yeah, i like it. That has a place for sure.

0:44:24 - Speaker 2

Pete Hi JD, you know I love this song. I still haven't completed the cover of this song that I was working on, but I just love this song. I think that's probably one of the coolest signs to Tim. you're right, it's so. it's so cool, it's so unique. I would say a million things about this song but just like when you go back to the first record, you can't. it's like having a child that's born on the day it's born and then immediately fast forwarding and not imagining that the child's going to one day grow up and be, you know, this amazing, influential person or cure cancer, or like an amazing whatever the hell. And like that's where we're at right now, because this song is just from what we started out, in my opinion. Damn it, i keep getting buzz man. I'm sorry.

0:45:32 - Speaker 1

I don't know where I'm coming from.

0:45:32 - Speaker 2

I think it's this mic. I think I have a problem with this mic, If there's something that's uh.

0:45:41 - Speaker 1

I'll get it when I edit. I'll get it, though, because I'll be editing your track and I'll get all of what you got.

0:45:46 - Speaker 2

Yeah, well, it's what I'm hearing, but anyway, good, good point. It's not what I'm saying Yeah.

0:45:55 - Speaker 1

I love special mics. I record what you're hearing.

0:45:59 - Speaker 2

Okay, yeah.

0:46:03 - Speaker 1

Special act.

0:46:05 - Speaker 2

You're like our government. Um, it's a great song. How do you how?

0:46:10 - Speaker 7

I have to ask, pete, how does JD know how much you love the song? Do you guys call each other up and do you play it for him, usually late at night? What's going on between you guys?

0:46:23 - Speaker 1

I'm on the 15th floor and one day I looked down and there was Pete with a ghetto blaster. And I was like and I was like turn it up, stupid. I'm on the 15th floor.

0:46:41 - Speaker 2

Well, and I mean Flamenco music is the is the dominating genre of music. that in great tone.

0:46:50 - Speaker 1

It's the dominating genre of music where I met, So that's probably what drew me to the song first was just the name you know Well, every year on the tragically hip fully and completely feed, we do a pod list and all these great tragically hip cover bands submit songs And I release that usually May long weekend. So because we released this new show May long weekend this year, i'll have to push that back and make it a birthday pod list or something like that. We'll see. We'll see how we play it out.

0:47:32 - Speaker 6

But yeah, Flamenco, fucking dynamite right there, yeah, just you know, with just coming back to this song, It's, i don't know This is, this is one that I need to listen to more. I think it's just one that's kind of got lost on me. I haven't got that many notes on it. You know it's, it's, it's just weird. I don't know what I'm, what I'm, what I'm missing on this song. You know where this song gets lost on me, so can you guys explain what you love about the song?

0:48:08 - Speaker 2

The, the nature of the song being. Because if you listen like I'm, tim Hads as well, obviously the previous records there's nothing, there's nothing remotely close to this type of song with the keyboards, the melody, the lyrics, the, the phrasing, which he's super unique As far as somebody who phrases their lyrics. But there's nothing like it. It's so not even left field. It's not the same. You know that Jules Winfield line? not the same fucking sport, it's not even the same. It's not even close to anything they've ever done. It's just different.

So it's for me it makes me want to like listen more intently and be like what the hell are they doing? What are they thinking? This is not like what they do.

0:49:02 - Speaker 7

You know, i just I just thought of fit as part of their evolution, of all the albums we've heard so far. If I would have heard something like this in an earlier album you know, song post five it might have felt like it was a little bit more, it might have felt a little more unusual, but to me, for the era you know, this was what was it 96? 96. Yeah, for the style of music coming out then and a lot of bands having these slower quiet songs, you know, even even some of the harder grunge bands were still doing slower quiet songs. It wasn't always my favorite thing, but this one just fit in the fit in the peg. well, for the slot. I didn't have a ton of notes either, dan. I just thought, you know, let's keep moving. The songs are working still. Let's keep going.

0:49:51 - Speaker 1

And to me, like I'll comment, I just think it's one of his greatest lyrical achievements, Like I just that line alone. You know, maybe a prostitute could teach you how to take a compliment, But then the way he phrases it like it's so strange. So if you, you know, if you write it out like, but it just works, And Yeah, I really appreciate that.

0:50:20 - Speaker 2

You know, you asked Dan another thing, just to give you a little bit more context too, at least for me and JD. You alluded to it right there. As simple as the song sounds, it's not at all simple. It's one of those things like tapping your stomach and rubbing your belly and tapping your head or whatever. That seems easy, but it's not. The tempo of that song and playing it on like a guitar is odd. The phrasing is really odd. To try to sing it you'd have to sing it exactly like he does, otherwise you can't find where the words go. There's no. Do you know what I'm saying, dan? Like it's-.

0:51:10 - Speaker 6

No, I completely understand that. yeah, Yeah, there you go. I'll go back and listen to that with that in mind.

0:51:16 - Speaker 1

yeah, Maybe we'll check in with you later on in the season.

0:51:22 - Speaker 7

Maybe Pete'll show up and serenade him, who knows?

0:51:29 - Speaker 1

Pete has to feel about Yeah, okay, Yeah how'd you feel about 700 foot ceiling, Pete? This was a single.

0:51:35 - Speaker 2

I really liked the guitar work, which was just random like no rules. I thought the bridge was a little strange in the song. Wouldn't be my first choice of it. I'm just kind of the way they approached it. The this note is on a lot of songs on this record, but I definitely got some Alanis vibes on this, the Overdub vocals, a lot of what she did on the first track on Jagged Little Pill what I really want, i think Maybe that's not the first track anyway Really cool. Love the ending I would say probably of all the songs, and I love this record. My least favorite song on the record, perhaps one of the- Cause.

0:52:34 - Speaker 3

The other ones are just like everything else he typed in first.

0:52:39 - Speaker 1

Well, we were on try to ride, though too right, like almost the full side of the record that is-. Yeah, yeah, that is. You know there's not like. You can definitely put that side on and rest easy. Dan's nodding his head. So what do you have to say about that young man?

0:52:59 - Speaker 6

Yeah, it's a bit of a banger, isn't it? Straight from the get-go? good, as we were saying, that guitar stuff, great, kind of bendy sort of riff as well. But in my notes I've got nothing. Nothing is overplayed here, everything's just right, you know. But when he's doing the whole seven foot ceiling bit, the guitar really holds back and it's almost like a sort of you know, intentional sort of drop out which you know gives it a completely different vibe. But then you get the whole it's part hard bit with, as you were saying, all of the backing singing, which is just fantastic. Yeah, that really, i don't know, just kicks into another dimension as well. But with this I can't get into the lyrics. The lyrics don't like. They seem quite throwaway for this and I don't really get any kind of visualization of scenes or anything. I mean the references to Flood in. I mean, what is all that about?

0:53:55 - Speaker 1

Well, yeah, it's definitely like Flood in the Ice is like to build like an ice rink, So like somebody's building an ice rink that you could skate on and play ice hockey likely, you know, out in the middle of the woods somewhere. So it's, the water is sort of got that darkened color from the birch, from the bark that has fallen off the trees and colored the water a little bit. So there's a nice visual there, right Like. but if you, if you're not vibing it, then it flies right over your head, Like you said, and it can sound very throwaway. I don't think this is his strongest lyrical effort on the record by any stretch, but I'm not ready to say it's throwaway either, you know.

0:54:39 - Speaker 7

Guys, i thought this one it almost had kind of a celebratory start like song one. but I agree, pete, like the guitar seems like maybe it was mixed in too many times after the guys were done recording. It's kind of a winter angry song, so it made it feel kind of like a staple single for the hip. Just, you know, didn't didn't grab me or pull me in any direction, whether good or bad, was just like okay, this song six feels kind of like maybe a little bit of filler song. Let's keep moving and see what's next on the album. That's how it felt for me.

0:55:18 - Speaker 1

So then you're flipping the record over and you're getting butt-swiggling. To start ["Sweet Sound of Patent Approval"].

0:55:39 - Speaker 8

The sweet sound of patent approval coming down in a not quite far Sweet sound of patent approval coming down in powdery sparks. The sweet sound of patent approval coming down with holiday concern. The sweet sound of patent approval coming down in a world of hurt. In my opinion, the drug is ready. In my opinion, the drug is ready. The warm hand of abject approval coming down with throaty veins. The warm hand of abject approval coming down to the fingerboard. In my opinion, the drug is ready. In my opinion, the drug is ready. In my opinion, the drug is ready. ["sweet Sound of Patent Approval"]. ["sweet Sound of Patent Approval"]. The cold-eyed constant approval coming down to freeze the blood. The cold-eyed constant approval coming down to look real close. In my opinion, the drug is ready. In my opinion, the drug is ready. In my opinion, the drug is ready. In my opinion, the drug is ready. In my opinion, the drug is ready.

0:59:02 - Speaker 1

["sweet Sound of Patent Approval"]. And, if I'm not mistaken, butz Wigglin. Yes, butz Wigglin comes from the Kids in the Hall, brain Candy. When the Kids in the Hall released their feature film Brain Candy, this song was the not the theme song, but it was the featured song in the film. I'm guessing it was written after having seen Brain Candy and knowing roughly what it's about. Not able to tell you right now because my memory is so poor, but I can see bits and pieces And I'm guessing they wrote it after having watched you know, watched the movie because of the subject matter. Did you get into the subject matter at all, or did you just get into the song, or did you not get into the song? Where were you, dan?

1:00:06 - Speaker 6

Yeah, not totally into it. I mean, the contrast between the verses in the chorus is, you know, the verses are all pretty noodly and a bit weird and then it's a very distinctive chorus And it just doesn't kind of work for me. It just doesn't feel cohesive. I mean, i don't mind it, you know, i'm not saying it's bad, but for me, yeah, it doesn't sound fully formed.

1:00:38 - Speaker 1

You've heard better on the record, right, yeah, at this point. Yeah, yeah, you've got some context.

1:00:43 - Speaker 6

We've come from a greater place than this on the record so far.

1:00:46 - Speaker 1

Yeah, yeah.

1:00:49 - Speaker 7

Tim, for all those reasons, i liked this one. Oh, okay, i like that. Yeah, like I. I heard that too. I heard that too You went out.

1:01:03 - Speaker 2

Tim, you went out. I didn't hear it, like I could barely hear you, and then I just I got zapped. Sorry guys.

1:01:15 - Speaker 8

I was in love with it.

1:01:17 - Speaker 7

I promise I'll continue with this one. Did anyone hear Lou Reed on this song? Come on, no, i can Go back and listen and think about Lou Reed singing this song because it's there. But this song to me has kind of this locomotive just trying to get the engine going and it struggles a little bit. But I like that about it. It's more raw, like there's this intermittent keyboards in there that seem kind of out of pace with it. Honestly, it reminds me of Paintman a little bit, because it's just scrappy. And oh, let's add this in Does this song have enough? I don't know. Like it just felt different than their other songs. There was just more. It was a little more chaotic, whereas the songs on this album so far seemed pretty polished. I like the ending. You know I like this one. This one caught me off guard and it was maybe briefly, with kind of the Lou Reed reference. Oh, you guys got to hear this.

1:02:30 - Speaker 2

What's that? I can't hear anything.

1:02:33 - Speaker 7

Can you hear that? Damn it. I have a naval bass, our view is of a naval bass, and the trumpet goes off every morning.

1:02:43 - Speaker 8

Oh, It's a wake us up, I guess.

1:02:45 - Speaker 7

It's like a pre-recorded fucking trumpet. Yeah, god.

1:02:49 - Speaker 2

Cut and call. Can't even afford the trumpet to hear.

1:02:52 - Speaker 7

Yeah, i dug this one. This one was the fucking dog you see on the street, and you finally get it to come to your house and you can start feeding it. That's what this song was for me. It was good. There's so much Lou Reed there, though Go back, you'll hear it. You hear Lou.

1:03:10 - Speaker 1

Reed, do you hear Lou Reed? I'll read it.

1:03:14 - Speaker 2

JD, could you say that again? Do you hear Lou Reed? Yeah, i know I pick up what Tim's put down in that respect. And, dan, i also feel what you're saying about it. I took this record in a lot of different places. Obviously, i have it on vinyl, which, by the way, jd, you've got to make a quick correction. You've been saying this mistake throughout the whole show. We don't flip the record, because this record actually came on two discs.

1:03:49 - Speaker 1

That's right, it's a three sided record.

1:03:52 - Speaker 2

So just go back and edit it out. Let's go back and edit it all out.

I listen to this on the vinyl. I listen to it with my headphones, my computer, with my phone in the car, with what you know, daniel I don't know if you know, but I have a pretty nice, like a premium sound system in my car, so driving and listening is quite enjoyable. No, but I took this album running a lot And this song just burrowed its way in. I loved it, absolutely loved it. Just the line. In my opinion, the drug is ready. It's just so cool. Warm hand of abject approval. And this is, if you again go back to the Europa reference, there's a song on there called Dirty Day. This is that song. It's like, it's almost like they kind of took pieces of that song and made this song, but it's just like that. It's super weird. Lugerty and for sure Tim, for sure, loved it Absolutely fucking love this song.

1:05:15 - Speaker 1

Yeah, all right. Okay, well, did that love stick around for a parmint song?

1:05:23 - Speaker 2

Oh, most definitely. The opening is amazing, The vocal melody. She's the horrible estate. Am I pronouncing that correctly? Maybe not the way it Canadian? Yeah, Yeah Again. Super big Alanis vibes on this. I love the shit out of this song. It's the fact that Let's clarify.

1:05:56 - Speaker 1

Let's clarify In the last episode you mentioned that you heard a lot of production in Alanis, more set first record Jack and Little Pill on Day for Night, and now you're saying it's here on on on the hand house.

1:06:15 - Speaker 2

Which is after Jack and Little Pill now, because that was in between. Jack and Little Pill was in between.

Oh, I felt like the hip influenced her, and then now she's kind of in turn, return in favor, right, and this song it's it's Tim, tim and Jade. You know this, dan, but I'm taking this, this songwriting class, right now. Laugh me all you want, it's fine, but it's with Scott McMicken from Dr Dogg, and it's awesome because I love Dr Dogg And he's a great songwriter. But they do prompts And this song sounds like. Gord Downey took songwriting class and they gave him a prompt and they said write a song about your apartment. And he, fucking, he destroyed the entire class with it Because this fucking song like the line about like, um, just what our apartment does when we're not around does not concern us, like talking about the plates in the cupboard or something or whatever It's just fucking so cool, dude. It's so cool. And it's not even about that too, i know, in so many ways.

1:07:29 - Speaker 7

I can hear the national anthem. Okay, now we're going to try. Yeah, now we're going to try.

1:07:34 - Speaker 1

I could hear it.

1:07:37 - Speaker 7

This is what we have every morning at this Airbnb, which has the most light bulbs of any any house I've ever been.

1:07:43 - Speaker 1

I've heard an Airbnb Yeah that's a lot of light bulbs. You are very well lit. Sorry, sorry, sorry, i was going to say we just take them all, Fucking hell.

1:07:59 - Speaker 7

God damn, Nothing like ruining a boner, but the US national anthem Fuck, Sorry honey. Oh, I'm sorry honey. God damn it. We have to try it. Do they do it on it's Sunday morning? Oh, that's why I mean church bells. I think maybe I could keep a boner during church bells, but not the goddamn national anthem.

1:08:25 - Speaker 2

Maybe, not.

1:08:26 - Speaker 7

That's weird too, maybe not.

1:08:28 - Speaker 2

And then, okay, anna comes on your legs. I'm back at it, baby.

1:08:35 - Speaker 7

God damn it. It's noon. There's like three more bells still.

1:08:44 - Speaker 1

Where did you land on apartment, song Tim.

1:08:49 - Speaker 7

You know, i thought maybe it was a bit long. I loved it Overall. I thought maybe it was a bit long and I thought what would this song be live Like? I went through kind of all those questions in my head. I agree with you, pete, that it's kind of a given, a prompt to go right about it, and that's maybe that's in part the simplicity of it for that reason made me kind of not super fall in love with it. Perhaps The idea of pursuing excessive beauty is the comment he made, pete, i love that reference. I kind of dove into that one and thought about all the people that kind of fit that goal. They're, like you know, famous famous actors, or my own asshole self every once in a while. So it kind of gave me some things to think about. But yeah, it's fine, it's fine.

1:09:53 - Speaker 1

Where did you land Dan?

1:09:56 - Speaker 6

In an apartment, definitely, yeah, i mean, on my notes I've got one of those tracks where you're immediately placed in a scenario. Yeah, this track, when I'm listening to it on the way to work, is always the one that I'm coming up the escalator into the tube station to get out. I've resurfaced And, yeah, it's mellow, i think, like Tarmac. It could be a little bit shorter for me, i think, but it's okay. I mean, i'm not normally used to listening to this kind of track, where it's you know it sort of chugs along a little bit. It's maybe a bit more traditional. Obviously, the structure is traditional as well, but I don't mind it at all. Yeah, yeah, i like it.

1:10:45 - Speaker 1

All right, yeah, it's definitely one of my favorites, but you're right at 357,. You know, it's just shy of four minutes. You know, maybe, maybe This is the first record that they produced, like their last record was Howard Vreakin and the Tragically Hip. This one is the Tragically Hip and Mark Vreakin, so, like I think this is sort of their baby in a way, and their baby was perhaps formed in a steady 40 foot stream of coconut cream, wouldn't you say, dan? Oh yeah.

1:11:31 - Speaker 6

Yeah, no one saw that one come in, did they? Yeah, i mean yeah. Well, you know, as the fashion dictates, i'm going to like this one because it's a banger. But it's a big banger And, as all bangers should be, it should have, you know, totally nonsensical lyrics. you know think of song two and things like that as well. So it's good. But again, this, you know this really lifts you up after those last two songs. you know I needed this to be in it, i needed the energy, basically, and again, you know it's on here. you know I've just got like. you know there's a, there's a plane taking off at the end and it kind of personifies the track. It's a sonic lift off that does not lose pace. Yeah, interesting.

1:12:22 - Speaker 1

All right Tim.

1:12:27 - Speaker 7

Tim, i heard pretty quickly in this one, the, the guitar tempo, and it was a little bit, you know, more specific to the era, rock and roll wise, for me, had this kind of indie punk feel and it threw me straight in straight to this band that I was listening to at the time in 94, 95, era 96, probably two from North Carolina. They're called Super Chunk And if you, if you go back and listen to their album here's where the strings come in I would be shocked if anyone from the hip didn't listen to that album during this time, because I went back and listen to that album. There's such good similarities, you know, like I don't want to do another food metaphor, but but yeah, this, this song, it had gripped me a little bit more. I loved it. I loved it, i.

When it got to the ending and it kind of cut, and then the fucking jets. I'm like, ok, this is unusual, but I love shit like that. I love hearing sounds, you know, juxtaposed in layers. But when I read about it it was when they record. When they were recording, the power went out in the studio, in the building. At the end of this song, the power went out. So that's why it cuts out And that's why you have this little added tiny guitar layer in there, i believe. But it's, it's the fucking Blue Angels. Here I am sitting across from a Navy shipyard And it's the Blue Angels. That's who's passing? They're like. They're like the US Navy's show team. They travel around and do all their aerial acrobats and hopefully don't crash into the crowd and cost us cost And they cost us you know like one million dollars per second while flying or some shit. But yeah, it's the Blue Angels at the end of this.

So you know what the hell is that reference? And they were that recording of the, that recording of the flyover of the Blue Angels was. you know, somebody in the band did it while they were in San Francisco. It's like, oh fuck, here comes the Blue Angels, Start recording and they fucking blended it into the song. So that just made me like an even more I love, I love shit like that.

1:14:43 - Speaker 1

So that won me over, very cool.

1:14:46 - Speaker 7

Yeah, very cool, very cool recovery from power outage during recording.

1:14:54 - Speaker 1

Right, especially if you feel like he just got it. You know like, yeah, what the fuck.

1:15:00 - Speaker 7

What do we do now? Yeah, here comes the Blue Angels.

1:15:08 - Speaker 2

Yeah I, that's, crazy I mean, i don't know, it does blow my mind.

1:15:14 - Speaker 7

That blow your mind. I mean, come on, they're fucking Canadian band. It's not like we're flying the Blue Angels across Canada. They'd hopefully get you know. shot down the bow and arrow, whoa.

1:15:24 - Speaker 1

Whoa Hey now. We have cross moves, we have cross.

1:15:29 - Speaker 2

All of Canada, sorry, just hold the breath right there Choked on their teeth.

1:15:39 - Speaker 7

You can edit that one out.

1:15:42 - Speaker 8

I'm you know I'm trying to develop.

1:15:45 - Speaker 1

I'm trying to develop some things Good. I love.

1:15:51 - Speaker 2

I'm not a big fan of it. I'm not really a fan at all. In the United States military, not those who serve, but the you know. Let's just leave it there. That was that. The apparatus.

The apparatus if you will. But I love watching airplanes fly and I do love watching the Blue Angels because it's just cool, It's just and yeah, that's part of the stress out to you And it's like you know it's like watching them watching a thriller film. You know why do people do that. But anyway, this song I do. Like the song, The words, the lyrics just go. Can shooting coconut cream? Okay, all right, there's knowledge you can leave into the imagination there.

But the only thing I will say, because I think everybody summed it up pretty well the airplane thing. the same thing happened to me again. If you remember I don't know what record it was There was another airplane sound on the recording. Do you remember JD?

1:17:05 - Speaker 1

That's right, you talked about it. You talked about it because you thought you're driving near the airport and you thought it was.

1:17:12 - Speaker 8

And so.

1:17:13 - Speaker 2

I don't remember what it was.

Maybe the first or second record, i forgot, but I took this one out running And I had the record going in the background with a guided run, you know where there's somebody telling you where to how fast to go and slow down and go fast school And I didn't know. I was like is this the fucking recording of the guy to run? And then I take my headphones out and I look up as I'm running. There's no airplane. And then I stopped the guy to run and I was like it's the fucking recording again. And it was the only reason why I said that trick happened to you before when I was driving by the airport And it was because of the fucking hip. How random is that? Like second time lagging strikes twice in the same place.

1:18:08 - Speaker 1

Fuck, Pretty random man.

1:18:11 - Speaker 7

Pretty random.

1:18:14 - Speaker 1

Any other thoughts on coconut cream?

1:18:17 - Speaker 7

Great, great track.

1:18:20 - Speaker 1

All right, you guys have. you guys have potentially changed my mind on both, but Swiglin and coconut cream Those are those always rank up in my lower tier, which is tough for me to reconcile, because this is maybe my favorite record, like maybe my favorite record, so it's it's. you know it's. it's tough for me to reconcile that it's got two songs I don't like out of 12. How can that be your favorite record then? But now, now I'm going to go back and listen to the butt Swiglin with Blue Reed on my brain, and coconut cream, like, just the idea of like, like, when you said song two, it's like. yeah, okay, there they're just having. it's just fun. It's just, and maybe I'm a little too into flamenco and not enough into the fun that I need to back it down a little bit. But that takes us to track 10. Let's stay engaged.

1:19:17 - Speaker 2

Stay on, stay engaged by talking about staying engaged. Let's stay engaged. I love the track. Man, i thought I was banger It's and if you notice that the airplane comes into this track, the airplane from the previous track comes into this one, which I think is really is really cool. The lyrics lies over time. The chords are super simple but really complex. Again, a lot of Alanis vibes, love the solo and a lot of weird guitar effects. The bass is just the bass is really what shines in this song. Just the rolling bass. That's just great. Love the song, really joy.

1:20:19 - Speaker 1

Cool. How are you Dan?

1:20:22 - Speaker 6

Yeah, well, you know, from the whole jet thing that goes into it, as Pete was saying, you know the lyrics start off pretty much sort of airport referential, don't they? We've sort of latent departures and things like that as well. I mean I like this track but I just wish it went somewhere. I just wish it built towards the end. That's the only thing it's missing really. You know, i think this deep into the album to have something that sits a little bit level. You know, you really feel it. You really feel like maybe you're chugging towards the end rather than accelerating to the end with a great kind of crescendo. So I just wish it had. I just wish it had some other elements, a few more layers had it in at the end. But I did notice towards the end that there is like a layer of weird fuzz towards the end of it that cuts off before the end And then, if anybody didn't notice that, then there's some. I don't know what that was.

1:21:16 - Speaker 7

Yeah, i did notice that And I thought that I don't know, this one didn't really have any surprises for me. I agree with both of you guys in general This, it just felt like the placement of it was okay. let me start over. if the ending, dan your comment if the ending had some slight tweaks to it, it could have been drawn out a little bit more, not much. I feel like this song could have been the end of the album, like I was. I was hearing, you know, i knew where it was in the placement of the recording of the album, but hearing like the last one minute of it, i thought if the drums, the drums have kind of this I don't know prehistoric kind of feel and it just feels like if it just fade out and the song could be the end of the end of the whole album for me. but it isn't.

1:22:07 - Speaker 1

I'm glad it isn't, because if it wasn't, then we wouldn't get Sherpa.

1:22:35 - Speaker 9

I'm glad it isn't, because if it wasn't, then we wouldn't get Sherpa. I'm glad it isn't because if it wasn't, then we wouldn't get Sherpa. I'm glad it isn't because if it wasn't, then we wouldn't get Sherpa. I'm glad it isn't because if it wasn't, then we wouldn't get Sherpa. We were hard, we were Sherpa hard. We conspired against old friends. We said we must live with friends of dark and we died a thousand times since then. We were hard, we were hard, we were hard, we were hard, we were hard. I'm glad it isn't, because if it wasn't, then we wouldn't get Sherpa. Download wwwcdc bringing more video To Share this parts with other 2 people. We can write it down and obliterate it. And the laughter far. let me hear, the love I hear. We can lay down and obliterate it.

1:27:30 - Speaker 1

And I fucking love Sherpa. So I have questions. Somebody let me down if you need to, but what do you think, tim? What are you saying?

1:27:45 - Speaker 7

I thought the line we must be friends or die. I needed to announce that lyric as applicable for our foursome right now. At the end of this. If you guys were like fuck that guy, tim, what the hell was up with him on that recording, i would have to kill you so we have to be friends, or die. But it made me wonder with this album is this when the guys J&A? did you ever read anything about them doing hallucinogenics?

1:28:14 - Speaker 1

Did they ever?

1:28:15 - Speaker 7

comment about it.

1:28:17 - Speaker 1

I'm sure they must have, because this is the track. This is wonderful. It's wonderful to listen to on a marijuana high. It's wonderful to listen to totally straight as well. It's lull, it's spooky.

1:28:38 - Speaker 7

It had this acid trip feel to me, which was a little bit different. Then previous songs, this quiet guitar and the piano in there. The piano, i thought I'm kind of wanting more key type sounds in general to keep adding in layers. It's this new topping that we haven't had much of. So I thought Sherpa was pretty great, but I wanted to know. I couldn't find much. So is this when one of the guys went on this epic journey of a trip, or like? how was this song written?

1:29:15 - Speaker 1

Yeah, i've just had it, If anyone out there knows.

1:29:18 - Speaker 7

Write in to send JD an email at.

1:29:23 - Speaker 1

JD at gettinghiptothehipcom. Dan, where are you at?

1:29:30 - Speaker 6

Yeah, it's good, I've got it down as the high point on site too. Again, as you're saying, everything about it spaced out in every way, lyrically, spatially, vibrally, But then it does. I just get the feeling that at the end, after the point where we're, at the point where we love and hate it, It does fly off into sounding like something off the bends by Radiohead. It's just got that vibe to it. The final layer of guitar, the single note, higher guitar stuff, is very much Bend sort of related, which was released a year before, I think 1995. But it's all put together so well and love it all good.

1:30:19 - Speaker 7

See, yeah, it's just got beeped again. The electricity in Spain is. You might be having some surge happening.

1:30:34 - Speaker 2

That might be a point I don't know. All jokes aside, but this song I mean. You guys summed up most of it for me. I absolutely fucking dig this song. I don't know what was going on, the imagery in it. I was picturing a Sherpa when I was listening to it. Just by virtue of the name It just stuck in my head.

And the bendy guitar riff. It's disorienting to the ear. It made me confuse listening to it. It was really cool. I've been thinking of it now because I've heard it so many times the last couple of days. It's that Jeff Bechtoun from The Artbirds. He bends it. You know what I'm talking about. They've been playing a lot of Jeff Bechtoun because he died. Anyway, that guitar riff in the song is very fucking cool. We dug it the line and we spoke languidly. When that hits right after that line, it's so fucking cool. There's piano reverb. That is just. Tim, you mentioned pavement earlier. I can't think of a B-side tune that reminded me of, but I heard it on here too with that piano reverb. We've died a thousand times since then. Super, at the very end of the song the chords go to major. I think it's definitely the best song on side two or side three. I guess we're saying Side four, but it's side four.

1:32:33 - Speaker 1

No side. Four no side four, it's up there. No, there's no side four. Yeah, that's right, because the fourth side's blank. Yeah totally It's like why was Alley Totally?

1:32:45 - Speaker 7

There you go. Okay, Great, very strong.

1:32:51 - Speaker 1

Put it off. This is where we wind the record down and get ready to put it away, regardless of whether you're listening to it on a CD or MP3s or albums. This is it. This is what you get from 1996. We have to wait another two years for the next long play. Does put it off. Do the job of an ending track in your estimation, tim?

1:33:23 - Speaker 7

Yeah, i think so. This one got me. It kind of had all the fixings for the recipe. There's definitely some storytelling. This album, i think, musically, gripped me more than storytelling compared to past albums, lyrically But this one had it. This one checked the box Talking about how There's a whole reference with how the Nazis stole art across Germany and created this Traveling art show to show all the degenerate artwork and they had museums that they graffitied the walls of And hung these paintings that they stole from all these fucking liberals or whoever they fucking plucked them from. This song is kind of like the dog off the street and you realize how that it's beautiful. Anyways, there's a reference to Eric's trip, which is, i think, the second Sonic Youth reference I've picked up, which is fucking cool that they're referencing Sonic Youth.

1:34:31 - Speaker 1

Well, it's a reference of a reference, that's right, that's right. Because it's referencing the Canadian band Eric's trip, who's named after the Sonic Youth. Okay, yes, true.

1:34:42 - Speaker 7

Okay, double, double one there. Anyways, you know that I love to hear there's some fucking sitar going on, totally yeah, right, in the background.

1:34:51 - Speaker 1

That's what that is, isn't it?

1:34:52 - Speaker 7

Yeah, yeah. So I'm sure we'll hear that again. Like this album just based on Sherpa, i was like, okay, who's doing a little acid and writing some of the songs? Because that's coming out a bit, i hope, because I just love the experimental part. It's a big closer. It turns down into this beautiful quiet ending. It was the closer I needed. It was a great tune. It was a loaded hip closer of a track for sure.

1:35:32 - Speaker 1

How about you Dan?

1:35:36 - Speaker 6

Well, one of the phrases I've used to describe this track is heavy menace. It's foreboding isn't it?

It's stark. You've got these mystic sitar vibes. You've got this intensity there. It's up and down. It's probably a great live track for everybody to hang on to. That tension and release and then tension back on again. I don't know whether I like it as the end of the album. I don't know, because it's like getting somewhere and then being hit over the head with a mallet. It's like a kind of blunt third, almost. You know You sort of live through part of it and then you kind of get a little bit overwhelmed. But yeah, i don't dislike that, i've just got to get my head around it. Really, i'll say this build up to the end of the albums. If Let's Stay Engaged has that little bit of a rise up there, i think that would do it for me. But no, it's good, it's good. I need to listen to it more definitely.

1:36:55 - Speaker 1

Yeah, you should always listen to it more, but it still might be where you land, you know, and that's cool.

1:37:02 - Speaker 6

Yeah, but I'll say this is an album that I will be buying.

1:37:04 - Speaker 1

Yeah, I will be getting hold of this for repeat listens.

1:37:09 - Speaker 7

Excellent. It was a good one for Dan to come in on. I think you know Yeah. For sure sounds good. Lucky you Yeah yeah, thank God.

1:37:22 - Speaker 1

What did you think of putting it off Pete?

1:37:25 - Speaker 2

I definitely feel Dan's vibes on it. I thought it was very haunting. The song. The sitar was great, the sitar-like effect. The tin snare didn't have the chains tightened up on the snare so it had that really tinny sound hitting it, which is just always a strange choice when you hear it. Like it's got to fit if you're going to do that with the snare. Just the way the band played together, the dynamics of everything, i'm sure it was a great live song, especially when they're all playing it live together. But in fitting with the record as a whole, i'll go back to the reference that I made And I apologize for the meeting, but it's such a random song And, just like U2's Zeropa, i just get so many vibes from that record for this record. The last song on that record is so random. Do you know who sings the last song on Zeropa? Johnny, fucking.

1:38:39 - Speaker 1

Cash. Oh right, oh shit. Johnny Cash sings a song called The Wanderer.

1:38:45 - Speaker 2

And it just comes. You listen to this whole weird electronic, strange record from U2, like nothing they ever did, and then there's a fucking Johnny Cash tune at the end, and it's not even a Johnny Cash country tune. And this is like that. It's like you just got taken on this really cool, image-filled journey Which troubled the end house. Where the fuck did that come from?

And then they ended with this. It's like I think they're just at the point where they're like We're gonna do whatever the fuck we want. If you guys want to come along for the ride, strap in. If not, piss off. I feel like they've given up at this point too. They've let go of wanting to be accepted in the US market. That's what I think was holding them back. To be honest with you, Because, now just fucking.

1:39:37 - Speaker 1

BAM wants to make cool music. Yeah, interesting.

1:39:43 - Speaker 7

I might have to revisit the Xeropa a little bit. That's when U2 for me was kind of giving me acid reflux So I didn't pay attention to that album. I loved them their first handful, but after Joshua Tree I kind of moved on. I'm not vibing with the Xeropa reference but I'm trusting you with it.

1:40:06 - Speaker 2

It's really the only record there that I stand by.

1:40:11 - Speaker 7

Okay, this uh.

1:40:15 - Speaker 1

Did you get your album? Did you get your album finally, tim?

1:40:19 - Speaker 7

My Xeropa album.

1:40:22 - Speaker 1

No, you've been seeking an album this whole time.

1:40:25 - Speaker 7

It feels like Yeah, i did get my album. I liked this closer. It was weird and different. Honestly, it made me look forward to what's next, which has happened before, but I was feeling satisfied from this album For sure. I had less issues with it. There were definitely more surprises that I liked Sprinkle throughout. You know, i thought it was good. I thought it was good. If this is their I don't know if this is one of their crescendos of album writing efforts, i'm writing it, i'm feeling it.

1:41:01 - Speaker 1

Cool, alright. Well, any final thoughts on Trouble at the Henhouse A and B? what is the track that you are putting on your track listing From this record? so, dan, in this case you can just pick your sort of album MVP If you want to. Any final thoughts on the record, and then your album MVP.

1:41:35 - Speaker 6

I mean for me. You guys have pretty much said, for most of you, this is your favourite album. So, in terms of listening to more of the band, it's like, oh my god, is it like Downhill For me now? so if this is such a high point, then, as I say, i was glad to be part of it And I really enjoyed the record. I mean, i didn't have that much time to listen to it, but it did keep dragging me back, which is what something good should do, and it should implant itself in your mind, which is what it has done. And, as I say, i'll be getting it. Yeah, all good. And if I was going to put a track on there, i mean, most people are going to probably say ahead by a century, which is a given, but for me, close to that. I don't wake, daddy, i'm still digging it at the moment.

1:42:31 - Speaker 1

Pete, how about you? Any final thoughts on the record Final?

1:42:36 - Speaker 2

thoughts on the record. Yeah, I loved it, Dan. Loved having you, man. I love your takes too. Really good to meet you too, man. You're a lot of cool people, Great takes, Just so. Again so thankful that you gave me this record, JD, And that I'm on this trip with you guys, And if I had to pick an MVP before, it would have been Flamenco. I think I'm firmly ensconced within springtime in Vienna. It's just a bullet to my head Alright, Yeah. And just a line.

1:43:24 - Speaker 7

Yeah, I'm a little jealous of Dan coming in at the band for the first time, because Pete and I were there, You know, and at the beginning of it all there were a couple of moments where I was like holy hell, What have I gotten myself into? You know, a couple songs back in some early albums were like, oh, Scratching my head a little too hard, I'm gonna lose some more hair. But yeah, this album to me was really good. I'm anxious to hear more. I'm throwing a curveball in this one. I really like Butts Wigglin. Read the song title first and it was like what the fuck is this song about? You know, I really like cooking at cream. Also, the song had more choices for favorites or what do you really like Totally? And I understand. I understand kind of about Ahead by a Century, More so now that we've discussed it, with it being their top single. But I'm going Butts Wigglin, Alright, cool, There's the knuckleball right there.

1:44:30 - Speaker 1

Well, that's what we have for you this week. I want to thank our special guest, dan from London, and Pete and Tim. We'll see you next week when we talk about their first live record. Live Between Us Super Yeah. I can't wait. Alright, guys pick up your shit.

1:44:52 - Speaker 5

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 Pied 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.

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