Like a pissed off buffalo!

The Tragically Hip Top Forty Countdown

Ever wondered why The Tragically Hip never quite cracked the American market? Can being "too Canadian" be a legitimate reason? Join jD, Pete, and Tim, as they delve into these questions and more, in an episode that's all about the legendary Canadian band and renowned producer, Bob Rock. We examine Rock's impactful legacy, his ground-breaking record with The Hip, and why their unique Canadian-ness may have been a double-edged sword in the American music scene.

This week, we immerse ourselves in The Hip's 10th studio album, dissecting the distinctive sonic footprint that Bob Rock has imprinted on each track. Hear our candid first reactions, our deep dives into the lyrics' amalgamation of quantum physics, Plato, and God, and how a short hiatus from the album breathed new life into jD's perspectives. From the booming drums akin to Stuart Copeland and Neil Peart's style to the raw, gritty sounds of hip drums, we leave no stone unturned in our exploration of this musical masterpiece.

And just when you think we've hit peak musical analysis, think again! We round up our episode with a thoughtful examination of the album's themes of touring and corporate radio. We also give you our take on The Hip's Austin City Limits performance and an exciting, upcoming event in Toronto that promises to echo the essence of a live Tragically Hip experience. To top it all off, we take a side trip to Salt Lake City, diving into its cultural diversity and have a little fun contemplating a world where weed is legal in Utah. So, buckle up for a fun-filled, music-centric journey into the heart of Canadian music

Track Listing

Yer not the Ocean - Studio version

In View - Live from Abbotsford 2009

The Kids Don't Get It - Live from Oshawa 2013

Last Night I Dreamed that you didn't love Me - Live from Montreal 2006

Transcript

Track 1:

[0:00] Well welcome to getting hip to the hip I'm here as always with Pete and Tim and we are checking out for the first time a new hip record every week we do this and we have a lot offun doing it so this week I gave you the 10th studio record produced by famous Canadian producer Bob Rock Bob Rock Bob Ross right he's born for a job part of me make wishes I wasthat guy right hair and everything all the bands he's worked with just oh my god didn't Lambert four Four-wheel drive Lamborghini, like jacked wheels and everything.

Track 2:

[0:48] Four-wheel drive Lamborghini.

Track 3:

[0:49] Sorry.

Track 1:

[0:54] No, don't be sorry.

Track 3:

[0:57] Let's talk about him a little bit though, because he's done some major bands, right?

Track 1:

[1:02] Yeah, really.

Track 3:

[1:03] I mean, wow. That guy's portfolio is quite large.

Track 1:

[1:09] Like from the mid 80s to the mid 90s he was like, literally.

Worked with everybody in rock.

Track 3:

[1:18] Everybody who's making money.

Track 1:

[1:20] Yeah.

Track 3:

[1:21] He went as well.

Track 2:

[1:22] His last name is Rock.

Track 3:

[1:23] I know. That's why I kind of wish I was him for that era.

Track 2:

[1:27] Jeez, dude.

Track 3:

[1:29] Bon Jovi, Offspring.

Track 1:

[1:31] He's not as good as the producer Michael Indy. Oh.

Track 3:

[1:35] Oh, look at that.

Track 2:

[1:36] Yeah.

Track 3:

[1:39] No, but seriously, Bob Rock, he was all over the place. He even helped out Cher.

But 311, Skid Row, Motley Crue. I mean, this guy.

Track 2:

[1:48] Which 311 record? Because Grassroots is just, that was a breakthrough, man. I don't know.

Track 3:

[1:58] I'm not a fan. I didn't know that one. I'd be curious.

Track 2:

[2:01] Their later stuff, it wasn't. But I bet he's a big Bob Seger fan.

Track 3:

[2:06] I'm sure. He's sounded pretty significant with Metallica. I was wondering if you, If that rang a bell for you, Mr.

Pete. Yeah.

Track 2:

[2:18] I mean, is this his first record that he's produced with The Hip?

Track 1:

[2:22] This is the first one. He does two. He does the next two back to back, which they seem to, that seems to be what they do. You know, they work with the producer and then, and thenwork with him again.

And it's worked, you know, on a couple of occasions.

Track 2:

[2:39] Oh, man, yeah, he's got a fucking dude this guy's got a He's got the hair and everything.

Track 3:

[2:45] She's yeah got a rap sheet.

I almost Almost crushing on him Ryan Adams, right?

Track 1:

[2:51] Yeah, So there was there was great anticipation I think amongst Maybe not the diehard hip fans because the diehard hip fans were gonna we're gonna buy the record regardless andenjoy it regardless.

but that that outer fringe that that had been listening the people like me uh that had been had been diehards but had in in between evolution despite you guys really liking it was a recordthat was divisive for me at the time uh i was just listening to other things and you know that's that's all there was to it so um i think that um i've lost my point because i was watchingJessica in the back and she's distracted.

Track 2:

[3:46] Thanks, Jessica. Geez.

Track 1:

[3:49] Geez Louise. Oh yeah, the outer fringes like me were thinking, well, Bob Rock knows how to produce a hit record.

Maybe this will be the one. You know what I mean? That's like, that's going to bring me back and bring back. I don't know why I was so concerned with their success in the States. I reallydon't. It's, it's, it's pointless.

Track 2:

[4:14] I feel like it is something that is just fucking ingrained in you Canadians.

I mean, I, it's like this, I don't know what it is. I think it's so stupid, but I get it, but I don't get it. I'm just like, why didn't we break through?

Why haven't they broken through? Why do you want Americans to like you so much? Guess what?

Americans aren't all that fucking great. Take it from one who is one.

Track 3:

[4:38] In half of us are fucking idiots if not more not more these days, I mean, there's a lot of reproduction happening We're probably towards 60% now.

Just I would say Yeah Yeah, you know when I walk down the street I'm like Just ready Let's go No, but but you know I asked the bot, the AI bot, why the hip never broke through acrossthe border other than Detroit and where?

or upstate New York, wherever they were playing. And the bot was like...

This is my bot voice, it doesn't really exist this way, but the bot was like, They were just too Canadian.

Track 1:

[5:16] Oh, really?

Track 3:

[5:19] Yeah, that was a serious point from the bot that people thought that maybe they were just too Canadian. And I thought, wow.

Track 1:

[5:26] Okay. I don't even know what that means.

Track 3:

[5:30] Well, because a lot of the content is Canada-themed stuff, you know?

Track 1:

[5:37] Yeah, but it's not in your face unless somebody points it out.

Track 3:

[5:43] I mean, that was one explanation.

Track 1:

[5:46] Yeah, I hear it.

Track 3:

[5:48] Just content of lyrics.

Track 2:

[5:50] I mean, if that was the case, for crying out loud, dude, Rick Moranis and John Candy would have never been accepted into popular culture in the United States.

That can't be it. Yeah, wrong.

Track 3:

[6:04] Maybe so because I was thinking, what about the boss? You know, or, I mean, all these artists that sell out concerts around the world.

Yeah, was Bruce Springsteen to American? God forbid.

Track 2:

[6:19] Yeah, a little too American for me. Definitely.

Track 3:

[6:22] By the way, those blue jeans, pretty handsome. Wow.

Track 2:

[6:27] And you mentioned Metallica, Tim and JD. He didn't just produce Metallica, but the Black Album.

Track 1:

[6:35] The Black Album.

Track 2:

[6:36] Yeah. The one that like, I mean, say what you want about Metallica.

I mean, I like a chunk of their stuff. I have a connection because James Hetfield went to my high school. You know?

Track 1:

[6:49] We know that from episode two.

Track 2:

[6:52] Do we know that from episode two?

Track 3:

[6:54] We do. I found this other podcast where it was really hidden inside iTunes, and it's about Pete getting beat up by James Heffield, like he returns to speak at the school and singles outPete.

I don't know. I heard that. He said they met at the end, but...

Track 2:

[7:12] I've never seen the guy, never met the guy, but no, that record was pivotal.

I mean, that's where they went from heavy metal band to worldwide, like if you go to another planet, people heard of Metallica.

Track 1:

[7:27] So here's, here's, this is exactly my point.

My point is they had, they had four or five really great records before that, that Metallica fans cleave to and absolutely adore.

And Metallica would have had a great career with, with, with just, you know, if they hadn't released the Black Album, they would have had a good career, you know, on the backs of thosefive records.

But they did release the Black Album and Bob Rock did produce that record.

So there was a thought in my head that maybe the same thing could happen with my band.

And that's ridiculous and arbitrary and it ultimately I know doesn't matter, But I think that that's where it came from.

Track 3:

[8:10] So JD, you mentioned this album wasn't all that for you. Is that what happened?

Or what was your reaction when it came out? You said you were late to it?

Track 1:

[8:20] Yeah, I didn't really get into this record as a fan until I really gave it a bunch of time.

And that was when we did the Fully and Completely podcast. I gave it quite a bit of time. And I ended up appreciating it. it.

To me, it's an interpretation of a Tragically Hip album, and it's not one that I think is the best interpretation of a Tragically Hip album, but there's some real highlights on it. There's somereal highlights on it.

Track 3:

[8:59] Do you mean to say it personifies a Tragically Hip album? Is that what you mean by that?

Track 1:

[9:06] No, because that would mean I would be be making it a person, and calling it by name and things like that. And in this case, what I'm doing...

Track 2:

[9:15] Okay, you're not buying it a beard, dude. Okay, you're not taking it home, dude.

Track 3:

[9:20] We're gonna cut that out. No, I'm joking, I'm joking. But with that, did this album kind of represent to you, like, this is a great hip album, it checks boxes?

Track 1:

[9:32] Or what do you mean by that statement? No, I mean, it's an interpretation of a hip record. A hip hop record to me has backing vocals that I can hear that are Paul Langlois and GordSinclair doing the backup vocals. It's got...

Track 2:

[9:47] Are they not singing backup on this one?

Track 1:

[9:49] They are, but it's just mixed differently. It's like you don't hear them the same way. There's like gang vocals on this record. It's true.

Track 3:

[9:57] It is a little different.

Track 1:

[9:59] It's just, it's a little bit odd. It's like walking into a room that you're really familiar in, but you have like a feeling like something is off.

Like, am I in the same dimension? You know?

Track 2:

[10:14] It's like when Howard, the duck landed on earth and, and, and thought he was like just home until he saw the first human. Right.

Track 3:

[10:22] Exactly like that. I mean, that's what I was thinking. Yeah, like yeah.

Track 1:

[10:27] Yeah, so we gotta we gotta blame Bob Brock for that then That's where I'm going with this Yeah, and he get like I say he gets two stabs at it and this is this is his first stab Yeah, andthere's a lot to like, you know, I don't know.

Track 2:

[10:39] Should we get into the song by song or We should yeah, we should and when we do I want to I want to kind of comment on what you said JD Because I feel like there's a reason.

Track 3:

[10:50] Let's keep going with it. Let's keep going.

Track 1:

[10:51] Yeah, let's go.

Track 2:

[10:53] Well, I was just gonna say, I hear you when you say I know what you mean by you say it's a hip album personified.

Because it's different. It's like, it's a hit, but you're like, something's, it's a little bit like Black Mirror-ish. It's like, is there something I'm missing right now?

Yeah, something feels weird. I feel that, you know, it's funny, I got to think to myself, like, what do the members of the hip think?

Because like, when they hear, if they were to be flies on the wall in this conversation, because, you know, they all listen week over week. This is a fact, we know this.

No, but like, for them, it's probably, I mean, maybe there were some things different, but they're just like, what the fuck is this guy talking about?

Track 3:

[11:35] They were out front of my house this morning. They were just like, they're hoping to get a glimpse.

Track 2:

[11:41] Pitchforks? For the first two episodes? With their machetes.

Yeah, Jesus. But I feel you, dude. I feel you completely. I do.

There's something, not off, but like, as the listener, it just, like, you'll see it when we start talking about the song. I'll point out a few things where I'm just like, yeah, it's saying exactlywhat you just said, JDS.

Track 1:

[12:06] So where did you guys listen to this record the first time?

Track 3:

[12:09] Man, I after we last recorded I had a garage project to do and I brought a speaker out there and Got in my zone and just cranked it up and out the gates.

I was like, oh this is gonna be Maybe a really fun album and then even during the first song I had I paused it several times and I was distracted and I had Things going on so I did likerestart the album and restart the album restart the album and that has not happen to me with my listenings.

So, this one just out the gate for me it was like...

all these things were happening but ultimately with the first song i was kind of like whoa what do i think of this it's it was i was a little bit perplexed so yeah after that of course just all thetypical stuff of how i listened to albums just all over the place i really gave this one a lot of time and at one point was like i need to hear this on vinyl i want to hear what's going on withthis album because it was a little bit different and I wasn't necessarily wanting to buy it on vinyl because it's like my favorite one yet.

I don't know, I just, I was a little perplexed by this album.

Track 1:

[13:22] Yeah, yeah. It can be perplexing, yeah.

Track 3:

[13:27] I was overwhelmed. How about you, Pete?

Track 2:

[13:33] I did something a little different with this record which was actually good and not to my own even knowing that I was doing it. But I listened to it, I think I first listened to it was inthe car.

But second of all, I did some heavy listening right off the bat and then I took a fat break because I was doing other stuff and was busy and I couldn't listen to anything.

So I came back to it, revisited it and it gave me a whole new perspective on what the record, what it was, like really, really cool.

I mean, it was totally unplanned, but I think when you like, when you start listening to a record and then just listen a bunch over a week straight, nonstop, or like, like regularly, you don't,you look at it one way, but when you listen to it for a bit, and then you put it down and then you come back to it, you have a different perspective than I certainly did.

Track 1:

[14:32] Interesting. Can't wait to hear more about that. Okay, well let's jump into track by track then.

We start out with, you're not the ocean.

Track 3:

[14:48] Man, you're not coming in. You're not coming in.

This song is, it's, well, at one point I was like, Pete's belting this out in the car for this chorus, for sure.

So I was trying it too, you know. I love Gord's, whatever he does at the kind of end there.

It's a big song. I thought, you know, there's a few songs on this album where I'm like, this is amazing for karaoke.

And this song is just big. It's a big singer that way. Is it a breakup song?

Is it about death? Or is it like drowning?

I read a little bit on it. And there was a lot of Ontario Lake references.

You know, it's this, this was kind of, this for me was kind of a word song talking about lots of stuff.

Track 1:

[15:43] They're called the Great Lakes, Tim.

Track 3:

[15:43] The Great Lakes, sorry. It was specific to Ontario Lake because, for this song, supposedly, because all those lakes send all their, you know, garbage down into Ontario, which is themost polluted out of the greats.

So is it the least great? I don't know. It's somewhat of repetitive song.

I like the piano add in. there's piano, like first song I'm hearing.

Track 2:

[16:08] A lot of piano on this record.

Track 3:

[16:09] Yeah, a lot of piano, I mean that was, I don't know if that was some Bon Jovi influence in there or something. Anyways, the guitar riff feels a little added, like, you know, like weput extra icing on the cake.

Yeah, it was, this is a big song for me.

Big chorus. Holy cow. Let's scream it together on three.

You guys ready? Just kidding. It's a big one. It's a big opener.

Track 2:

[16:41] Yeah, I mean, I think this song is, the best way I can put it, summing up in a sentence, this is fastball down the middle, tragically hip.

Like when I heard this song, it was just, just, I knew what I was listening to.

It sounded like the hip. To me, it was like, and I didn't really dig into Bob Rock prior to the record, but it's like somebody went into the safe in Gord Downie's house, pulled out theformula that is for writing hip songs and fucking followed it and then folded it back up, put it in an envelope, put it in the safe and locked it.

Because this song is fucking formulaic, tragically hip.

Not in a bad way, in a really cool way. I loved it. I loved Gord's vocals.

I love when he gets really high and goes like an octave up. You're not the ocean.

And then he goes, you're not. It gets really, it's just, dude, yeah.

Track 3:

[17:42] And the wolf.

Track 2:

[17:42] A lot of wolves on this record, man. And it's just, it feels really like, going back to what you said about this record being a hip record personified, it feels like this record wasmanufactured to feel safe and familiar for hip fans.

For people to like press play on the first one and just be like, okay, all right, my boys are back. Okay, cool. Okay, cool.

Track 1:

[18:11] Yeah, I can't hardly disagree with you. Like, I can't.

Track 2:

[18:15] Just the vibe that I got, you know.

Track 3:

[18:18] My vibe was kind of like, are we trying to get an older crowd?

It didn't feel young to me. I don't know.

Track 2:

[18:27] Well, this is what, almost 20 years on, right, JD?

Track 3:

[18:30] Right, exactly. So, you know, fans are getting on in their years.

Just hold another conversation. Yeah.

The Lonely End of the Rink. So this one I thought was just remarkable in that it could be about Gord and his brother, or Gord or his brother individually, and hockey.

And I mean, this is the hockey song, right?

Track 1:

[18:57] Yeah.

Track 3:

[18:57] They play the song at games?

Track 1:

[19:00] I'm sure they do. I'm sure they do.

Track 3:

[19:03] Yeah. Yeah. This to me was like, you know, the bot said maybe they were too Canadian. I don't I don't know. They play hockey in different countries.

Track 1:

[19:10] That's right.

Track 3:

[19:12] But not being a hockey guy, but being a father of two dudes and thinking about brothers, I kind of dug it.

The beginning kind of guitar riff start feels like we're getting into an anthem song for me right away, like that guitar at the beginning.

Track 1:

[19:33] Yeah, this song is written to be played live for sure.

Track 3:

[19:36] Yeah, the drum and the bass is just super charging.

There's this echoey, Pete, if you remember, this is echoey guitar.

100%. Beep, beep, beep, beep, beep. So I've heard that from a few bands, but the first time, actually, Amy and I were in the car and I played the song for her and I said, what does thisechoed out guitar remind you of?

Well, I don't know, because there's a few, there's a few, But she said, Duran Duran, this is from Duran Duran. Oh my God, what were these guys listening to on tour? I think they werelistening to anything and everything. I think.

Track 1:

[20:14] I think they were probably pretty.

Track 3:

[20:16] I would love to know.

Track 1:

[20:17] Pretty loose about what they listened to. Yeah. Yeah, yeah.

Track 2:

[20:20] My money.

Track 3:

[20:22] That was, what was yours?

Track 2:

[20:23] No, my money would be that they were, I mean, this says Unforgettable Fire by U2 written all over. Oh, completely.

Unforgettable Fire, that whole, like the records just, I was, I was just like, this is, this is...

Track 3:

[20:39] With like a sprinkle of Robert Plant. I don't know.

Track 2:

[20:44] There's something else.

Track 3:

[20:45] There's something else here.

Track 2:

[20:46] But the thing that was so surprising for me on this song was the drums.

Like, Johnny Faye's drums, like, I don't know if it's Bob Rock.

I don't know what, but like, I mean, I knew the guy's a good drummer, but this fucking song, all of a sudden he's fucking Stuart Copeland or Neil Peart.

Like, what the fuck? Like, I mean, dude, like the drum work is just ridiculous.

Track 1:

[21:12] He's great.

Track 3:

[21:13] I agree. I thought at one point the drums on this album were maybe the most raw hip.

I don't know, it just that to me was kind of, thank God the drums are that way on this album.

If they were polished into like a fucking Bentley or something, Bobby Rock-ish, can we call him Bobby?

Track 1:

[21:36] You can, you're tight.

Track 3:

[21:37] That might piss him off if he hears this. Yeah. But yeah, the drums on, I think, throughout were killing it on this album.

Track 2:

[21:46] But if JD told me, if JD told me, oh, you know, one note about this record, beside it being produced by Bob Rock, Johnny Faye does not play Jones on this.

It's just, they have another genre for whatever reason. I would just be like, Oh yeah, that makes sense.

Like, and it's not a knock on Johnny Faye. I've just never heard any fucking thing like this from him. Like nothing, nothing.

Track 3:

[22:05] Yeah.

Track 2:

[22:07] Nothing.

Track 3:

[22:08] Almost like he was angry. Do you kind of feel that?

Track 2:

[22:10] Oh, yeah.

Track 3:

[22:11] Like, yeah, like not, not hyped about the, maybe the recording process.

I don't know. There There was something different on his drums.

Track 2:

[22:17] Yeah, dude, there's some anger in there. There's some, yeah, all the cool licks.

There's an acoustic lick in there and some harpsichord-style effect.

But I thought of you, Tim, because there's no, like for a song this grand, they didn't fade it. They ended it, which is cool.

Track 1:

[22:34] It's true.

Track 2:

[22:35] Don't fade this shit, man. Fuck it all up.

Track 3:

[22:37] The momentum of it is really fun, kind of that charging, drumming momentum of the song. It's like, a few songs on this album are kind of locomotive feeling, like they just getgoing, you know?

And I think that matches up with part of, at least some, you know, a chunk of the lyrics of this song of joining, oh to join the rush, you know?

With Gord's voice just kind of climbing, oh to join the rush!

It's fucking great. This was, as comparatively to the prior one, this one I was like, ah, people must, the Canucks must love the song live.

Track 1:

[23:16] Look at you representing the Pacific Northwest.

What's your team called? There's a trivia question. What's your team called? You don't even know.

Track 3:

[23:27] Dude, I don't follow sports. It's not in my head.

Track 1:

[23:30] The answer is the Kraken. The Kraken.

Track 3:

[23:34] I don't even know that. And it makes me laugh because it's ridiculous.

You could have, you could have made up like the green zebra tomatoes.

You know, I wouldn't have known any better.

Track 2:

[23:46] Geez.

Track 1:

[23:48] All right, we go way out of the hips, normal lane, with this next track in view.

What did you guys think of this left turn?

Track 2:

[24:04] You want to take it, Tim?

Track 3:

[24:06] I mean, I'm just scrolling through the lyrics here. It's really simple.

The drums at the beginning of this one, okay, here's more drum notes, are really kind of big and strong and then it softens up.

It kind of softens up. Like the song to me, the rest of the music didn't really match the way the drums start which is I'm sure purpose I'm done on purpose but it's like whoa where is thissong shifting to it's it's like felt kind of cute there's keys in the background you know I was like phone rings once phone rings twice phone links three times you know it just felt like Is thiskind of a cash grab radio hit? What is going on here?

But you know, of course, I read a little bit about it. And there's like, references to quantum physics and Plato and Gorf's, Gorf's, Gord's believe in God.

So, like, is he calling on the Lord? This song confused me. I'm just, if that's not obvious by now. I just wasn't really sure.

Track 2:

[25:26] Everybody's confused with you now and then.

Track 3:

[25:30] It's super fun to get into and sing through.

Track 1:

[25:34] It's fun, but then those lyrics are sort of dark, aren't they?

Like, I mean, I've been meaning to call you, I've been meaning to call you, then I do.

So this person, for whatever reason, has been meaning to call this other person, and it hasn't called them, then finally does, and the phone ring once, phone rings twice, the phone ringsthree times, and then what?

They don't answer? It goes to voicemail? Like what? Like, oh my God.

Track 3:

[26:04] I mean, if they were calling the Lord, they might still be waiting. Who knows?

Track 2:

[26:10] Yeah, I don't know that they have voicemail in heaven.

I've not been there myself.

Track 3:

[26:16] Look at that, Jesus doesn't have an iPhone. Wouldn't that be awesome?

He'd be so big. Yeah, I don't know. I'm not sure who they were calling or what this one's about.

It's kind of fun, but I was like, eh, what's next? But what about you, Mr. P?

Track 2:

[26:30] I mean, was this a single, by the way, Genie?

Track 1:

[26:33] I believe this was. Let me just quickly take a look.

Track 3:

[26:37] It felt damn written.

Track 1:

[26:39] The first single. Yeah, I mean.

Track 3:

[26:41] Yeah, there you go. There you go.

Track 2:

[26:43] I hear you guys with the lyrics and I've been, I think at a certain point, when it comes to The Hip, I've come to appreciate their lyrics so much because Gord's great at what he does.

There were a couple times early on when I was digging into lyrics, I started to give them too much weight and it started to sway my opinion of the song, which is fucking stupid becausemusic is not supposed to do that.

I mean, yeah, it is in a certain way, but if you really like something and then you dig into the lyrics, like when you dig into the lyrics of the song, fucking, I'll be watching you by the policeand you really know what it's about.

No one's gonna fucking like that song and play it at their wedding.

It's a creepy ass song, right?

But if you kind of step away from it, and you look at it in a different light, you just listen to the melody of it. It's fucking it's a beautiful song.

This song is a fucking banger. It's an absolute toe tapper. I loved it.

I was fucking that the fucking keyboards.

[27:50] I mean, I just was Happy as a pig in shit listening to this.

Yeah, I couldn't remove this perfect pop song I am a sucker for a pop song and I make no fucking bones about it man.

You know, you give me a pop song That is just pure bubblegum and rock candy and I will just be like where do I sign?

This is this is this is one and I just I mean, I loved, loved, loved it.

Loved it. Loved it. I think Go ahead.

Track 3:

[28:25] No, you go.

Track 2:

[28:28] I was jumping into No, I just I think it's a song like this.

It's easy for any hardcore hit fan to be like, fuck that they sold out or whatever.

Like, he's such a fucking asshole about it. Excuse my language.

But dude, you know what, if I'm any one of those fucking dudes in the band, they probably had a blast recording this. They probably had a shit ton of fun fucking playing it live, becausepeople just fucking dance to it. And it's fun.

And anybody who says anything coarse about it, go fuck themselves.

That's my piece. Sorry. I guess I'm fucking myself.

Track 3:

[29:02] So what about this? What about this? I love these lines, right?

What about these lines right here?

Day erasers dark of night excited states gone in plain sight under the wave or by cave light i lose things change but never in your eyes i mean that's the loaded bit of this song at the endbut you're just going through and you're it's it's nuts to me like i'm i'm hearing the song i'm singing the chorus like you can sing along to this one right even on first listen if you're a megafan you're probably like yes, phone rings once, phone rings twice.

And then this Dark Eraser's Dark of Night happens, and it's like, whoa, Gord's throwing the dagger at the wheel at the end here.

Track 2:

[29:51] Maybe he's just getting shit to rhyme and to fit the song too.

I mean, you also don't, that's why I don't, I give, unless somebody's, unless it's like really obvious or whatever, I just try not to give lyrics that much weight because it could ruin a song.

I could see if I dig into the lyrics of the song, which I did not, Tim, it would've fucking ruined it for me.

I just choose to be like, oh, that's, you know.

It is what it is, you know, because it's that's that's another thing because Gord's lyrics are so They're like, you know 30% THC in the CBD like dude you one drop and you're fucking done.

So you got to be careful with it it's really potent and And and I I I take his lyrics with a grain of salt because otherwise like all the dude the And the Chani Wenjack shit, dude, if I reallystart digging in and thinking about that, it gets me like depressed and like super pissed off and like, yeah, you know, it does bring attention to it, which is great.

But like, if I can't, I can't hold that as close to my heart as I do with some songs, because it just will fucking wreck me.

Track 3:

[31:15] I guess I'm kind of in the middle like I look into them to a certain degree and I either go all the way, which rarely happens or I kind of stop halfway up the hill, you know, but myone of my favorite things lyrics wise on this one is just his use of the USA calling the USA, the excited states.

I think that's what that is and it just made me forever want to call where I'm from the The excited states, the excited states, because it's so true.

It's like pew, pew, we're ready.

Track 1:

[31:49] Oh my God.

Track 3:

[31:50] We're so excited all the time. Excited in schools, churches, everywhere we go, we're excited country.

So that, I mean, it's a packed song. It's simple, but it's, yeah, let's just keep moving.

Track 1:

[32:05] So the next song that we have to discuss then is Fly, which is our first song that we've heard that isn't a single.

Track 2:

[32:17] I think this song is, the placement of it is perfect because you've got these three fucking just monsters before and then it kind of brings it down.

To me, I felt like it was, I'm in a bar in Alaska.

And it's cold out. But when you get inside, it's nice and warm and toasty.

And there are mugs of beer and there's a jukebox.

And like, it's a romantic comedy.

Track 3:

[32:48] A pair of glowing thighs.

Track 2:

[32:50] Totally, man. I'm telling you, man.

Track 3:

[32:53] That lyric in here is amazing.

Track 2:

[32:55] I know.

Track 3:

[32:56] Coastline rise is like a pair of glowing thighs.

Track 2:

[33:00] See you soon.

The chorus is a fucking banger. I just felt like this song was just a feel-good song that didn't slow...

like sometimes the songs that slow it down in track three or four, whenever that song comes on a record, it will maybe sometimes put you in a depressing mood or whatever, but this songbuilds up to some fun.

But it just, it does take it down a notch in a very nice, beautiful way.

I loved it. Yeah, not much more I could say about it. I liked it. I liked it. Tim? Timmy?

Track 3:

[33:37] Yeah, I just thought there was some fun one-liners in here.

It's kind of, I echo what Pete just said. I felt like it was a good number four.

It's the guy batting clean up and you know he's solid for a single, you know, to keep things alive. And I think that's kind of what this song is.

It felt a little, this is where I went back to Bob Rock and I'm like, this is a little bit Bon Jovi-esque feeling.

It just, you know, that's that was kind of about it for me.

Track 2:

[34:11] By the way, I think what you mean, and I'm not trying to split hairs here, I think what you mean is Jon Bon Jovi.

Because if anybody knows anything, there's two things. There's Bon Jovi, which is the band, and then there's Jon Bon Jovi, which is the solo shit.

I felt Jon Bon Jovi on that.

Track 3:

[34:30] Yeah, well, I'm just more referencing like shoulder length feathered cut hair.

Track 1:

[34:35] That's a lot of years you're covering there.

Track 2:

[34:39] Well, I mean, Blaze of Glory was by and far his finest work, his finest hour, as was the film Young Guns 2, which... I'm with you there.

Track 1:

[34:48] I'm with you there. A lot of the movies. It was great.

Track 2:

[34:54] Oh, oh, God, I gotta rewatch that.

Track 1:

[34:56] Let's go into the next track, which is one that I always remember from when this record came out, because I had something named the same thing that I had written.

I just think, this is me tooting my own horn, but I just think that title, that misspelling with the word sick, Which is journalism speak for there's a spelling error there.

It's just so clever. I love it. But what did you think of the song?

Track 3:

[35:26] Yeah, I mean, I did speaking of spelling errors, I did read that Gord is quoted as saying it actually wasn't supposed to be world container.

It was supposed to be world contain her. Oh, really? guys yeah yeah so supposedly the the, you know the the title of this album is incorrect so maybe it's somewhat of a reference to thatyeah so was that I that keep going on the song.

Track 2:

[35:55] Was she put into a parcel?

Because I mean, I don't know.

Track 3:

[36:02] I don't know. Yeah Maybe maybe maybe it's hmm.

That's that's another that's another hit mystery that we'll never know wonder if she's was priority or first-class Well, she had probably would have been DHL if she was coming out ofCanada So who knows?

Yeah What do I have on this one, you know, it's I I just immediately went to, where Pete doesn't go sometimes apparently with songs, is like, who is this about?

Is this a proposal gone bad? Is it rejection?

Is it about being infatuated with someone and not having that feeling reciprocated?

And there was some bit I read about it that this...

where do I have the quote?

This gal from... I guess gal... Lexi Liu. Who knows?

Where am I gonna go here? Okay, so this person online wrote that it was about...

she had experienced that it was about a teacher of hers who was dating Gord and she rejected Gord's proposal.

And supposedly there's like a whole story there about Gord's, you know, one of his relationships. So who knows?

Track 1:

[37:28] I've... I've not...

Track 3:

[37:31] I've not heard that story. You have?

Track 1:

[37:35] No, I haven't. Oh, you haven't?

Track 3:

[37:37] Okay. So that, that to me, I mean, it got to this level with this, with this song and the lyrics and the content of it.

But for me, it kind of got to this level of like, all right, whether or not this one's about, you know, a breakup or what have you, it's, it's, um...

it's not my favorite on the album.

It's catchy and it's good. It's a good song and it ends kind of at this height of energy, right?

Track 1:

[38:07] Yeah, it's not around long enough to be a fan.

Track 3:

[38:11] Yeah, it's...

Track 1:

[38:11] But it's not a great song, I don't think.

Now there will be somebody out there who it's their favorite song and that's cool. That's what's cool about music.

Track 3:

[38:23] I thought about this one. I don't know. Yeah, I don't know when I'll hear, listen to this one next is kind of what I thought it was like, what's what's next on the album, but I'm curiouswhat Pete thought of it, of course.

Track 2:

[38:34] You know, I liked it a lot. I mean, I thought that there was some really cool ideas, like they were kind of experimenting with with the song.

And I thought that there was like, chaos within that builds up to the chorus.

chorus, and then it just returns to the verse. And you're like, okay, you're like, what the fuck is this going on? What is going on?

And then it comes back to the verse. And you're like, okay, all right.

Yeah, we're back. Because it's a bit disorientating.

And, you know, Gord's vocals on this just singing for that guy must have been so cathartic.

Track 1:

[39:14] Like, he really puts a lot into it.

Track 2:

[39:17] Yeah, but it feels like he's doing it like he's a guy who like, you know, needs to exercise three hours a day at the gym.

And like, that's just him exercising three hours, and you're just like listening to him do it. Because he's like, I got to do this, it's like part of my routine.

And he's so good at it. You know what I mean? Like, and, you know, I want to just, you know, we can move on after the song.

I like the song. It's definitely not one of my favorites on the record, but I like it.

In terms of lyrics, and I just want to say this too, because I don't look at lyrics as much, or I don't look at things, there's a couple reasons for that, and I just want to say why.

[40:08] Because, well, for me, writing songs, when I write songs, it's really hard to write a song that's so thematic.

You know, that's like one idea that starts off and it's sewn up at the end like a fucking with a bow on it.

And like, even then it's like, like, let's say it's not completely thematic, but it's, it's about something.

Maybe not like super specific. Even that's hard.

Like a lot of shit I've done is just little ideas of things sprinkled in a song and it's like kind of of just jumbled in and thrown in there so sometimes people ask you about things you're likewhat and the reason why I bring that up is because when I make a Steely Dan reference here I don't know if you guys have ever listened to any other shit a lot of people give them a lot ofshit I'll take that as a no I haven't listened to an album no I'll say the same thing but I have no nothing against Steely Dan?

No, well, I mean, they're amongst people, amongst music heads, they, the biggest thing they get asked is what the fuck are your lyrics about?

And the guy, the singer of the band who's written most of them or the other guy had written them, they always ask the same question. What's this song about?

Because the lyrics are just all over the fucking place.

[41:30] And ninety nine percent of the time is just like, I don't know, man, we You are just coming up with cool shit to say.

I mean really like that's and their lyrics are regarded much as you would regard something like some pixies or pavement lyrics is just like super avant-garde, super strange like what youlike, whoa, that what the fuck is that about?

And then you come to find out it's like, it's just, it's just no, yeah, it's nothing.

Track 3:

[41:59] Well, just random journal entry.

Track 2:

[42:01] Yeah, totally. And that's another reason why I think I've been head faked a lot and I don't dig into to them because I will prescribe a certain.

a feeling or emotion to a song and come to find out I'm fucking wrong, or it's not at all about that.

Like, hence, I'll be watching you, or every breath you take, excuse me.

And then you're like, fuck, man, why did I play that at my wedding?

Track 3:

[42:28] You know, I have to think conceptually with Gord's songwriting, like he is such a prolific songwriter.

And like, back to one of your first comments be like, I thought it must be, have been, it must have been exhausting to sing these songs or like be on tour and singing classic, you know, 52times in what, two months?

Something crazy? Like, god damn.

But with his songwriting skills, I mean, I can stop and hear one-liners that are fun and that I enjoy, but he pushes me, the way I receive it, it pushes me into going down rabbit holes of like,what was this song about?

And there's been a few where I've listened to him and thought the chorus was, you know, A, B, C, D, E, and I actually look up the lyrics and I have some of the words wrong.

It's hilarious. And I love when stuff like that happens. Like, that's entertaining. That's entertaining for me.

Track 1:

[43:30] That's great.

Track 2:

[43:31] Excuse me, excuse me while I kiss this guy.

Track 3:

[43:34] I'm still, I'm still, you know, JD, you've, you've commented on this with me before, but I'm still like, here's an album.

It's like a book to me. I want to hear it start to finish and see if there's anything about it that's creating this novel. Or is it like this current album, which I feel like you can put in and put onrandom and it kind of doesn't matter.

Order wise, it's one of those types of albums for me. So this song, Lovesick, in general, it's big, and it has this kind of a quick stop ending.

It's got a lot of energy to it. After this, I was like, OK, what are we getting to next? I'm kind of like chugging along in this album, trying to get to what maybe is less produce of a feelingand more authentic hip.

Track 1:

[44:28] But the kids don't get it. Kids don't get it.

Track 2:

[44:30] Kids don't.

Track 3:

[44:30] That was it. That was it. It's a fun start. It's got a good build.

There's like, quickly into it, there's this, I think, Pete, I don't know if you caught this. I think it might be a drumstick on top of a cymbal.

Track 2:

[44:47] Yeah, yeah. Like doing a swirl.

Track 3:

[44:48] Yeah. Right? It's like a swirl sound and then it fades off.

I love that shit. I don't want that all the time. I feel like that's the surprise ingredient on a pizza, but there's that sound in this song a few times and it's fucking cool.

You know, it's like, yeah, the kids don't get it, I was thinking.

We're Gen X, you know, we get it. We were born without technology and we've integrated and we know both sides and that's what this song's about.

Generations growing up just being in the middle of it and not getting it and all the hard work this band does and yeah the kids don't get it.

But then as I listened to this song probably 20 times I thought, nah, Gord's smarter than me.

what is he thinking about with this song, you know?

And it felt more like anti-government, like you're not gonna fool us sentiment, which kind of made it even more, for lack of a better word, more punk rock feeling.

Like this song was checking and way more boxes for me.

Lots of whoos in it, you know, it just, this one is like Bobby Rock left the room and the guys busted out this song. That's the way it felt for me.

Track 1:

[46:16] Oh, I love it. I love that. And I love it especially because there's almost like a dichotomy of a lyric In this song kids don't get it and the next song, pretend.

I think it's.

Track 2:

[46:36] Oh, there is. There certainly is.

Track 1:

[46:39] It's that, if I ask you a question, are you gonna lie to me?

I said, honey, is that your question? Cause that one's easy.

And then we get the, you know, that, that, that.

Version of it is the banger version you know and the other version is a little more tone down but top heat what did you think of the kids don't get it.

Track 2:

[47:01] Well that was the first thing i wrote about pretend obviously but in terms of the kids don't get it i loved it i mean i echo much of what tim said i love the chorus the no.

Kids don't get it. The woos in this song, Gord's singing like, he's like a, he's like a fucking pissed off buffalo. You ever seen a buffalo before?

Track 1:

[47:22] Yeah, driven.

Track 3:

[47:24] Driven by him.

Track 2:

[47:26] I was one of those assholes.

Track 3:

[47:27] They're as big as Volkswagens.

Track 2:

[47:29] Yeah, yeah, yeah, no, they're huge.

Track 3:

[47:32] You're one of the assholes?

Track 2:

[47:33] No, I was one of the assholes that gets out of the car at Custer National Park and, you know, walks over to one.

and thinks like, oh, this is cool. Take a picture. And no, that's a fucking dumb move.

For anybody listening, thinking that that's cool, or that's ever something to do, don't do it. It's fucking stupid.

Track 1:

[47:56] To be fair, the buffalo was having dinner. He said to you very politely, if you had waited till I was done dinner, I would have totally let you have the photo. But now I'm gonna tohave to run after you like a pissed off buffalo.

Track 2:

[48:11] Just said fucking that is the first memory that jogged my mind when I heard Gord's fucking grunts in this song.

I feel like he, I want to watch more interviews with him. I really want to dig deep. I just haven't had time.

But I want to figure out like, one, whether or not anything Tim has said throughout this his pod in terms of lyrics and meanings, like I know a lot of it has credence to him.

But maybe some of it doesn't and like what he thought about it, because I feel like a lot of his words, he just writes down his poetry.

And then he shows up to the studio is like, Hey, guys, let's do the song or let's make this song or whatever.

Track 3:

[48:52] I think he does that, too. I totally agree.

Track 2:

[48:54] But like, I wonder how much part of it he's sitting down with an acoustic guitar, and like working, working songs out with the lyrics he's written, because that's a whole anotherprocess, you know, to like write a bunch of shit and then to write chords.

Like you got you got fucking Paul A. Wan and Gord Sinclair and Rob Baker to do that.

You know, so I'm I'm just wondering, you know, what that is.

And then if he was Scott, I wish he was fucking alive, man. I would love to fucking interview that guy or just talk to him and just be like, dude, what the fuck? And either I feel like therewould be two scenarios.

Either he would be super fucking cool and chill, like, yeah, man, we're just fucking doing this and like this and like this happened, blah, blah, blah, blah.

Or he would just like, look at me and be like, you're a feeble minded fuck.

I can't wait for this interview to be over, get the fuck out of here.

Track 3:

[49:51] I think that's what he'd say about me.

Track 1:

[49:53] No, I don't know.

Track 2:

[49:55] Probably, probably. You're more nuanced than I am. But I just.

Track 3:

[49:59] He'd be like, Tim, you're about 16% right on the themes of my lyrics.

And that's what I would love. I mean, that's what I love about this guy.

I mean, he's obviously so fucking prolific. I wish I had like a book of his poetry sitting right here. Because, you know, he's one of those artists where you get served up something.

And everybody, I think, could take their music a little bit differently but have this thread throughout it that joins all the fans together.

You know, it's kind of...

It's kind of what's amazing about them. And in that regard, who the fuck cares if he was writing about Canadian themes and the discussion of why they didn't make it in Orange County?

Track 1:

[50:47] Whatever.

Track 3:

[50:49] It's kind of like, who cares? How many bands not from Japan sell out shows in Japan all the time?

They just want to be entertained. and maybe people just need to be entertained and not look into it that much.

Track 2:

[51:06] That's Stan McKe- That's Stan McKe- I- Stan- Stan McKeta?

Or no, his name's not Stan McKeta, but Stan McKeta's Donuts.

The people need to entertain, need to be entertained, Wayne.

They need the distraction.

Like the voices in my head. I thought you said- Why do they come to me to die?

Why do they come to me to die?

Oh my god. Oh my god. That's- You know, anybody- Wayne's World, like when he goes, why did they come to me to die? Why did they come to me to die?

I think it's Wayne's World, too.

Track 3:

[51:42] Honestly, I thought you said spanakopita. I was just thinking about delicious, delicious Greek baked goods. I was totally in a different land.

No, but I, I, let's, let's keep moving this, this song when I heard it, it was exhausting and it was the first song I hit forward on who was like, give me what's next.

Yeah. Pretend. If you don't pretend and I don't pretend, pretending might end, but pretend can pretend to end.

It's like, oh, this is arduous. This was tough for me.

Track 1:

[52:22] Wow.

Track 2:

[52:24] Yeah. J.D., what do you think? I'd love to like, as a hardcore hip.

Track 1:

[52:29] Well, it meanders. It certainly does meander.

If I'm ranking the 11 songs on the record, it's in the bottom 10, right?

It's either 10 or 11 on this record for me.

But I'm just so curious. I'm so curious about that stanza, like why he chose to use it again, and then why did they sequence those songs back to that?

Track 2:

[53:00] Totally, right?

Track 3:

[53:02] I don't know. I don't know.

love to know if they, you know, what level they took part in the production of this album.

Track 1:

[53:12] Did they just hand the keys over? At this point they were very fluent in studio, so I don't know that they get a production credit. Let me quickly look. Usually they do.

Track 3:

[53:22] I mean, this one I thought at one point after, you know, I did of course listen to it in complete, but...

Track 1:

[53:29] No, this is producer Bob Rock, period. And most of their other records, even when it was like Steve Berlin.

It was like Steve Berlin, the tragically hip Mark Freak, or something like that.

So this is, this is interesting. This is straight up Bob Rock. Huh. Okay.

Track 3:

[53:50] I had thought like the three of us need to do karaoke of this one so we can be like arm and arm I'm just shit-faced.

Track 1:

[53:58] Pretend?

Track 3:

[54:00] Yeah.

Track 1:

[54:01] Oh my gosh.

Track 3:

[54:02] I think we should pretend to do it and not actually do it. This is a total sing with friends, ironically singing with friends song.

It's like a really nice glass of red wine or made me think of like plush velvet.

I don't know what the fuck is happening. It's the song's candlelit and I don't know why it makes me feel that way.

And it was like, skip, oh, it was tough.

Track 2:

[54:28] Yeah, I thought it was, I said, it feels like a love song in a fine dining restaurant during Sunday brunch. Yes, Sunday brunch.

Track 3:

[54:39] See, we were fine dining together.

Track 2:

[54:41] No, I mean, it doesn't feel, it feels like another band or like, now Gord's singing, And I know Gord had some soul stuff that he did.

before he passed, but it definitely feels like, oh, this is not a hip song.

This is some of the solo stuff.

There's jazz guitar in there, which I gotta say, man, I mean, it speaks to Rob Baker's skills, man, because that guy fucking, I mean, he makes it sound good.

The chorus feels really 70s, almost like there's a- AM radio.

Track 1:

[55:19] Yeah.

Track 2:

[55:19] Yeah. And there's something that they do with Gord's vocals in there.

It's a 70s style thing that came about in the 70s, I feel. But Scott Weiland from Stone Doole Bynes was popular for it. It's where they double the vocals.

They take literally I don't he doesn't re-record the vocals.

They take the same vocal track, they double it And then they put it like they put the one track offset by like a millisecond to the other.

So it sounds more full and rich. And they put put them in in one left, one right. And it sounds like gives this really weird, unique effect.

And Wyland, Scott Wyland was prolific for that.

But but, yeah, it's got that vibe to it. Fucking random. That's all I have to say about this song.

Track 3:

[56:12] It's like having two turbos on your car when you record like that, when you produce like that.

Track 2:

[56:16] It's like having 11 on your amp.

Track 1:

[56:17] Yeah.

Track 3:

[56:19] But why not make 10? 10 the loudest. With the lyrics of this one, when I finally, you know, let it, when I finally absorbed it really, because again, I skipped it on first listen, Um, I,you know, maybe this is like a fucking, maybe they were pretending, I don't know.

Maybe the band, you know, maybe the band in their, in their career, maybe they're in their career at this point.

I mean, I'd be exhausted and to a degree with trying to make it bigger than they are now. It's like, you're in the industry, you are a fucking...

When you don't like it, you might be feeling like a marionette, you know? This is big, giant business happening with this band's career, and this is one of those songs maybe they have todo.

Track 1:

[57:16] Wow. I mean...

Track 3:

[57:18] Yeah.

Track 1:

[57:20] Let's move on because I don't dislike the song so much that I'm willing to beat it into a pulp. No, no.

Track 2:

[57:30] I don't know.

Track 3:

[57:31] I'm sorry to offend all the Canadians.

Track 2:

[57:33] I want to make one more quick point real quick. And this is not really about the song, but about the band. And I'll be really brief. My apologies.

But to what Tim said about the band. No, no, no, really.

This is the band, you know, being exhausted in this night. You have to think this is 2007 right?

These guys have been at it 20 years right?

They could fucking quit at any time in terms of like probably set money wise.

I mean maybe they're not fucking living in, they got three different mansions but I would posit to think that every member of this band is not worrying about where they're going to gettheir next fucking meal.

[58:13] Okay, yeah, they were when they did the 100% so That being said though This is a time where things were like through the 2000s, you know up through 2000 early 2002 thingswere like Record sales and all that stuff.

They were making a shit ton of money and then think about this time though, man music and Streaming was coming up sales for records tanked, all that money, all that revenue thatpeople were used to just disappeared.

And so I would imagine to think that this band went through a bit of a come to Jesus so to speak, and was like...

I guess we do. I mean, maybe they're not thinking we got to break into the American market like every fucking Canadian thinks, or we think thinks.

But like they're thinking we got to fucking make some money because this shit, the well has run dry, fellas.

And we got to- It's running dry. Yeah. Just thinking about the time of this record and the timeliness of it, rather than hang our hats up, we're like, fuck, we don't know if somebody is goingto buy...

What's the...somebody's gonna buy Trouble at the Hen House or...what's.

[59:35] The fucking power... Power Up? Phantom Power. On CD anymore or whatever it is.

And so, you know, I bet you there was a bit of pressure there like, hey, we gotta keep making music guys.

I know we're kind of over it. I know we're all friends here, but we got a job to do.

Track 3:

[59:52] This is a mega transition time. JD, do you recall this? So supposedly this one was released a week ahead of time to stream.

Track 1:

[1:00:00] That's what I understand as well.

Track 3:

[1:00:01] It was on the band's website a week ahead of time. So you could listen to it online. So that was a big deal.

Track 1:

[1:00:08] The thing that I was most surprised at, based on what Pete just mentioned as well, is that it still hit platinum in Canada, which is 100,000 records.

Which 100,000 records in 2007 is like, did I say 2007? Yeah.

Yeah, it's 2007. 2006. Six. It's right, it came out in 2007 though.

It came out in, ha, it came out in 2007 in the US.

But it came out in 2006 and came out about six months earlier, yeah.

Track 2:

[1:00:49] You were saying 100,000 records.

Track 1:

[1:00:51] To me, that's still, like, I mean, that's not, they're not doing Diamond anymore, but who is doing Diamond? Great.

They're doing...

Track 2:

[1:01:03] People were still Kazaa and shit, and LimeWire and shit.

I mean, I... Right. Napster was shut down for the most part, but Kazaa and LimeWire were, you know...

Track 1:

[1:01:14] Pretty big.

Track 2:

[1:01:15] Yeah, you know.

Track 3:

[1:01:18] So this is what I found. It was streamed on the band's website a week before release, and also various Southern Ontario radio stations. So people were...

People, the fans were digging into this one. They were getting glimpses.

They were hearing, putting on the radio and hearing songs they never heard before.

Like that's a different way to release an album.

Track 1:

[1:01:39] Yeah.

Track 3:

[1:01:40] You know, compared to what they've been used to. So, yeah. Huh.

Track 1:

[1:01:47] Yeah, I don't remember it vividly. I don't remember it. My brain was really buried in pavement at this time.

That's what I was listening to, by and large. It wasn't until I came back to it, and I kept all the stuff that I loved in my rotation, and all that I loved was everything up to In Violet Light.

And then In Between Evolution put me off, and then this record came out, and I wasn't there for the new cycle.

And the next record, I wasn't there for the news cycle.

So that was different for me, because I had paid so close attention to this band.

And then I didn't hear them right away. I only heard them on the radio or whatever.

So yeah. Yeah. Yeah. Yeah.

Track 2:

[1:02:48] Last night I dreamed you didn't love me. I'm gonna I'm gonna go out on a limb here and say this might be the best song on the record.

Track 3:

[1:03:04] It's fucking fantastic.

Track 2:

[1:03:05] When the verse starts it just it's got a groove to it.

[1:03:13] There's something that they do in the chorus, I believe, where I remember it, this is gonna try to make it not too technical, kind of stupid, but I think it's a fucking cool trick whenmusicians do it, where like, there's, they do like a substitute chord or something that makes you, it makes your brain think, because in music, your brain always wants to return to the one,the home chord, the resting chord that makes you feel happy and resolved and they do this little trick where they they do like a one seven where you think it's going to be like a key changeso you're expecting this key change in the harmonies but it doesn't happen and they just go right back to what they were playing before and it's so subtle it's very Beatles very British youknow British late 60s rock.

[1:04:09] But it's fucking cool. It's just cool. And then, of course, you know, during this whole fucking amazing song, Rob Baker, you know, steps into his fucking lair and emerges with hisfucking strat and just smacks everybody in the face with a sick solo, which is, you know, awesome.

So fucking cool.

Yeah, dude, it's I love this fucking song. It's probably my favorite song on the record. It's got a star on it for sure.

Track 3:

[1:04:45] Timmy, I'm gonna let this one shine. I'm gonna I'm gonna let this one shine for Pete.

My favorite part of it, right, right at the very beginning of hearing this, you kiss my fingers and made me.

Track 2:

[1:04:59] It's so fucking...

Track 3:

[1:05:02] And I was like, that seriously stuck in my head for a few days.

I'm walking around the house, like, that lyric's coming out of my mouth every once in a while. And it got to a point where I was like, ah, this, I want to, I want to fucking get some friedchicken.

Is that what this portion is about right here?

Track 1:

[1:05:21] Everything back to food with me.

Track 3:

[1:05:22] I know, I know, right? I haven't had breakfast yet. Where's brunch?

Just kidding. Yeah. Just kidding.

Yeah, I'll let Pete take this one.

I was reaching for a box of tissue really it's an emotional song it's an emotional song it's you know, I'm not rolling over in the morning, telling somebody that last night I dreamt that theydidn't love me. That's a tough one.

Track 2:

[1:05:54] Oh, but the groove is just fucking... I mean, dude, when they fucking...

I don't know when they sing this fucking line, people lost their fucking shit.

I mean, I will lose my shit hearing fucking Gord Sinclair's bass just...

I mean, I don't know who I would stare at more creepily during this concert because it just fucking, it's a banger here. Oh my god.

And I don't know how much Bobby Rock had to do with this one, but fucking shit.

It's a winner, dude. It's a fucking winner.

Track 3:

[1:06:37] I think he was holding the knitting needles on this one.

Track 1:

[1:06:40] Winner, winner, chicken dinner for Tim. How about the drop-off?

Track 3:

[1:06:48] Oh, I thought this was just a good rock and hip song.

The guitar felt a little kind of over-extra, I don't know, every once in a while, but I just thought it was a good song and, you know, don't go swimming past the drop-off.

I love that line. just makes me think of how small the world is, or big the universe is, and what is the drop-off.

It's the shelf in the sea of no return, these depths. I just thought this was kind of a cool song.

Track 1:

[1:07:18] You listened to this one high, didn't you, Tim?

Track 3:

[1:07:22] I mean, I listened to the album sober.

Track 1:

[1:07:24] Oh, did you?

Track 3:

[1:07:25] A few times. It was in the car a lot. No, but I like this song.

Track 1:

[1:07:28] It's so high.

Track 3:

[1:07:29] Oh.

Track 1:

[1:07:30] In a good way.

Track 3:

[1:07:33] Yeah, these were my notes. There's a trailing end distant sound at the end of this song. Did you catch that?

Track 2:

[1:07:42] I did. Did you hear it? I did. I certainly did.

Track 3:

[1:07:46] Yeah, so it's in the same family of what we hear with the beginning of Tiger the Lion, which is fucking cool.

Track 2:

[1:07:57] It starts off with Johnny Fade tapping his sticks on like the rim doing like a like a rim shot a little bit on the metal part of the snare and every single person in this song has a...

this is the second song that I would say probably be my second favorite tune on the record just because every member of the band fucking kills it.

[1:08:23] Gord sounds like he's on on, like, uppers, either methamphetamines or something in this song. And I'm not saying like, oh, Gord's on drugs.

Not that that's bad, too. People do drugs, whatever.

He just sounds like he is visibly off his fucking face in this song.

And I'm just like, what the fuck?

I mean, there's not a moment where the guy doesn't give his all in any performance.

You know, there's no song where he does it 50 percent.

is 110% with this guy and everybody, man, there's a Pauline was, there's a moment where he just comes in with this rolling little rhythmic riff on his fucking Les Paul and it just, that guymakes me want to get a Les Paul so fucking much. Jesus Christ.

Yeah, well, yeah, that's my bank account.

It's like those, do you remember those old, I don't know if you have those in Canada, JD, but.

Track 1:

[1:09:31] Bank accounts? No. Yeah, we have those.

Track 2:

[1:09:35] Tim, do you remember listening to those Guitar Center commercials when they'd have like President's Day sales or something, or Sam Ash, they'd be like, Guitar Center'sPresident's Day sale!

And they'd say like, you know, BC Rich Warlocks, $7.99, Ibanez, $3.99. You know, and they would, it's all your card.

Track 3:

[1:09:56] I think it was the same, it was, yeah, it was the same dude that announced the Monster Crush series.

Track 2:

[1:10:00] Dude, exactly.

Track 3:

[1:10:02] You know, like, Anaheim Raceway this weekend.

Track 2:

[1:10:04] And they would always say shit like, musicians, you need new gear, but your wallet just isn't cooperating.

And they would like get you to sign up for like a fucking card.

They call it a gear card. It's a fucking credit card with like 32% interest on it.

Track 3:

[1:10:23] Fucking Sorry, that's so yeah and nowadays the Guitar Center the Guitar Center near my house There's one like a mile away and I've been there with my son 45 times andnowadays They're often closed because of staff issues like people they can't go down there.

We'll go there and it'll be like closed No one can work today What a guitar center for real? Yeah, I went to it Fine.

Nobody wants to make goddamn minimum wage in this country.

Track 2:

[1:10:50] I went to a guitar center when I was in the US last year and I wanted to play.

The Fender came out with these American Vintage Strats and I wanted to play one so fucking bad.

It's a copy of one from 1957 or something. And I went into three guitar centers. None of them had it.

And the guy basically told me, he's like, look, man, none of the guitar centers have these.

You can go to the one in LA on Sunset. They might have one. But he says, if you want one, you have to order it.

And because they have like a 30 day no questions asked return policy, you can order it, it'll be here in two days, you can play it and then just return it, like on the spot. And he says, andthen we'll at least have one in the store.

But like, that's the look because everything on the wall is mostly shit.

They don't even have It's like fucking rent-a-center. It's crazy, man. It's sad. It's sad.

Track 3:

[1:11:47] Anyway, I get it.

Track 2:

[1:11:48] Family band.

Track 3:

[1:11:49] We digress. Family band?

Track 2:

[1:11:52] Yeah.

Track 3:

[1:11:53] Yeah. Family band. Yeah. Yeah. Yeah. We're heading in. We're heading into the end here.

Track 2:

[1:11:58] This song's back to the basics. Back to the basics again.

Basketball down the middle, hip, catchy chorus, classic hip.

hip, Rob Baker doing the wah-wah, which he doesn't do a lot, but when he does, he fucking kills it.

I think there's a lot to love about this song.

I didn't dig too much in the lyrics, but it felt like the droves of gigging and loading gear in and out, you know, load the kick drum loaded, you know, like, just like I was, we played a gig inCordova this on Friday, and you know, it's, it's always cool because you fucking you have a great time, you play a great show, everybody loves it.

And then after you're done, you clean up all your shit, and everybody's inside drinking, doing shots, having fun smoking cigarettes, and you're carrying you're loading your fucking ampout to your car and your guitars and it's quiet and you're like fuck this sucks.

Track 3:

[1:13:02] I wish I had roadies. That's exactly what my sentiment was for this one.

The same thing. Same thing. JD, the video you sent us, the full-fledged Vanity, there's a part in there. It's a great video, by the way.

Everybody should watch that if you haven't already. There's a part in there where the band is like, it's, I don't remember who said it, but they said, you know, touring, it's not work whenwe're on stage.

That's the fun part. that's the part we love. He said it's everything in between is the job, the travel, the hotels, the setup, the teardown.

It's like, that's the job. And when we're on stage, that's the easy part.

And this is kind of, in a way, what this song was about.

Track 2:

[1:13:47] Truer words never spoken.

Track 3:

[1:13:48] Woes of touring. Yeah, the woes of touring and the woes of corporate radio.

And And, you know, there's like almost a pause and then some driving guitar before the last verse in here.

Like it felt like there was just, it just got an adrenaline shot to keep going and finish the song.

This, again, made me feel, you know, empathetically for the band and their job and their touring and, you know, the amount of production. production.

It's just, it's massive. It's massive.

Track 1:

[1:14:28] Oh, yeah. Um, one of, one of my, uh, standout lyric in this song is, uh, one day I'll make some honest rock and roll full of hand claps and gang vocals.

I'm going to get all the children involved. We're going to get lost in all you locals. Um, remember that, remember that idea of hand claps and gang vocals, especially for the next record.

There's gang vocals, and we've never heard them on a Tragically Hip record before, and we get them loud and clear.

It's really interesting that this set of lyrics came out.

Track 3:

[1:15:11] Shades shy of truly loving them.

Track 1:

[1:15:13] Yeah.

Are they speaking of the experience at the time? i don't know i don't know so that takes us to the titular world container uh the title track World Container, and what did you guys make ofthis song?

Track 3:

[1:15:37] I'll go real quick. You know, I thought it was kind of a perfect closer.

It was this epic Kind of an epic song of an ender, you know, it's theatrical.

It's if it feels really made for the stage It's What do I have here?

What we have here are all flaws in progress where all songs are one song, and that song is Don't Forget.

It's just kind of a perfect ending. This was one of those songs that, as an ender, I felt like this closed, for me, this album.

And I was just ready to go again for what's next. So this fit its place for me.

Track 2:

[1:16:27] Yeah, I second Timmy's emotions and also that, like, just little subtle things, the way the song starts, then it goes to minor, there's the lead guitar is really stadium rock.

Tim said it is built for the stage. Absolutely. I could see this song being played, and I don't mean this in a bad way.

I could see this song being played at like a fucking Super Bowl, you know, like, like just like super emotional, super like.

everybody into it, everybody's swinging and swaying and, and digging it.

Um, again, I don't mean that in a bad way because, you know, I'm not a big football fan, not that it's bad, but just like, you know, Superbowl halftime shows are, I'm so there.

Track 3:

[1:17:22] One of my notes, arm and arm singing the last bit all together.

Track 2:

[1:17:27] Yeah, a hundred percent, a hundred percent. I dug it though.

So I really, I really liked it.

You know, I had a thought and this is not really even hip related.

But when I was thinking about that, there was a guy I went to school with, that was a pretty famous, I didn't actually go to school with, he graduated a couple years before I went.

His name is Demetrius Maxi. And he was pretty big in the Canadian Football League.

I called him and I was like, I was like, holy shit. Yeah, he played like a full career and now he's a coach for, I, don't know, I'm going to look it up real quick because it's got to be, he was adefensive end for the Edmonton Elks. Oh, okay.

Oh no, now he's a line coach for the Edmonton Elks, but he played for the Toronto Argonauts or something.

I don't know. I don't follow football, man.

Track 1:

[1:18:28] Well, you definitely don't follow Canadian football.

Track 2:

[1:18:31] Yeah, I really don't.

Track 1:

[1:18:32] I know that. Canadians don't follow Canadian football and there's some really good stuff. We used to talk about Canadian football on the podcast all the time.

Track 2:

[1:18:41] But to be in like the NFL, like I knew guys that played with him in the school, like guys that I knew really well. And the guy was a fucking, he was a, nobody wanted to go upagainst him. He was a fucking train wreck.

Like it just, You might as well step in front of a moving bus.

The guy would fucking destroy anybody in front of him.

I couldn't imagine it. Anyway.

Track 1:

[1:19:08] I just wanted to make one comment on another lyric that I love, another set of lyrics that I love.

Good news, you get to vanish. Go to Cleveland, Dn and Dsmash.

The good news is now you are smaller. The bad news is that you can be smaller than that.

I just think that is so...

rock and roll road dream scenario, right?

Like, you know? So maybe they do all of a sudden become popular in a segment in the United States.

You can get small. You can get smaller than that, you know?

Track 2:

[1:20:02] I never understood why, I still will never understand the whole breakthrough United States shit, dude. I just, I don't.

Track 3:

[1:20:10] But you know how it might've been in a way if the band was kind of over it and we're like, you know, it is what it is. It might've been fucking cool to play an arena in Canada andthen play.

Track 2:

[1:20:25] Yeah, right?

Track 3:

[1:20:26] I don't remember.

Track 2:

[1:20:27] The Fillmore?

Track 3:

[1:20:28] You know, playing a theater in San Francisco. Yeah, like, that must have been fucking cool to be at the Fillmore and have- Or play a fucking- A crowd be like 70% Canadians and30% diehard, you know, fans from wherever else.

That must have been, in a way, pretty liberating as a band.

Track 1:

[1:20:47] Yeah, I bet, I bet.

Track 2:

[1:20:48] El Rey or like the Fonda in LA, which is like- I mean, can you imagine only- 800 people?

Track 3:

[1:20:56] Yeah, only doing arenas, ugh. That's, that's, that was being, it's. Bye, bye.

Yeah, I guess they were doing fun stuff. I would kill to hear them play at a dive bar.

You know, that's probably what I would choose is like the L-Ray.

If I could hear them.

Track 2:

[1:21:17] As long as the sound tech doesn't fucking electrocute you three times in a row.

Track 1:

[1:21:22] Oh no.

Track 2:

[1:21:24] Yeah.

Track 3:

[1:21:25] I don't know, a stadium would be amazing too. I wouldn't be picky.

Track 2:

[1:21:30] I don't know if I told you that, I mentioned that to Steve Malcolmus when I was talking to him in Copenhagen and I mentioned that show to him and he immediately recalled it.

He was like, yeah, I remember that. This is fucking, it's fucked up, dude.

Track 3:

[1:21:55] Tell us the story.

Track 2:

[1:21:56] Just one time I saw him, it was on, I don't remember what tour, it was like 2014 and the fucking sound tech or whoever didn't ground the mic and he got electrocuted once and ithappened the second time and he was like fucking pissed and then the third time he almost walked off stage and I wouldn't have, nobody would have been pissed if he did because helooked Visibly fucking right like shooken and like what the fuck like guiding her on the mic And so every time he went to grab it put his mouth on it He got fucking got buzzed kind oflike you fuckers used to do to me when when somebody was Me in the mic Dude I've seen that happen that's horrible and that I was following for a while that I've mentioned before forfrom LA called Wand.

Track 3:

[1:22:51] I saw them play a small club here in Portland and the lead guy, Corey Hanson is his name. He's just a fucking fantastic guitar player.

It's almost too easy for him. But he was getting shocked over and over and it was through whatever was going on.

His board wasn't grounded. He was getting shocked over and over and they were trying to record that show for a series of recordings.

And it was just all these technical fuck-ups. And when I see stuff like that happen at shows, man, it's such a bummer.

Track 1:

[1:23:23] Now I have the A. Freely song, Shock Me, stuck in my head. Here you go.

Track 3:

[1:23:29] There you go.

Track 2:

[1:23:30] Thank god it wasn't Lick It Hub.

Track 3:

[1:23:31] Back to World Contain. Back to World Contain Her.

Track 1:

[1:23:35] Yeah, I think we've reached the conclusion of yet another Tragically Hip record.

And you guys have sort of pulled me back on the other side, which is interesting.

I think I went into this a little bit more negative on the record.

And, you know, overall, track over track, you guys really seem to enjoy it.

So, as we were going through the songs, I was just grinning ear to ear listening to some of the things you were saying.

So, now the hard part, though. You have to choose one track to put as your MVP for your playlist.

Track 3:

[1:24:13] Easy.

Track 2:

[1:24:13] What's up?

Track 1:

[1:24:13] Easy. This is easy. Okay, all right.

Track 3:

[1:24:17] I know Pete's. Pete, do you know mine?

Track 2:

[1:24:19] Yes, I know yours. The kid's number.

Track 3:

[1:24:21] Okay. That's exactly right. And yours is Pretend.

Track 2:

[1:24:26] No, shut the fuck up.

Track 3:

[1:24:29] No, it's not.

Track 2:

[1:24:32] Oh, man, I walked right into that one. And I was like, yeah, I knew yours, too. Guess mine.

Fucking last night, I dreamed you didn't love me. Hands down.

Hands down. Put that on, like, I mean, that is up there with like fucking fireworks, dude. It's a fucking jam.

Track 3:

[1:24:51] It's up there with kiss my fingers and made me love you. That's just, that would make me want to stop rapping songs. It's just too perfect.

Track 1:

[1:24:58] It's like... Ha ha ha ha. That's a good work day.

Track 3:

[1:25:01] Get my fingers to bend. Everything about that tune. So good.

So so cooking up some chicken today.

Track 1:

[1:25:09] All right.

Track 3:

[1:25:10] Oh, you're making me hungry Yeah, I love the kids don't get it, you know, it's It kind of almost is like where the guys listening to Quadrophenia During this time.

I don't know. There is it made me think about a lot of other bands that are historically very just Viable, you know just have their place Canonic.

Track 1:

[1:25:33] Am I lovesick sometimes?

Track 3:

[1:25:39] So what do we have left, J.D.? We have like three to go. What do we do next?

Track 1:

[1:25:44] Yeah, well, next week we're going to be looking at We Are The Same, which is the second Bob Rock record.

And then from there, we've got Now for Plan A, and then Man-Machine Pong.

Track 4:

[1:25:57] Then we wrap it up with Saskadelfia before we head to the finale.

Track 3:

[1:26:03] So there's that. What about, just to interject in that cadence of albums, what about the whole Austin City Limits thing that happened?

Did you catch that at the time? Do you recall that? Or was that a big deal?

Track 1:

[1:26:21] Oh, I don't remember. Not at all. at all, did they do in Austin City Limits?

Yeah. Oh, I've never even seen it.

Track 2:

[1:26:29] Those are really hard to get on. Yeah.

Track 1:

[1:26:34] Because it's PBS, right? Yeah.

Track 2:

[1:26:35] Which you would think.

Track 1:

[1:26:37] Yeah, for whatever reason, people don't share it. I guess.

Track 2:

[1:26:41] Well, it's just hard to access it, man. It's subscribe to it.

Sure, sure. You don't want to share it. That's like, okay, I get it.

But like, come on, once you've made your buck on it, what do we, you know?

Are people really still paying for a fucking Austin City Limits video of a Boz Skaggs concert from 87?

Probably not. So let's just...

Track 3:

[1:27:06] From what I could see in 06, they did Austin City Limits in 06 and they did, it looks like they did put it out there.

So I don't know if that went out on CD or what.

Track 1:

[1:27:17] Yeah I'm scratching my head too.

Track 2:

[1:27:23] I have to watch the video or research on that. Yeah. All right.

Track 3:

[1:27:29] Well, next week, 15, 2006, Oh, 2006.

Track 2:

[1:27:31] So this is before this record. Yeah.

Track 3:

[1:27:34] Same year.

Track 2:

[1:27:35] Well, they probably played maybe a couple of tracks from it, but cause by that time it would have been recorded.

Track 1:

[1:27:40] Yeah, that's true.

Track 2:

[1:27:43] Came out in October, 2006.

Track 1:

[1:27:44] Do you have a set list?

Track 3:

[1:27:48] It looks like it was only digital and which, you know, for the time, sure, go for it. That's awesome.

Digital download from Universal. Yeah, we got seven songs. So yeah, Austin City Limits is usually about an hour.

We got Courage, Lonely End of the Rink, Gus, the polar bear from Central Park, Bobby Cajun, Poets, okay, 100th Meridian, and Blow It High Dough.

There's a banger of last couple songs, wow.

I'm gonna try to find it.

Track 2:

[1:28:23] There's so much weird shit.

Track 3:

[1:28:24] 34 minutes, 50 seconds. Gotta be out there somewhere.

Track 1:

[1:28:29] If you know of where you can get it, send us an email. JD at gettinghiptothehip.com.

That'd be cool to hear from you.

Track 2:

[1:28:37] Yeah, don't send it to Pete at getting hip at to the hip.com.

Track 1:

[1:28:41] Don't send it to pete hey judy it sounds like you know we we need to remind our our listeners of our event coming up because uh it's it's coming close the rec room that's right therec room in toronto on bremner street bremner avenue rather uh 50 mission I have to ask you guys, this will be your first pseudo live hip experience.

It's not going to be like seeing the band live, but it's about as close as you're going to get at this point, which is an odd thing to say.

Track 2:

[1:29:23] I can't wait. I'm so stoked.

I mean, I'm really looking forward to 50 Mission. I've seen, they're pretty damn good for a tribute band to the hip. I mean, they're pretty much top notch.

So I'm excited to see that, because just to hear hip songs live would be fucking cool.

And with other hip fans too, because yeah, we all listen. I don't think we've all gotten it, like, we've not, I mean, yeah, it's one thing you can do it online but like we've not all hung out andlistened to the hip so it's be fucking cool to listen to hit music with other fans and um i think is it, Were you mistaken JD or am I mistaken when I said that like You can either pay for aticket or there's free entry if you bring nine cans of ravioli Let's not mix, anybody Maybe a couple family side.

Track 1:

[1:30:29] Oh, man I'm excited.

Track 3:

[1:30:34] I'm excited to Have some steam whistle again.

That's kind of on my list. Yeah, that was Yeah, and I'm excited to hear these guys play I have not looked them up or watched a second of video or anything So I'm kind of just treating itlike it's gonna be my first of The band tragically hip show, you know, I'm just in anticipation and surprise.

I'm just excited for it. Oh It's gonna be great.

Track 2:

[1:31:02] So stoked man. I just hope nobody's He's pissed at us for the, or pissed at me for anything I said in any of the episodes. I just want somebody to be like, hey, you're doing good.

Track 3:

[1:31:12] Yeah, I'm hoping to.

Track 2:

[1:31:13] Yeah, hey, how you doing? Boom! Just fucking left me out.

A little fucking knock just breaks my fucking nose.

Track 3:

[1:31:21] Right?

Track 2:

[1:31:22] Oh, man. Because I had fucking, dude, this has been such a cool experience, man. I'm looking forward to talking to people about a band that I've come to love over the last fewmonths, you know?

Track 3:

[1:31:33] Yeah, we'll have to talk about maybe a pre-party meetup, you know.

Track 1:

[1:31:38] Yeah, that'd be kind of cool.

Track 3:

[1:31:39] When we get to it. Yeah. Now you're talking.

Track 1:

[1:31:44] Yeah.

Track 3:

[1:31:44] Yeah, I'm excited to hear him play.

Track 2:

[1:31:46] Do they have marijuana in Canada?

Track 1:

[1:31:49] You betcha. Do they? Yeah.

Track 3:

[1:31:50] I'm just curious. Yeah.

Track 1:

[1:31:51] I'm just curious.

Track 2:

[1:31:52] I'm just curious.

Track 1:

[1:31:54] I'll take it to my local dispensary.

Track 3:

[1:31:57] I think they have merry fungus.

Track 1:

[1:32:00] Yeah, there's a couple places. There's one on the Danforth that was very fun guy It was open for a while. I'm not sure if it still is.

Track 2:

[1:32:06] What's your what's your we place called again? It's a weird name weed jar Weed jar.

Yeah Dave's not here Still Such a good name, dude. Dave's not here.

Still not here. And then the second one would be... Dude, there was a place in Utah.

It's in Salt Lake and it's called... It's a bar. It's a shithole.

And I made the mistake of going back there because it was actually a decent place before, but then I went back there years later and it's a fucking dangerous place. It's called My Ex-Wife'sPlace.

I'm not joking. Bar is called...

Track 3:

[1:32:51] I mean, it's it's a little little tiny bit of a mistake to go back to Salt Lake, but Friends there man Lot of friends you have good friends there a lot of Mormons a lot of Jack Mormonsall different colors and shapes and sizes so What a lot of water down there, that's true, that's true so much watered up beer It's it's all watered down there.

Track 2:

[1:33:17] That's true.

Track 3:

[1:33:19] If we became legal in Utah, it would be like 2% weed and a 98% oregano.

They'd be like, here you go. Have fun.

It's funny.

Track 1:

[1:33:32] Well, that's what we've got for you this week.

Thanks for playing along at home. Tim. Pete.

Track 3:

[1:33:41] Yo. Yeah.

Track 1:

[1:33:44] Hell of a show. Hell of a show. Yeah, good show. Good job.

Track 2:

[1:33:48] Thanks fellas.

Track 4:

[1:33:49] Pick up your shit!

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