A complete and utter disregard for human life!

The Tragically Hip Top Forty Countdown

Get ready for a journey back in time, as we pull back the curtain on the ninth studio record by The Hip - 'In Between Evolution'. We'll bring you face-to-face with the record’s unique evolution, the masterful production by the iconic Adam Kasper, and the first impression this album left on us. We also promise to share our thoughts on what sets this record apart - from Gord's powerful vocals and the band's rhythmic arrangements to the irrefutable political undertones.

We’ll further dissect the elements of this extraordinary record, including the band's focus on rhythm guitar and the magnetic chorus that simply pulls you in. Our discussion explores the influence of Neil Young on this album, the importance of the first single 'Vaccination Scar', and how it resonates politically, even in today's world. We'll also touch upon the story of Gus, the polar bear from Central Park, and how it adds a unique dimension to the album.

Last but not least, we’ll delve deep into the legacy of Gordon Downie and his indelible impact on music and society. We’ll reflect on the loss of his unique perspective in the current global scenario. So, brace yourself for an enlightening conversation about this remarkable record and the creators who brought it to life. We promise a captivating experience that will leave you with a renewed appreciation for The Hip's musical brilliance. Let's embark on this journey together, shall we?

Track Listing

Summer's Killing Us - Studio Version

Gus: The Polar Bear from Central Park - Live from Chicago 2012

Makeshift We Are - Live from Toronto 2004

Are We Family - Live Detroit 2009

Transcript

Track 1:

[0:00] Well, welcome back guys. How are you doing this week?

Track 2:

[0:02] Fantastic. Couldn't be better. Yeah. Life couldn't be better.

Track 3:

[0:09] Pretty good. Pretty good. Excited to be back. And so it's my birthday.

Track 1:

[0:15] It's July 24th.

Track 3:

[0:16] Holy shit.

Track 2:

[0:18] Today's your birthday. Holy shit.

Track 3:

[0:20] Wow.

Track 1:

[0:21] July 24th, man. Yeah.

Track 2:

[0:24] Happy birthday, man.

Track 1:

[0:26] Thanks.

Track 3:

[0:27] I'm going to blame the time change on me forgetting.

Track 1:

[0:30] No, it's July 24th.

Get it? Wink wink? Yeah.

Track 2:

[0:39] It's your birthday, man. Cuantos anos? Oh. Tienes.

Track 1:

[0:44] Awesome. What's the last part mean?

Track 2:

[0:48] How old are you? How many years do you have? Yeah. Is the literal translation.

Track 3:

[0:53] Countless. I mean, change.

Track 1:

[0:54] 49, baby. 49.

Track 2:

[0:55] Oh, knock, knock, knockin' on 50 years.

Track 3:

[1:02] Let's do this. You know, when we entered our 40s, we were like, 40s are gonna be awesome. This is the decade. And we got to our 50s, we're like, maybe 50s will be awesome. Yeah.Yeah. Oh, it's all awesome.

It's all awesome.

Track 2:

[1:16] Did you ever see the movie City Slickers?

Track 3:

[1:18] Yeah.

Track 1:

[1:19] Yeah, years ago.

Track 2:

[1:19] There's a great, the great monologue by Billy Crystal in the beginning of that.

He's like, your 20s are a blur.

Your 30s, you make a little money, raise a wife, have a couple of kids, buy a house.

Your 40s, you wake up one day and you think to yourself, what happened to my 30s?

He goes on to every decade and then he's like, your 80s, you end up like, you eat breakfast at, or whatever, you eat dinner at five, lunch at 10, breakfast the night before.

Track 3:

[1:52] It's just like, dinner's at four.

Track 1:

[1:55] Yeah, exactly.

Track 3:

[1:56] Dinner's at four.

Track 2:

[1:56] Oh, it's so good.

Track 1:

[1:58] They're taking all Tim's happy hour seats. Yeah. All the octogenarians.

Track 3:

[2:03] My father's in a retirement home and when I talk to him, he says, they're coming for me for dinner earlier every day. It's three o'clock. It's coming for dinner.

Track 1:

[2:20] Like, dude, just call a happy hour. Fuck it. Yeah. So in 2004, we got the ninth studio record by The Hip, In Between Evolution.

This is a, you know.

Like Clockwork, every two years we've got a record from this band, you know, and they were still touring their brains out.

I think it's a staggering feat, you know, that a band with their original lineup can put out a record every two years, you know, guided by voices or bands like that, notwithstanding, thosesongwriters are, you know, Bob Puller, it's just so prolific. It's, it's unreal.

But in terms of band work, bands that tour extensively, I don't know of many other bands that have had this kind of halcyon run.

But here we are, talking about it.

And as we always do, I want to find out environmentally what you thought of the record, where you listened to it, where you first heard it and what your overall general thoughts are onthis 9th record produced by Adam Kasper. What do you think?

Track 2:

[3:45] I think the name is very fitting, In Between Evolution, because I feel like this record is a bit in between.

And I say that, you know, when you're in elementary school, you see the monkey going, you know, to like Croag Magnon Man and then like getting up through the ages to get to the likemodern day man, modern day human.

I feel like this record is maybe not any of those, but something like in between that we sort of haven't seen before, you know.

It's certainly an evolved version of the hip, but I can't really attribute it to anything they've ever done before or anything I think they will do.

It's very different in a lot of ways.

Track 1:

[4:38] Where do you listen to this one?

Track 2:

[4:41] I listen to it everywhere. I listen to it out and about. I listen to it in my office, working.

Probably best place was in the car, you know. The car really, this record was, I feel like, made for driving, you know, like a lot of their records, you know.

So I would say if I had to pick any environment, definitely my car, I mean, I don't know if it's everybody's car, I have a bit of a bias, given that, you know, I've got a pretty solid soundsystem in my car, like a premium.

But yeah, I enjoyed it in the car.

Track 3:

[5:23] We need a soundbite that's like, that's like, premium sound system.

Track 2:

[5:31] We can drop that in post.

Track 3:

[5:32] Yeah. Well, I, you know, I'll disagree with Pete.

I, to me, this felt more hip, right out the gates and you know I think Pete and I differed a little bit on the last album and I'm really liking our, you know, compare and contrast.

I'll just quickly add Pete's haircuts throwing me off a little bit today, but I can deal. I can deal. But anyways, that looks good.

[6:06] I thought In Violet Light, the last album, what we reviewed was a little bit of a departure and super polished and, you know, made for like, I don't know, an award stage or something.

Maybe have the Oscars on the mind. but I thought in Between Evolution, I looked at the title wondering if that meant they were coming back to their own production type, style, soundrecording.

You know, I didn't really understand the title for this one because it felt more like a hip album to me.

[6:43] The producer, you know, I looked up to see who did this one.

Adam Kasper, he did all kinds of bands in Seattle.

Mudhoney, Nirvana, you know, the Foo Fighters, he worked with REM.

I don't know if it was all in Seattle, but Soundgarden.

He even did some work with Cat Power, who Amy and I adore. One of our favorite singer-songwriters.

Just, you know, you worked with amazing musicians. And all these musicians I just listed, maybe except for kind of Aerosmith, I'm not exactly a fan of.

But, you know, these are bands, maybe Aerosmith, who wear their hearts on their sleeve and really are just going for it.

And almost achieving a status where they have a following and they have their shit down and they can kind of do what they want, you know?

And I felt like this album went back to the band a little bit more doing what they want.

So I was pretty excited, pretty excited by it.

Track 1:

[7:43] Can you describe that a little bit more? Like, what do you mean by what they want?

Track 3:

[7:49] Well, the last album I thought was overproduced. I thought it was...

Track 1:

[7:52] Right, right.

Track 3:

[7:53] I thought it was too scripted, you know, I thought it was too, like, ha, here we go back to food metaphors.

It's like showing up at a restaurant with a preset menu. That's what I felt the last album was, and I felt like this one was a little bit more carefree.

It was a little bit more back to experimental.

The lyrics, the themes behind all the songs were, in certain ways, like what I've experienced from other albums past themes, with variation and variety.

I don't know, this felt more hip to me. This just felt more like the first handful of albums that got me excited about where the band was going.

So in that regard, it's like, yeah, fuck.

Let's do this every two years. We're going on 10 years.

Or this was the ninth album, right? So it's over 10 years. And that, that to me, as Pete knows, as someone who has recorded, that is such a...

[8:58] Heroic work with Yeah with touring to as much as these guys toured I mean It's remarkable that they're all still digging each other so much, you know Yeah, but from also from acouple of things that I read during this tour Is when Gord at one point commented about, even if there's differences going on behind the scenes or Or there was some tour manager issues, Iguess, that once they got on stage and started playing, that they just were a band.

They were like NSYNC and just super, super in the groove.

Track 2:

[9:41] Not like NSYNC.

Track 3:

[9:42] Yeah, they were very much NSYNC. Just super in the groove, which means they're like this fucking locomotive still. So I think it's still super impressive.

Even with a band that I'm not as impressed with or fond of, it's still an impressive feat to go this far with recording, producing, touring, everything.

Track 1:

[10:05] Yeah.

Track 2:

[10:07] Yes.

Track 3:

[10:08] Hands down. Absolutely.

Track 2:

[10:09] Kudos.

Track 1:

[10:11] And in terms of environments for you?

Track 3:

[10:14] Yeah, so it was a lot of car. I listened to it pretty quick after our last review.

There's a lot of car time and some home time. I don't play their music much at home over my home systems.

So it's a lot of car, a lot of headphones.

It's a little more intimate for me to do it that way and I also really enjoy when bands geek out on recording, and you can hear things with headphones on that you wouldn't normally reallybe in tune with if you're just walking around the house playing it through your ear.

Track 2:

[10:56] There's a few of those on this record.

Track 3:

[10:57] Yeah, there's a few of those on this record, and I love that stuff.

I mean, that to me shows that a band is really caring about their listeners and their fans and their art.

There's a few of that.

Track 1:

[11:14] Well let's dig in then. Heaven is a better place today.

Track 3:

[11:21] So, yeah, this one, you know, there's been a few albums where...

My first listen to the first song. I've never done a random listen first try, you know, and that's the way so many people experience music these days.

I hear a song from an artist.

So I might have to try that as an experiment on some album.

But you know, first listen to Heaven is a Better Place Today in the car.

It was like, yes, here we go. Like, Pete, you mentioned a great road trip soundtrack or whatever.

This is totally it. It felt like a good, fun, solid opener with a drive and the carry of the drums and the bass really throughout this album seemed a little more...I mean they're always solid butthis one just even seemed more gelled, which is kind of hard to even imagine these guys doing.

I loved Gord's singing. He's kind of at an elevated pitch with this one and, you know, from what I understand, it's...well.

[12:33] My first take was like, this feels like a memorial song, like this is a tribute to somebody and Of course later learned that it's in part about Dan Snyder.

I mean, I'm not a hockey guy I mean even I couldn't even tell you who Atlanta's team is or was Atlanta thrashers.

That's probably my favorite hockey team name though so, you know read a little bit about Danny Heatley, did I just say his name wrong?

No, don't sorry Dan Snyder Snyder Um, he was killed when is with his teammate Danny Healy.

Track 1:

[13:08] That's right.

Track 3:

[13:09] They're the ones who were Wrecked some sports car, which is such a tragic story, you know to hear about somebody famous wrecking in a sports car.

It's just It's kind of an awesome way to go. But anyways, you know, I thought it was good solid Opener really really easy ending.

It was like, okay, let's keep going How about you Pete I dug it.

Track 2:

[13:32] I mean, I echo a lot of what Tim said. I mean, I feel like a great opening track.

I really got some some some cure vibes here.

I really felt like this song had, Yeah, just I heard a lot of the cure in here.

I think Gord's vocals, clearly this is a record and we'll kind of get into it with more songs and stuff.

Not just, I feel like there's so many songs that probably killed it live on this record, but that Gord's vocals really just keep evolving into something new.

I mean, I feel like every member of the band grows a lot, but he's just, it's like everybody takes three steps forward and Gord takes like nine.

You know, he skips where everybody just takes steps. It's crazy, man.

Track 3:

[14:36] Completely.

Track 2:

[14:37] That's not like a diss on anybody in the band. It's just, I think he thinks differently, or he thought differently, either way, I dug this song.

I thought it was a great opener.

The second track, Summer's Killing Us, yeah, this is another one where the vocals really do it for me.

Um, there's a, there's a part, well, during the chorus, when Gord's singing, um, Summer is Killing Us, like his voice is cracking.

You can hear it breaking on the recording. And it's just like, it doesn't crack. Like it's, it just fits. It's perfect.

And you're like, this guy's, this guy's, he's redlining the engine and the car is still going. you, You know what I mean?

Track 3:

[15:33] Like, and the car, I think, has like, 300,000 kilometers on it, you know? Yeah, and it's just like, go, go, go, who cares?

Track 1:

[15:43] Yeah, they could sing, sing, sing all day.

Track 2:

[15:47] Yeah, it's I mean, it's had its oil changes and services, I'm sure.

Track 3:

[15:51] Exactly.

Track 2:

[15:52] The drums, another thing about the drums on this, I watched some, well, you guys know, I'll talk about a little more later songs, but the drums on this song, A song that just seemslike it's probably so much fun to play for Jonny Faye.

Just the stops, the fills, just, it just seemed like if anybody's having a blast, it's him and Gord Downie are just fucking having a ball to this song.

Track 3:

[16:20] I think you've commented on that before, too. And this one, this one I noticed, you know, first listen was like, oh, he's having fun.

There's some fills in there, and that made me think this one live, you know, probably varied a little bit, but probably just kicked ass, too. Yeah, I think.

Track 2:

[16:39] Yeah, and I gotta say, this is gonna sound really bad, so I want to frame it right.

I just want to throw this in because I feel like if I didn't throw it in, I'd be...

My initial thought... So this is 2004, right? Yeah.

2003, 2004. 2004 you think when they're recording writing this song I got just Gord's vocals and his phrasing very much got some like early 2000s emo vibes to it.

I actually heard and I don't mean this in a disrespectful way So no, no do not give away my address JD.

I don't I mean Canada's a far away from Spain, but I got getting hip to the hip calm.

Yeah for for comments Emo my ass No, but I really heard I heard a dashboard confessional song Yes pretty mind-blowing, you know Yeah, okay. You hear me?

Track 3:

[17:41] Okay, I do. I do. I would a million times rather listen to this band. No, 100%.

Track 2:

[17:48] But I hear you.

Track 3:

[17:50] But I hear you.

Track 2:

[17:51] And no, no offense, because I think that I think the guy I can't remember his, his name, the guy.

Track 3:

[17:56] That's okay.

Track 2:

[17:57] No, I know. No, just respect him as a musician. I think he's a good musician.

I just don't fancy his music much. Anyway.

Track 3:

[18:08] You know, I was shouting this chorus in the car. Like, first listen, you could sing along to this one. If you know the band, you're like, fucking hyped.

Hell yeah, it's a song about summer. Who doesn't like a song about summer?

Track 1:

[18:19] That's right.

Track 3:

[18:20] That band always sings about summer, said no one ever.

So this one, you could just go. There's awesome stops, there's a good bridge, there's...

A few times on this album I think there's more of a focus on just I don't know how to say it Pete but just a better rhythm guitar less riffy like the feel like this album has riff sections thatare a little bit more defined or declared maybe yeah yeah yeah this one gourds at like the three-minute He's like, whoo, you know when he left that it is so good I love that. I love that.

Track 1:

[19:05] I mean I like exhausted slash.

Track 3:

[19:06] I'm awesome slash I don't even know what the other slash would be but it's like it's great Yeah, if you're having a moment and you stop and you can actually breathe and do thatwhoo I mean you're having a good day like something's going on something's going on that you're enjoying or you're relieved But I also thought this song was like a song about being tiredand touring and working.

Also, you know, maybe some of the research I did, that maybe there were some references again to the South, or slavery, or prison life, you know, that's just like, summer's killing us, youknow?

It's amazing and beautiful and tough at the same time. That's kind of what I thought about this song.

It's, it felt, this is a few times I have had this happen where the song feels long, but it's like measured in a good way. It's like, it's just, there's enough verses, enough choruses.

Track 1:

[20:12] I think this is one of the longer songs on the record.

Track 3:

[20:15] Yeah, yeah. This was, this was fun.

Track 2:

[20:19] This song, this song also, I just wanted to throw this in too, because I kind of forgot to mention it, one of the cool things about it is that it just goes from this, the chorus is sofucking, but then when it goes back into like the verse, it just, it brings it down again.

It just, it just, it flattens it like a, like a compressor.

It just flattens it really quick and just makes it even again.

You're like, whoo, like the dynamic of the band recordings.

It's really cool. That's a hard thing to pull off, man.

Track 1:

[20:53] I really regret not seeing this tour. Like, really. I have so much regret not seeing this tour.

Because this is the first tour that I missed since the beginning.

This is the first one that I didn't go see a show.

And listening to the record now, it's like, oh man, it's again, so much of it seems to be written to be live, you know?

Track 3:

[21:18] She must have been really cute, JD. Pardon me?

Your girlfriend at the time, I guess. You were busy.

Track 1:

[21:29] Oh, yeah.

Track 2:

[21:30] Yeah.

Track 3:

[21:31] Dude, the next song, you know, Gus, I faintly remember hearing about this.

Track 1:

[21:35] Yes.

Track 3:

[21:37] Back then. I mean, if we go back to 2004, you know, this is like the era, politics aside, because we'll probably get into that, but this is like the era when shit online started to take off,you know? Everybody's looked at YouTube.

Some of your friends might be listening to Pandora, which at that time had the best radio feature.

You could like mix stations and you know There's a lot there's a lot going on electronically The zeros are ones then i'm pretty sure i heard about this song and um, I was telling amy wifeamy yesterday this story about gus This polar bear from central park and uh how they they just deduced that, He was depressed And amy's like no shit polar bear and Activity it was likeyeah, I mean a polar bear's life is what?

[22:39] Sleeping, drinking, killing, eating, fucking. I mean, let's put a polar bear in captivity and see how hyped he is.

I mean, that's just terrible. So this is amazing that they, I guess, Gord, I don't know who exactly picked up on the story and wrote this one.

And, you know, this is also where there was some, maybe the beginning of this album with some political under things here as well but there's this first guitar riff at the beginning of thissong Pete I'm sure you heard it but there's like this there's this weird guitar kind of distortion distortion yeah like that that attack at the beginning is like I wish also I mean live it wouldprobably been so fun to hear that I'm sure it varied a little bit but that's like that outro that outro live must have been so yeah banging yeah drums are huge in this one you know and i'vejust i dug this song it was it was fun there's i could go on and on about it but you know just this poor guy gus he's staring at food all day at the zoo i mean he would eat all these people yesgawking at him so of course he's suffering from depression this is like during this era, scientists were like, he might be depressed.

[24:06] Bears, animals can have sentiments of depression.

[24:11] It's fucking hilarious. Terrible.

Track 2:

[24:16] I mean, where do I put down my fucking flag here with this one, dude?

First of all, if I was going to start a bar fight, this would be the fucking song I'd put on the J-box right before I picked up the neck of a Labatt Blue, fucking break it over somebody's headand just start a melee.

Track 3:

[24:41] Shit.

Track 2:

[24:42] Okay.

Track 3:

[24:43] Watch out, Hamilton. Yeah.

Track 2:

[24:49] So, Tim, you're telling the story of the polar bear from Central Park, right? And now that you're telling the story, I remember it. Yeah.

Track 3:

[24:57] Yeah, me too.

Track 2:

[24:58] But during listening to this, I didn't remember it because that was a long time ago. And I drank a lot of beer and done a lot of shit since then.

And so it didn't register.

And so I pictured like a bearded homeless man, a giant bear of a man who was depressed and an alcoholic sitting and fucking with people in Central Park.

That's who I heard when I heard this song.

I didn't, I didn't at all have any correlation with the actual story of Costa Polar Bear.

But this is the now this this album, and then some subsequent YouTube videos that I explored this week, really got me digging into the vibe that is Paul Langlois, because you could Youcan just hear this thumping, it's a thumping vibe that he has with this Les Paul that he's playing and it just fucking rips.

This song is the tiger, the lion of this record.

Track 3:

[26:13] I had the same sentiment for sure.

Track 2:

[26:17] It's the fucking tiger, the lion of this record.

What else? I would say I literally, I literally wrote, I literally wrote that, that, that, that I would be cracking balls a little bit blue, a little bit blue over people's heads.

But no, it's the tiger, the lion of this record.

And I feel like Neil Young is a lot of guitar on this this record is very Neil Young focused.

Track 1:

[26:50] I can hear Crazy Horse in this.

Track 2:

[26:53] Yeah, there's another song that's undoubtedly Crazy Horse.

But the end, the solo, Rob Baker proceeds, and I'm going to read this verbatim.

The solo, Rob Baker proceeds to melt your fucking face off with a complete and utter disregard for human life.

Track 3:

[27:10] And that he does.

Track 2:

[27:13] He starts off that way. He just, well, it just, the solo towards the end is just, it's just fucking, fuck me, man.

Track 1:

[27:25] Yeah, very good.

Track 2:

[27:26] Great fucking tune. Probably, yeah, this is, this may end up on the, for my pick, who knows.

Track 1:

[27:33] All right, we roll into the first single from the record.

So this would be the song that introduced most people to this record and it's it's a song called vaccination scar First of all before we get into vaccination scar to either you guys have avaccination scar Nope.

No, my cousin has one and she's a year younger than me And I don't understand how she has one and I don't like expired shit.

Track 3:

[27:59] They put in her arm, I guess maybe it's all my ears on your arm no it's on my calf oh wow okay it's on my calf well it's almost gone now but it was pretty prominent um almost untili turned 20 or something around there i mean my my brain with this one went just went to you know Pfizer and all the all the crazy bullshit oh no oh no i mean that's where i went i readthe song Title and I know okay.

This is probably about the booster the the cigar look bird Vaccination scar on my sister's left arm.

She's got right here. She's like three years older than me So she's got it.

But you know and that's like why the fuck did that thing scar like that?

I don't know. Could you imagine I mean, why didn't they build that into the the Johnson Johnson?

Johnson and Johnson could have had like, they have that trippy logo.

Have you ever seen their actual brand logo?

Track 1:

[28:59] No.

Track 3:

[28:59] Oh, people say it has like Satan in it, basically.

Oh, of course. It's hilarious. Pete, you would like that research. It's too bad.

Track 1:

[29:08] But I'll tell you, this song would be a completely different song if the band still existed and they released a song called Vaccination Scar now.

Oh, big time. Wonder what the fuck it would be about.

Track 3:

[29:21] Yeah They might lose listeners and gain listeners at the same.

Track 1:

[29:25] Yeah, it's true Well, this one a throwback to a throwback, you know We've got the slide guitar again that we haven't really rolled out for a couple records.

I don't think What you guys think?

Track 3:

[29:37] I You know the whole when they get into the slide guitar and kind of go back to So, you know the southern belt of the US kind of sound of rock and that's it's not my favorite thatthey do but right yeah I was a little surprised to hear this is the most listened song song on Spotify I look at that at those that I know I look at that data at the end of kind of my listening Idon't look at that at the beginning.

Track 1:

[30:09] It does blow my mind because I get it that it's a single.

Track 3:

[30:11] Yeah why? Is it because it has vaccination in the name?

Track 1:

[30:15] It might be, because the fact that it's a single shouldn't factor into Spotify at this point. Yeah, yeah. Unless they do, unless they sort of do.

Track 2:

[30:27] No, they don't retroactive, they don't retroactive shit like that. No.

Track 3:

[30:32] Yeah, I wouldn't think so either. Yeah, but I thought, you know, this is really, It's the second song.

With political references to George Bush, the Iraq invasion, the WMDs that didn't exist, like this, there's references in the song about all of that.

And that in and of itself is like a time capsule of sorts.

Track 1:

[30:57] Yeah, and we were thinking the world was a pretty bad place then.

Track 3:

[31:00] Yeah, it's basically an anti-war song, even though like during that era, I don't know, there were like six or eight other countries that were on board with this whole attack, you know,I believe Spain was one of them.

Track 2:

[31:13] So it's for everyone. Yeah. Right. States.

Track 3:

[31:19] So, you know, I, I hate to say it, but I enjoy like hearing something political referencing the times and, you know, it becomes a time capsule type of song with, with those themesduring, let's see, I guess late 80s, in which these guys would have been totally in tune with.

You know, that's when the Bushes were really rising to power and going after mega weapons developments.

And a buddy of mine grew up in the Carolinas during those George Bush senior years and knew the family, and they have crazy stories about shit they were doing.

I don't need the FBI chasing me, but like, a lot of bullshit activity that involves war and weapons in the corporate aspect of America's machine and economy running on just.

The war machine. So that's where I feel like Gord's really tapping into in this album. And it keeps going. He's kind of in it in this album.

Track 1:

[32:27] It was a tough environment to not be in it. And it rips my heart right out of my ribcage and throws it on the ground to think that this band isn't around anymore.

Because I would love to know what Gord's thinking about...

Track 2:

[32:41] You're burying my fucking lead, JD.

Track 1:

[32:43] Sorry, buddy. Go ahead.

Track 2:

[32:44] No, no, dude, no, run with it, run with it.

Track 3:

[32:47] They'd be the Pussy Riot of Canada, I'll tell you that.

Track 2:

[32:49] JD, please, please continue, I'm sorry.

Track 1:

[32:51] I just, I just, you know, I just, I would just love to hear his take on what's been going on the last five or six years, you know?

And we really missed out on that. And that's like, fuck cancer, you know? Fuck cancer. Yeah, yeah.

Some of the lyrics in this, I think they just roll. I think the way he sings in this song He's he's into that lower register, you know Like you said the with the side guitar like it's it's almost anolder version of the band and he's singing again in that older Version voice but man some of the lyrics that he strings together like even the chorus.

There's one thing I remember is the tear and the there's one thing I remember is this tear on your bare shoulder this little silver boulder the slowly falling star we're rolling so what nevergetting older where the moon shock curtains part to the start of enough a teardrop then a vaccination scar like holy shit I don't know how I get all that out imagine that writing moment inpen in hand and, you're just like it's just yeah it's incredible yeah well yeah I mean, I echo everything that you guys have said.

Track 2:

[34:09] Funny point.

Just I don't want to leave it out because you made me think of it, Tim, when you were talking about George Bush.

This is not unknown, but a great George H.W.

Bush fact, Bush number one, our first Bush president, doesn't remember where he was the day Kennedy was shot. What?

Track 1:

[34:34] Yeah, yeah.

Track 2:

[34:35] Look that up. That's a total fact. And he was actually in Dallas because there's There's like evidence of it, but you know, everybody's like, I mean, I remember where I was in thechallenge of blew up I remember where I was when Kobe Bryant died when I remember when yeah 9-11 out.

Sorry Yeah, Kobe Bryant was you know, now that was a big bit bigger.

No offense to Kobe fans But yeah, and he was asked where were you when Kennedy was shot?

He's like, I don't remember like what?

Track 1:

[35:05] Yeah Everybody of that generation, my mom knew where she was and she was a Canadian in Waterford.

Track 3:

[35:10] You know, they're so detached. The, the, the, the, that whole section of political history just lived on.

Track 2:

[35:17] If by detached, you mean culpable, Tim, then yes.

Track 3:

[35:21] Yeah, yeah, completely. I mean, like just not relatable.

They just, honestly, like my, my buddy and his family in the late eighties, early 90s, used to meet up at one of their homes. This is the story.

Used to meet up at one of their homes on the coast, Bush's homes.

And like, oh, our new whatever jet boat is going to come by.

Can't wait to show you guys. We'll go for a ride. Like just completely alternative, horrible reality of life and what's appropriate.

Track 2:

[35:59] Yeah, I mean, that family's, I mean, what more could you say without getting too political?

Track 3:

[36:04] There was a moment when, we'll get off of politics here, there was a moment during the Trump administration where I was like, damn, I would take Mr.

Bush Jr. any moment, bring him back right now, let's swap him out.

And I never would have thought that when he was in office. You know?

Track 2:

[36:22] Well, yeah, it's pretty sad.

Track 1:

[36:24] For sure, I feel the same way.

Track 2:

[36:26] It's pretty sad, though, that we're at, that stage, I mean, to bring it back to the record and sort of to not bring it back to the record, because musically, I feel like this song, you guyssummed it up.

But in terms of what JD said about the one thing I thought about this song, I kept thinking about was Gord and if he was alive today and this band was alive today.

And I say that because he was such a unifying icon for Canada and the band was, I mean, the guy could bring people together completely.

And I think America's been divided for a long time.

Tim and I both know that pretty well and anybody from the outside who's windowed… That's like his West Coasters, right?

You guys really have felt it.

Track 3:

[37:26] Yeah, yeah, yeah.

Track 2:

[37:29] But I think that in terms of Canada and everything that went on during the whole COVID lockdown and stuff, I feel like Gord would have had a really interesting take on it.

Because I feel like there was the...

You know, it's, there's always three sides of every story. And the way we kind of, most people experience COVID, most people, you either were fucking hardcore on the left, or you'rehardcore on the right. But there's one thing I've learned in life.

There's the way you think it happened. It's the way the other person thought it was happened. And then there's the way it really happened.

Track 1:

[38:06] Look at you dropping extreme references, three sides to every story.

Track 2:

[38:10] I'm just saying, I feel like Gordon would bring a fucking take, and the band would bring a take to, you know, what's going on in life at this time.

That just would open people's eyes. And a lot of people on both the right and the left would shut the fuck up and listen to A Voice of Reason, which- I think you're right.

Would have been Gord Downie, had it not been for his untimely death.

Track 3:

[38:35] But I mean, we have that in this day and age, but it's just spread out.

And I don't know, less, it's smaller, smaller doses more widely spread out through music today. Well, there's plenty of bands doing it, but like, I don't know.

Track 2:

[38:53] I agree sort of, Tim, but I think musically, it's one thing to do it musically, but Gord was more than a musician.

Track 3:

[39:00] Yeah, yeah.

Track 2:

[39:01] From what I've seen, he's a guy that would get up and make a fucking statement, like outside of music and nowadays I feel like when people make a statement that it's against, thecommon narrative of whatever, They're tarred and feathered as either.

You're a racist fuck or you're a liberal Nancy or whatever it is.

And the funny thing about Gord is you couldn't do that to him because he was Canada's fucking golden boy. So I would have loved to have seen anybody in Canada try to throw shade onthat motherfucker when he was...

Had he been here to dispel the truth like he always liked to do.

Anyway, I digress. How about...

Track 3:

[39:43] I have a feeling like only rednecks in the South were throwing shade at him, you know.

Track 1:

[39:49] There's a reference in this song about singing Life is Forgetting, and Life is Forgetting is in quotes.

I looked it up, I can't find a song called Life is Forgetting.

Is that something that rings the bell for you guys?

Or is that just, you know, the narrator basically saying that that's a song that somebody's singing that's made up?

Track 3:

[40:12] Not sure.

Track 2:

[40:15] No. I'm not sure either. But if I take it into context of what we're talking about, I think people forget, life is forgetting.

Tim made the reference earlier about wanting George Bush over Donald Trump at the height of whatever.

And I think people forget, you know, I am not Not a Donald Trump fan, didn't vote for the guy, but you can take all the shit that's said and everything, and I'm not carrying water foranybody, let me make this fucking clear, but it's mind boggling to me how we can think that, and I thought it at times too Tim, you're not alone in that, I think a lot of people thought it, buthow we could, be like, I'd rather have a guy who started a war, an illegal war on lies that killed upwards of a million people.

In the White House right now, rather than a guy who's just a total piece of shit scumbag who shouldn't be there in the first place.

Like we forget that there's a guy who is literally responsible for killing a million people and starting multiple illegal wars. And we'd rather have that person. So life is forgetting, JD.

I think that line belongs in that song. If we're talking about politics.

Track 1:

[41:41] Well, he said fuck this and fuck that and this guy's the diplomat.

It can't be Nashville every night.

Track 3:

[41:52] I love the simplicity of this one. It's quick. You know, what we are is what we lack.

That song was just like, if anything's going to make you think about oneself and what you're portraying and working on, or I don't know, that statement just slapped me.

There's Gord, I think, is faintly doing his own backup singing in this one, if you really crank it in your headphones, and it's fucking awesome, and it was even kind of cute. I just dug it.

The chorus, or maybe it's a verse, I don't know, the la-la-oh-oh-yas, you know, just simple, good rock and roll.

Apparently, he's poking fun at Toby Keith with this song.

Track 1:

[42:41] Oh, did not know that.

Track 3:

[42:42] He was a country music singer who was pro-America, pro-military, pro-goat.

Track 2:

[42:51] He was Tarn and Feather the Dixie Chicks, man. He was one of the guys that went against the grain on that and threw them out to try.

Track 3:

[42:59] Yeah, I also think this is like a song that's, Trying to let artists know that there's more to life than producing a single, you know?

This is a time of this era, fucking Maroon 5, Nickelback, you know?

This is a little bit later Lenny Kravitz, but when Lenny Kravitz is just like glossed up and just everyone knows the chorus, you know?

But nobody has bought the album, maybe. I don't know. I'm not dissing Lenny Kravitz too much.

You can diss Lenny Kravitz. He's his own... Well, he's the institution.

I mean, I saw him play live and he was incredible.

Track 1:

[43:37] I did too. That first record was really good with the cab driver on it.

Track 3:

[43:42] Yep. I saw Blind Melon open for them. Me too!

Track 1:

[43:46] Oh, shit.

Track 3:

[43:47] Dude, okay, just to digress. Blind Melon kicked Lenny and his band's ass.

Like, Blind Melon, they were so good then. You know, they...

Track 2:

[43:59] Yeah, we've had this conversation, Jake.

Track 3:

[44:00] Yeah, so good. So good. So anyways, you know, the song I thought was short and great.

And it's just, it's got some good quick statements. It was, I don't know, it just fit for where it was at and everything. That's about it.

Track 2:

[44:17] Cool. I dug this tune.

Real quick, just to my Lenny Kravitz comment, not dissing the guy, I like the music. I think his daughter is a great actress.

Track 3:

[44:30] Gorgeous.

Track 2:

[44:31] Just never trust a guy who only plays a flying V.

Track 3:

[44:33] Never.

Track 2:

[44:38] It's a fucking red flag, ladies.

Track 3:

[44:40] At the beginning of COVID, he was apparently stuck on his island in the Caribbean, or like a island with just a handful of other people living there.

And he's just like, just living off coconuts and pineapples and avocados, bro.

I was like, fuck you. That sounds perfect.

Yeah, I would have killed for that.

Track 2:

[45:03] Yeah, I dug the song. I thought, I thought this is another one that would have been awesome live. The groove was just fantastic.

There's a line that he delivers that I'm sure you guys all noticed, but I love the the way it's, one is stares into the blur, stares into the glare, stares into the queer.

And it's just fucking, like the way he delivers it, I was like, what is he saying there? And I had to look up the lyrics, cause it was so cool. Cool.

Johnny Faye, literally, I don't know what it is, man. But like, this is when he's around early 2000. He started like getting like destroying crash cymbals.

And I know I pointed out to you guys this week as I was watching the video, like there's a, there's a concert they were playing, maybe it was at the Fillmore where he just broke a fuckingcymbal, because the motherfucker hit it so hard.

And you can see a guy replacing the cymbal like just coming in.

Track 3:

[46:04] He has a drum tech, you know?

Track 2:

[46:06] Oh, yeah, I know. Well, I mean, he's got something to come in and do it.

But like, middle of the song, guy's got to come in and replace the cymbal. I love it.

Track 3:

[46:14] So cool.

Track 2:

[46:14] So cool. This is this song and a number of others to point out at the end of the song, if you're wearing headphones, you can hear a couple drumsticks click.

Mm hmm. Oh, so this is this is one of the many Easter eggs on this record.

Track 3:

[46:31] Yeah, I heard that too at first. I was like, is he hitting the rim?

But it really sounded like sticks.

Track 2:

[46:36] There is one that he does.

Track 3:

[46:37] He does.

Track 1:

[46:38] He's just putting them down, though, right? He's just putting the sticks down kind of thing?

Track 3:

[46:41] I mean, in general, yeah. You hear a little more drum nuggets on this album.

Track 2:

[46:47] But I feel like these songs are like, it's just a signal to like, that was Johnny's song.

Like, all the ones that have those, this is Johnny's song.

Because he just fucking ripped on these ones.

Track 3:

[46:59] Yeah, I feel like when a drummer does that, when a drummer just slaps down the sticks, It's like at the end of a good meal, and you just set your knife and fork down, and you'relike, fuck.

Just nailed it. And drummers do that with drummers that care.

When bands nail it, you can't.

I wish I could produce, because I would love to just yell at musicians, and tell them they're awesome, and tell them they're terrible.

Track 2:

[47:26] Just kidding.

Track 3:

[47:28] Just kidding. But that's that sound. That's like that triumphant sound of just killing it.

Track 1:

[47:34] I win. Yeah, touchdown. We move next to Back, in fact.

Back to New Orleans. This is the second geographical song on the record of three, which is interesting.

But it's also a trip back to New Orleans. And I can't think of many other bands that would have a song as iconic as New Orleans is sinking, which would still be so heavy in the tourrotation and then they release another song with the same name in it.

I know that sounds like really trivial but it's interesting to me.

It's really interesting.

And this is a very different look at New Orleans and a very different sound but I dig this song.

Track 3:

[48:23] Did they play there? Chady?

They played like a small clubs there, right?

Track 1:

[48:29] Yeah, likely. Yeah down in the down in the south.

They weren't you know quite as As big as they were on the west coast and across the border for sure there was yeah They always but they always played like I mean they would do like au.s.

Track 3:

[48:45] Tour that would be like 40 dates probably, you know, like they they were fairly thorough There was some reference it with this one about him him going back to New Orleans withfriends or something, just for vacation.

And I guess maybe in part this is about that visit, because he found places he wanted to go to that were closed, or...

Track 1:

[49:08] Oh, okay. It's post-Katrina?

Track 3:

[49:11] I mean, it's 2004.

Track 2:

[49:11] No, it's pre-Katrina.

Track 1:

[49:13] Yeah.

Track 3:

[49:13] Pre-Katrina.

Track 1:

[49:14] Okay.

Track 3:

[49:16] I thought this, you know, it's probably the most beautiful song on the album. It's just serene.

I don't know, it's love, it's death, it's fading, you know, rashing away the smiles.

It's like, fuck, that's just like storing up in your heart for the future, you know, it's just gorgeous guitar during the chorus. It's just, this is a great one.

Track 2:

[49:39] Yeah, I thought that, I think this probably might be one of the better, if not one of the best hip songs.

And I say that, I don't say that lightly. I think it's a really good song and yeah, JD, I mean, I wrote the notes like, what's the deal with New Orleans? You know, why?

Just the song was beautiful. There's the lead in to it and then throughout the song, Rob Baker's using what I think by that time was probably pretty dialed in.

He was using an Ebo on his guitar, which is like one of those.

You ever seen one of those before? No. I've never been able to use it.

I'm not a good enough guitar player to be able to use it.

Track 1:

[50:27] You stop.

Track 2:

[50:27] No, dude, they're fucking hard to use.

Track 1:

[50:29] Everybody go out and buy the record, Marchika, and the first one is out.

The second one is in production?

Track 2:

[50:39] So the the the ebow is like a light it's like a ultraviolet light on this thing and you hold it over the guitar string and it it vibrates the string so it makes it sound like a violin bow henceebow electric bow. Oh okay I had no idea.

Track 3:

[50:57] Me neither.

Track 2:

[50:58] It's an amazing effect and it's really cool um some guys can pull it off with like volume and sustain but like he's not He's using an EBO on this shit.

And it's fucking, it's just a testament to the, like how talented these guys are. how you can.

Take what we've heard for the first five songs of this record and then bring it to this and just you're like transported to New Orleans and just you just I thought I kept thinking I saw NewOrleans in this and then hearing this song I felt like God I wish I could have heard this live at like Red Rocks.

Track 3:

[51:35] Hell yeah yeah oh man.

Track 2:

[51:39] Clear sky completely pitch black No lights, just drop the lights.

Give me a spotlight on Gordon, nothing else.

And Rob Baker during the EBO, but other than that.

Track 1:

[51:49] **Matt Stauffer** Of course.

Track 3:

[51:51] You have to be on psychedelics to use that thing or what? That sounds difficult.

Track 2:

[51:54] **Robert Walsh** Dude, it's hard.

Track 3:

[51:54] **Matt Stauffer** That sounds, yeah.

Track 2:

[51:56] **Robert Walsh** It looks easy and everybody's like, yeah, it's not easy. It's not easy.

Track 1:

[52:04] **Matt Stauffer** All right, let's go to to You're Everywhere and Reel Our Irish In.

Track 2:

[52:12] The, I dug this song. The fucking melody in this song is just, it's wild.

I dug it. I dug it. It has a cool, it straps you in a little bit, like kind of soft and easy, but it just builds.

I feel like the lyrics to this song are scathing.

I didn't dig much into the meaning. But like reading them, just reading them once, I think when I had listened to it a number of times, I was like, Whoa, whoever or whatever this ismaking reference to is a tense subject.

Track 3:

[53:00] Yeah, so to speak. Gord's angry.

Track 1:

[53:03] Can you guys be more specific?

Track 2:

[53:08] If I'd brought up lyrics, I could've.

Track 3:

[53:10] I mean, on that note, I heard this song and I knew these guys were recording in Seattle and I figure that probably at this point in their career, probably not everything is writtenbefore recording, you know, like ahead of time, weeks or anything.

And I imagine these guys, you know, what are they doing, staying in some hotel in Seattle near this recording studio? And the fucking news during this era is nonstop all the time.

You know, it's just like, bad news all the time about the war and GWB.

And I mean, I wrote, you know, the heaviness of this song, I wrote, we're bombarded by by fear, we were then and now, fear and despair, and then driven out to be sold by hope, tarnishedby soldiers dying, or not having proper access to healthcare, or being addicts, or suicide rates, you know, when vets return from all of our glorious wars, and it's just kind of like the bandfeeling.

That the only way that anyone can attack this kind of corporate war machine that's happening is Is to sing about it, you know produce art about it there's a line in there that it keeps theeconomy alive it's like This song is the fuck that bullshit song, you know, you're everywhere point of the war man smedley butler's War is a racket.

Track 2:

[54:38] Yeah, you haven't read it. It's pretty it's pretty quick read Yeah.

Fuck, yeah, I got a lot of what was going on during this time in this record.

It felt very like, if I closed my eyes and listened to this record and I had no idea when it was made, I would have been like, 2003, 2005, somewhere in there.

And not just because of the music itself, but yeah, because the content of it was just But this is another one that has drumsticks sound, putting down the drumsticks at the end.

So this is another one. Yeah. This is the second song that uses a slide too, so I'm not a big fan of the slide, but It's hard to not enjoy it when it's placed properly.

And a song, if it's done well. So I think this song does a good job.

Track 3:

[55:43] I mean, sometimes there's a time and a place. I don't know. It's more of a historical feature to guitar playing for me.

I can't imagine some new song that would really enjoy that's featuring a slide.

Track 1:

[55:58] Well, that's why I was so strange that Vaccination Scar was the first single.

Especially when Heaven is a Better Place Today is such a banger to open the record.

Yeah, why yeah Don't know. Don't know. I mean it wasn't it wasn't having this place better place today Wasn't a single at all. The singles were vaccination scar.

It can't be Nashville every night and then Gus Was the third single which is like pretty ambitious for a band to release that as a, single Yeah are gonna get that. That's right, that's right. Sothey're well past giving a fuck about trying to use singles to bring people in. Yeah, yeah.

Track 3:

[56:46] Which, how wonderful.

Track 1:

[56:48] How wonderful, right?

Track 3:

[56:49] How wonderful.

Track 1:

[56:50] They're just doing it for art's sake.

Track 2:

[56:51] Freeing.

Track 1:

[56:53] Yeah.

Track 3:

[56:54] I mean, I have a close cousin of mine who plays in a band here in Portland, I'll give him a quick plug, 40 feet tall.

And they're super fun. And they just hit it so hard and they have a few total fuck it songs and they do covers every once in a while.

They're courageous in their art, which I love, but it's one of those things also that not everybody gets.

Sometimes I think maybe the hip missed some listeners in the USA because fucking half Half the countries are dipshits.

Track 2:

[57:35] You know what, and Tim, I don't disagree with you on there too, but I will say one thing too, just being from America and now not living there, and I know you've lived in Russiafor for some time too, Tim, but.

I think the difference with Russia and the United States, and this is somebody who hasn't lived in Russia, but there's somebody who's also lived outside the United States.

I think America is the most, probably the most propagandized country in the world that doesn't know it's being propagandized.

Like at least in Russia, you're like, yeah, this is all bullshit, but we just kind of go along with it anyway. The United States, like people actually believe like when they watch like FoxNews or MSNBC, They actually believe the shit they're seeing on TV.

And so when I think about, like both the left and the right, when I think about a band like this, I think like Americans attention span is like that of a fucking housefly.

They couldn't appreciate this fucking band if they had a gun to their head.

Could be. Most couldn't, dude. They just couldn't.

Track 3:

[58:42] Could be.

Track 2:

[58:42] It's just like, and so I think the hip probably just got like, fucking, why are we going to waste our time on these fucking dickheads this was like i said this was a fucking era ofmaroon five and britney spears you know yeah i mean jenny do you have to put explicit lyrics or explicit content on all of these because i just realize i'm dropping a few f-bombs oh yeahyeah okay okay yeah it's and on the old podcast on fully and completely we got a few comments that we swore too much oh really yeah yeah Yeah, Greg and I were like, oh, what thefuck.

It was Sam Elliott, and he was drinking a beer, and he was like, do you have to swear so much, dude?

Track 3:

[59:23] It was all the Toby Keith fans who were like, yeah, I still don't like the hip.

Track 1:

[59:29] Well, we move next into a real banger, coming out of that moody section with New Orleans is beat and you're everywhere.

And we go into as makeshift as you are, or as makeshift as we are.

What did you vibe on that one, Pete?

Track 2:

[59:49] So this song comes on right when I put the quarters into the pool table and I push the slide in and those balls drop and I'm just racking it up.

Racking up a game of pool. That's what this song is for me.

Track 3:

[1:00:06] That's fucking beautiful.

Track 2:

[1:00:08] Popping a cold Coors Light.

There's some really low tone. This is another song and this record really opened up my eyes because I feel like I've been a bit of a fucking Rob Baker fanboy. I'll cop to that.

Track 1:

[1:00:26] No.

Track 2:

[1:00:27] Last couple of pods, but Paul Langlois is a fucking solid guitar player, dude.

You don't notice it unless you look to it. As a matter of fact, one of the things I was thinking of on this song...

And also this week and I was watching some live hit videos and I challenge anybody in the community to do this.

Listen to a song or and or watch a live recording a live, you know, performance.

Watch it five times and each time focus on the instrument of the person you're focusing on and listen to them play their instrument.

It is fucking cool. And I did that a number of times with Paul Aigloire.

I've done it many times with Rob Baker more than I care to admit.

Track 3:

[1:01:25] But no, Paul- Are you having dreams about him?

Track 2:

[1:01:29] No, no, no, I'm making wisecracks. But it's easy to, it's easy to, the focus to just go right to gourd when the chorus hits or he does some fucking amazing shit.

But if you really focus on the individual instruments, you will see how fucking polished these musicians are.

Track 3:

[1:01:48] Yeah, super pro.

Track 2:

[1:01:49] And then one line that stuck out to me, I love the bridge in the song.

I love the harmonies when they all come in together because it feels like the whole band singing.

As Gord says, let's shake some snow off his shoulders. And I fucking love that line.

And there's a rimshot drum hit at the end of the song. So this is the last one where you can hear the drums at the end of the song. Just a little...

That's cool. That's cool fucking love it.

Track 3:

[1:02:24] Yeah, I dug how Gord just stepped up again his kind of octave, you know, like at the two-minute mark he, I Don't know this up this song I thought like my wife and my kid needto leave the house so I can just completely Crank it cuz this one like could crack the plaster in the walls of my own You know, it's just it's a shaker.

It's ultimately, I thought like this was a It's a song about how we're all different but the same, you know?

It's not necessarily a, well it's kind of a, can we all get along?

But it's like, let's really look and see each other work together.

This is, there's themes, it's amazing in this album, there are themes that progress through it, which is fucking cool.

Like not many, to me, not many artists actually do that unless, you know, you're Morrissey and you're singing about being depressed every single goddamn song.

But yeah, this song could crack walls. It's loaded. It's awesome in the car, a total sing-along.

This one, I don't know, it fit really well with the placement of all the tracks.

It just works. It's good.

Track 1:

[1:03:40] What do you guys think it means when he says lead never leaves your system no matter who you are That we're all fucking human.

Track 3:

[1:03:47] That's what I think like, right, you know, like and also Also, you know, mind your words, mind your actions. You know, that's kind of what it means to me.

Track 2:

[1:04:01] JD, I don't know, I mean it's 2004 so there's no references to Flint, Michigan, but I have a feeling Gord would have had some shit to say about that, had he done it.

Track 1:

[1:04:13] Oh boy, than he ever. Yeah, he would have been down there with Michael Moore for sure.

Track 3:

[1:04:17] He'd have raised a billion dollars for that system that still isn't fixed.

Track 1:

[1:04:20] Yeah. Fucking bitches. in Northern Canada that don't have water, that don't have potable water.

Like indigenous communities that don't have water. Like, are you kidding me?

Track 2:

[1:04:34] Yeah, but not to one-up you, Canada, but did your prime minister go to those towns and drink a glass of water and say, it's delicious? No.

Because ours did. Thanks, Obama.

That was such a shit stunt, man. They still got dirty water there, man. Poor fucking people.

Track 1:

[1:04:56] All right. Mean Streak. This is one of the longer songs on the record, up 4.10. Yeah.

Track 3:

[1:05:01] Yeah. I thought this was kind of, I mean, contextually it's maybe, conceptually, I should say, it's maybe about like the old west and, you know, raping and pillaging land and thosekinds of themes that we've become accustomed with the hit.

Let's see what was one of the lyrics. The way the dust clings to the air after the stranger has been here. I mean that's that's so ominous or something.

That's just such a heavy, heavy line.

There's this really nice kind of lazy, lovely, lazy lead guitar happening.

What else did I have on this one? The drum and the bass together, which often is super.

I don't know, this one made me hear, made me notice that drums and bass guitar throughout this album are just a little bit, they're like, we went from a V8 to a 12 or something, Like wejust went bigger, so I love that.

[1:06:14] I also heard in this one a little bit of Pearl Jam. Like there's some kind of Pearl Jam sound happening here, which doesn't by any means bother me.

And this was, you know, big beginning of big, or no, we're into the Pearl Jam era at this point. Well into it.

And then we get like two minutes of Gord kind of singing in the shadows, but we get like two minutes of music in the final part of the song.

And I love when they do that. I love that they could throw a track in an album where their confidence level is like so easily attained that they just can play two minutes of a song withoutmuch lyrics going on and just end it.

End it. I dig that when they get to that point.

Track 1:

[1:07:05] Yeah, it's nice that the band gets to showcase themselves as well, because this is a band that, unless I'm mistaken, I don't think there's any instrumentals, like ever on any of therecords.

This is a band that I would totally listen to an instrumental track, you know?

Track 3:

[1:07:23] Yeah, yeah, big time.

Track 2:

[1:07:26] What do you think of Mean Street? No, I think you're rigged in terms of instrumentals.

I don't think there is and I would fucking absolutely.

I mean, I dug it, I kind of got a little bit of Western vibe to it, certainly ominous.

The song builds musically, and this is another one where it's like a testament to the quality of musicians because I think the song itself like chord structures and even like if you just listento the words and you don't think about what they mean can be a bit monotonous But because the band is so good and they just know how to build a fucking song like a.

Track 3:

[1:08:16] Fucking architects.

Track 2:

[1:08:17] Yeah, did you ever play Legos when you were a kid? Yeah. Yeah, they had fucking Legos, right?

Whatever. And, you know, there were some Lego sets that were fucking easy as shit and there were other ones like, I remember I had the Monorail when I was a kid and that shit wasfucking hard to build if you were like seven.

It wasn't easy, it took some time.

But these guys, I feel like whatever song they're going to build, they just take it out of the fucking box and they put it together.

They got the directions, they know, they don't even need the directions, they just build it. And this is a fucking, yeah, this is a great tune.

I don't have much more to say about this one, I echo what Tim said.

Track 1:

[1:08:56] Let's move on to the heart of the melt.

Track 3:

[1:08:58] Hey, let's take two, I got a bio break happening. A little bio break? Yeah.

Track 2:

[1:09:03] Alright.

Track 3:

[1:09:05] Bio?

Track 1:

[1:09:06] I'm like, bio, biology. Just gotta take a pee-pee.

Track 2:

[1:09:10] I'm gonna do the same.

Track 1:

[1:09:11] Alright, I'll see you in a minute. I'm gonna do the same.

I'll see you guys all this can't keep up with your young man, Perth break All right, see you guys in two.

What pavement shirt you got on there, buddy?

Track 2:

[1:10:32] Oh yeah.

Track 1:

[1:10:33] Which one have you got?

Track 2:

[1:10:35] That's the slow century one I got at the show in Copenhagen.

Track 1:

[1:10:40] One night in Copenhagen?

Track 2:

[1:10:42] Yeah, we're getting there. We're almost there. Next song. Oh, man. I am beat, dude.

I fucking, oh, I'm not looking forward to this week, man. I'm telling you.

Track 1:

[1:10:55] This is recording week? No, next week is recording week.

Track 2:

[1:10:58] Next week, but I'm preparing. East is going to Ibiza on Wednesday.

Friday morning and Friday day, midday, I'm driving to Puerto Blanco to work.

So, I'm going to go to Ibiza. on Wednesday, Friday morning and Friday day, midday I'm driving to Puerto Blanco to work the weekend, Sunday I have to drive out to Sevilla which is likea three-hour drive after the two and a half hour drive on fucking Friday and then we're gonna be there all week and just like oh.

Oh, is what it is, man is what it is, but is what it is.

Yeah, and I'm just trying to, I've been trying to record some just last minute demos to make sure everything is.

Track 1:

[1:11:42] Are you happy?

Track 2:

[1:11:42] Are you clear?

Track 1:

[1:11:43] Are you happy with what you got to to lay down?

Track 2:

[1:11:46] Um, I wouldn't say that. No, I'm not. All right. You know, I guess we'll see. I don't feel branches.

I don't feel I feel super confident. Oh, look at you, Tim. Nice of you to bring something for everybody else.

Track 1:

[1:12:00] Yeah, thanks. I'd like a mimosa. Yeah. Like a mimosa, Mr. Leiden.

Little pancake action?

Track 3:

[1:12:10] Pancakes with some peanut butter and some kind of maple syrup made in Memphis. Just kidding.

Track 1:

[1:12:18] Memphis maple syrup?

Track 3:

[1:12:19] Just kidding. Come on.

Track 1:

[1:12:20] Okay.

Track 2:

[1:12:26] JD's like, what are you talking about, man?

Track 1:

[1:12:28] Well, I'm not big on Canadian maple syrup, blah, blah, blah.

Track 2:

[1:12:30] Oh, you have to be.

Track 3:

[1:12:32] Oh, dude.

Track 2:

[1:12:33] We are. Yeah, okay.

Track 1:

[1:12:35] Fuck yeah, dude.

Track 2:

[1:12:36] You know what a small bottle of... Go ahead, sorry.

Track 1:

[1:12:39] I prefer table syrup to maple syrup.

Track 3:

[1:12:41] Boo!

Track 1:

[1:12:42] Aunt Jemima. Yeah, isn't that funny? My wife just cringes. She cringes.

The Canadian cringe? That she has to buy that shit. Yeah. Anyway, sure.

Track 2:

[1:12:50] You know what a bottle of maple syrup... Like a bottle like this big of maple syrup goes for in Spain?

Track 3:

[1:12:58] 12 euros.

Track 2:

[1:13:00] Try like, you know, 15, 16. Ooh!

Track 1:

[1:13:02] Really?

Track 2:

[1:13:05] Oh, yeah, like legit Canadian maple syrup.

Track 1:

[1:13:07] Wow.

Track 2:

[1:13:08] I should have known that to bring you to bring you some No, I mean bring me a case and go sell it dude.

Track 3:

[1:13:15] Let's let's let's container over some barrels That's what I'm thinking fucking bottle it there There you go cheaper labor in Spain The capitalists in them comes out Yeah, exactly.

Yeah.

Track 1:

[1:13:36] All right, let's jump back in.

Yeah, we gotta jump back in. The Heart of the Melt.

Track 2:

[1:13:43] The Heart of the Melt.

Track 1:

[1:13:46] Strange title. Yeah.

Track 3:

[1:13:49] I mean, love song, you know? It's not about a heart.

Track 2:

[1:13:55] This is a, no, it's a patty melt?

Track 3:

[1:14:01] Tuna melt?

Track 1:

[1:14:02] Moons over my hammy.

Track 2:

[1:14:04] I feel like this song, this song really the guitar, the the record turned super guitar heavy.

Once this song like hits, like it just it just shifts the record.

There's I mean, a complete Neil. If you don't hear the opening of Keep Keep on Rocking in the Free World and you're fucking high, which could very well be. I mean you guys are inCanada.

Track 3:

[1:14:32] Well, I think two out of three today at least Yeah, oh, I don't know definitely Um, there's maybe we're three for three today. I don't know. I don't want to fold it.

Track 2:

[1:14:45] No, I wish. Okay, I wish this.

Yeah, this song is is just turns really heavy. I fucking love it.

Track 1:

[1:14:55] Almost punky almost right? Like it's almost like the vocal melody is really crunchy.

You're right. It's got that Neil Young. Keep on rocking the free world going.

Yeah, it's and then that reference to Joni Mitchell in there. Yeah. I love that. Yeah.

Track 2:

[1:15:17] Yeah, there's some time signature changes constantly with the drums and just Johnny Faye, just fucking, I feel like there's a lot of him on this record, like more than other records,like where he just is like, hey guys, I'm gonna do my thing.

And they're like, okay, because it just, he takes the reins on this song.

Just just in terms of the drums and like how everything changes.

I think it's fucking cool and it sounds easy, it sounds cool, it sounds fun, but it's not fucking easy man.

A lot of people can pull that shit off, but he does it really fucking well, so yeah I dug it man. What about you Tim?

Track 3:

[1:15:59] I mean, I dug it too. This is like, uh, just sitting here talking through it and...

I don't know, this is a song that I guess maybe an album that would just be easy to hang out and listen to.

I mean, I just want to put this album on and be in kind of that era and have people over, you know?

This is one of those albums that if I could have had it in this time and place, it would have been something I would have been playing start to finish as an album during these times, youknow, I wish I would have had it.

This this song, though, the the line, the dorsal fin, you cannot swim for a guy who spent a lot of time in the ocean and had some run in with not a shark.

But whole nother story for another podcast, large salmon.

No, like that's I love that line. The door is a great line. Dorsal fin, you cannot swim. I mean, that's just he's got a thing with sharks, right? Yeah, yeah, yeah.

Track 1:

[1:17:01] The song called Sharks.

Track 3:

[1:17:02] Lots of animals.

Track 1:

[1:17:04] In the Dark Canuck, he talks about Jaws, you know?

Track 3:

[1:17:09] There's this massive guitar, like, Pete, the last 30 seconds, the guitar is just...

Track 2:

[1:17:15] Yeah, this song, it changes the vibe of the record, I think. Yeah, yeah.

Track 3:

[1:17:19] What the fuck am I doing here? But in its place, in the track order, again, you know, I kind of look at albums like chapters of a book.

It's fucking awesome. I mean, it just fits.

And I thought like this one live, if that last 30 seconds of guitar could just fuzz out and go to 45 seconds or what have you, like if that could just be drizzled a little bit longer, it'd be good.

I mean, that was a fun song. I don't, I mean, thematically, conceptually, I don't know, some Joni Mitchell references, I guess, in there from what I read, but I just felt like it was some kindof love song and just left it there.

Cool. Yeah. One night in Copenhagen. Yeah.

Track 1:

[1:18:07] When the drugs hit you. Yeah.

Track 3:

[1:18:09] So, I mean, I know Pete was in Copenhagen the past year, right?

Was that your first time there?

Track 2:

[1:18:17] It was. It was my first time there.

Track 3:

[1:18:19] Okay. Yeah.

Track 2:

[1:18:19] Yeah.

Track 3:

[1:18:20] So, I almost bought tickets to the same show Pete went to in Copenhagen.

I remember. What month was that? What month was it?

Track 2:

[1:18:27] It was right before Halloween, I think. Okay.

Track 1:

[1:18:30] It was in October.

Track 3:

[1:18:31] Yeah.

Track 2:

[1:18:32] Yeah.

Track 1:

[1:18:33] Yeah, because it was after I saw them in the UK.

Track 3:

[1:18:36] Yeah. I'm curious to find out more, but I know Copenhagen's pretty liberal city and fast forward thinking and sustainability kind of off the charts, just great sounding city, country.It's weird, man.

Track 2:

[1:18:53] It's weird, like, dude, living here, man, it's so funny because I feel like The more like liberal and sustainable a city is, they are, and then you like look and then you'll see somethingand be like, well, what the fuck is that?

That's like crazy fascist right wing fucking 1945 shit right there, because like you'll see little.

You experienced that in Copenhagen?

Oh, I did experience it in Copenhagen. I experienced it in Spain here.

Track 3:

[1:19:24] Yeah.

Track 2:

[1:19:26] Spain is super liberal in so many things and like other things are just like, dude, I thought Franco was dead.

Like, you're like, I mean, it's just weird, like, yeah, I feel like the more a country is like balanced, you're like, yeah, it's liberal, it's conservative, then you're just like, everything's kind ofthe same.

But when something's like, one way towards the other, then whatever the, the outlying thing is, will be equally as extreme.

I don't know if that makes sense, but I saw that a couple times in Copenhagen I was like this is this is like a liberal bastion. I love it, and then I wanted to do things.

Track 3:

[1:20:04] I was like whoa That really stands out Well during this era Specifically the I don't know if it still exists, but there apparently there's a neighborhood in Copenhagen.

That's Christian, you know, okay That's known for the weed the fucking weed Yeah, okay good good I wonder that's the reference in the song like when the drugs hit you the thing yeahYeah, I hope so.

That's what I imagined, you know there's a reference here to the deers fluorescent and When I heard that I didn't even know what Gord had said and had to you know later stop and lookthis one up and look it up and look it up and look it up and it was like what the fuck how did he pick this up or even consider it?

Track 1:

[1:20:58] What did you discover?

Track 3:

[1:20:59] Well, it's, I couldn't get into it, because.

Was going to take much more time in Nerddom, and I didn't put that in.

But it's basically, from what I deduced, a wavelength measurement of fluorescence. Oh, wow.

So I think his reference in Nadir's Fluorescent is the idea of being on stage or the, you know, being under the lights.

That's the only thing I could pick up there. But then there's this lyric, which took me to another place, which often happens with their songs.

The shriek of a gull suspended in air, the sound of the town, anywhere, anywhere.

And JD and I were in Porto, Portugal, last, let's see, 20, what, what, give me the time frame, JD.

June of, yeah, June of 22. Yeah. Or 21. 22. 22.

And one night while we were there, we were kind of in north of Porto, Portugal, and one night, late in the night, there was this fucking fireworks show out of nowhere. I think a club lit offfireworks.

Track 1:

[1:22:07] That's right.

Track 3:

[1:22:09] And the gulls, all the seagulls, I mean, we're on the coast.

How many seagulls? I don't know. 6,000? Many.

But the gulls flipped out and screamed for like 20 minutes after the fireworks ended. It was so surreal and weird.

It just took me back to that night, you know, laying in bed.

Track 1:

[1:22:29] That's cool.

Track 3:

[1:22:29] It's going out with the birds. Yeah, that's the kind of epic gift of The Hip is they can take you places. And this song took me to Copenhagen.

I have a friend living there who I worked with in Russia, who I haven't really connected with, but she's like, you gotta come here.

And I knew Pete had gone to a show there because I looked into flights to fucking go more into debt to follow that damn band, Pavement.

But didn't pull the trigger i was really close so so i was like ah copenhagen this this the shriek of the goal i mean this, It's just an amazing tune. It just kind of took me all over. It was great.

Track 2:

[1:23:11] Yeah, it's a fucking cool tune. I'll have to tell you, I mean, I don't think we have time for it, so we'll save it for another time, but I'll tell you my Christiania story, FreetownChristiania story next episode. So stay tuned. Oh, yeah.

No, it's it's a it's interesting.

Copenhagen is an interesting town. I really dug it.

Track 3:

[1:23:37] Maybe we maybe we do a special episode JD will just special bonus episode just talk about how how he got way too high one night and freaked out.

Track 2:

[1:23:48] Well, it's so that that whole town I'll tell you real quick.

I won't even give you I'm not gonna give you the story of what happen there.

But I think that the Deere's fluorescent may be just a reference to something in Freetown there.

It's an artist colony.

[1:24:12] Picture Laguna Beach, which you know, Tim, all every art gallery, but like, not fancy, not Ferraris and BMWs driving around just like total hippies from the 60s and 70s.

Not safe. A lot of drugs. Yeah. And not to diss it, but it's like it's not people think of it as like this.

You know what people think of when they're bright eyed and bushy tailed to move to San Francisco and I get there and I'm just like oh fuck this is not like it was in the storybooks.

It's the real world and anyway there's a lot of like...

Funky fluorescent art galleries there so that's right okay cool I digress yeah well I'll tell you that Freetown story soon but subscribe to the bonus feed everybody we'll each do an episodeabout some city we were in and something happened, are we family?

Track 3:

[1:25:22] Are we family? I mean, come on, this, this song, it's, it's, it's a heavy one, you know, it's like, after I heard it, it was, it was a time and place song.

And that means for me, like, probably only going to listen to it if I can sit down and have dedicated time to it, or it's just way in the background.

It's just not something like this one comes on the radio, and I'm not ready for it, I literally would go to something else.

Not because I don't like it, but I think it's just heavy material.

It's family strife, it's struggles of cohabitating, and it's also like fucking racism.

There's some reference here to a British Columbia teenager, Rina Virk, who was basically beaten to death by students in B.C.

[1:26:16] Yeah, this song's fucking loaded.

Her story to be embedded into this, it's just kind of this sad tune.

It sounds a little bit hopeless. It sounds like there's fucking great clouds that moved in.

It's doomful, you know? But then the last minute of the song, it kind of comes together and it feels like love can still win or be triumphant, there was a lot of feelings for me in this song.

It almost felt like in that last minute also, I don't know if it's the guitars or what, but it felt like a horn section could have come in and just pronounced that this song is about life and beingkind to everybody, no matter what.

And I just like, I don't know, this is like a, come on, people!

After watching the new song, you know, it's like, fuck.

Still dealing with social issues with our not real evolution in this life.

That's kind of where I went. Wah! Heavy!

Track 2:

[1:27:28] Yeah, it's a heavy tune. I mean, the opening lick is fucking, pfft, pfft.

I get some heavy Pearl Jam vibes from this tune. Sure. You know, I could say so much about the tune.

It's a beautiful tune. If you haven't heard it, go fucking listen to it.

I mean, I'm not gonna wax poetically as I so often do on, on like.

The musicality of it and all that shit. Just what this song made me feel and think.

Gord's phrasing was beautiful. It was fucking amazing.

And I think he's a genius. But then I also started to think, I was like, you know what? Everybody's a genius.

Even the most horrible person in the world is a genius.

And I really truly mean that. Like, think of the person that you fucking hate the most. And they're a genius.

Einstein had a great quote that said, everybody's a genius, but if you ask a fish to climb a tree, it will always feel stupid.

[1:28:39] And bringing it back to this song is, thankfully, I think everybody, I probably butchered that quote, by the way, it's not verbatim, but it's a great quote.

You know, Gord, thankfully for everybody in Canada and everybody listening is that we were able to like have the genius of this band, primarily right here, Gord Downie, recordedbecause you can see the progression over time, because I feel like this song is just like So fucking, how did this come to be created, this fucking song?

And with the title, Are We Family, towards the end, Gord Sinclair comes in with some really super sweet bass.

I feel like every member of the band gets kind of a moment to shine in this song.

They have like a little part where their instrument or their voice or their, however their contribution is, is a little bit higher volume than everybody else. And it's fucking cool. beautifulsong.

Anyway, that's what I got to say about Are We Family.

Track 3:

[1:29:47] Agreed, agreed.

Track 1:

[1:29:49] All right. Well, then we wrap up the record with Goodnight Josephine.

Track 2:

[1:30:01] Goodnight Josephine. I really like this song. I thought the na na na na na's were way out of character for the band, but it was cool and fitting.

It was sad.

I was a little, I was a little partial here to the guitars and kind of the way they helped build the song, because I feel like.

And you guys know, I really dig the guitars mostly in this band because I play guitar and I pay attention to those just by default, sometimes more than other things.

But at some point, the song is just running along beautifully.

And then Rob Baker comes in and just fucking pushes everybody out of the way.

He kind of steps on it. Yeah, he does.

I don't think in a bad way, but he just comes in, he's like, He's like, hey, motherfuckers, like maybe he walks in the studio drunk or he's like, time for my solo, man. He just does it. I don'tmean disrespect. He just does it.

Track 3:

[1:31:13] It's totally true, though. And I think maybe it's what helped steer this song into being a fade out song, you know?

Honestly, this song could have, you know, half, two thirds way through, it just could have been different. And it's a fade out song.

This is like another song where I can hear horns, but they're not there. You know, I don't know.

I, I really kind of have this, uh, yearning to produce an album and be around.

And I wish I could sit in on hip recordings, like one or two times per albums and just give a nugget, you know, it would be, that would be like a dream job for me, but next week, man.

Track 2:

[1:32:00] Poke your plate.

Track 3:

[1:32:01] We need a producer. We need a live fundraiser happening, starting now.

Anyways, I thought this was a great ender. I don't know what it's about, or who it's about, or what it might be. It might be just...

It's some song about Josephine. There's so many Josephines in history.

There's many historical Josephine characters, I think. I don't know.

Who knows what was going on in Gordon?

Track 2:

[1:32:28] Probably was good live, man.

Track 3:

[1:32:29] Yeah.

Track 2:

[1:32:30] I bet.

Track 1:

[1:32:30] He really pushes the vocals in this song. Yeah. Near the end when he's like, good night, good night.

Track 3:

[1:32:36] Yeah.

Track 1:

[1:32:37] You know, like just so great.

Track 3:

[1:32:39] It was, to me, it was a good conclusion to an album that I was happy to enjoy the listening process through, you know, the, not to beat it up more, but in Violet Light, like I respectthe art of it and everything that it is, but listening to In Between Evolution, this is one of the hip albums for me where I was like, whew, good.

For what I seek, yearn from the hip, this is kind of that DNA, that makeup of tracks to comprise an album.

It was a good one for me. It was a pretty fun listen. And maybe, I don't know, maybe, I hate to say it, because we haven't listened to them all, but maybe one of my favorites so far, album-wise.

I had fun with this one. I listened to it, probably the most of all the ones we've listened to yet.

Maybe we're coming out, I mean, this is not aired during winter, but maybe it's part of coming out of winter in fucking Portland, Oregon.

I don't know. Summer, a song about summer, you know, it's just lots of great themes in this album and just, it was good.

Track 1:

[1:33:55] I feel like it really, with Goodnight Josephine, it really leaves you on a good footing for the next record.

The sequencing of this record is really good. And Goodnight Josephine is a perfect last song to just sort of set you up and go, okay, we're going to be back in two more years.

I don't think they were back in two years. I think the next record came out three years later, which was their first sort of deviation from the two two-year mark.

I might be wrong, but it just leaves you feeling great. Just great. I love it.

Track 3:

[1:34:39] I'm bummed you didn't see this tour, J.D.

Track 1:

[1:34:42] Me too.

Track 3:

[1:34:43] I'm slapping you a little bit for that. I'm curious.

Track 1:

[1:34:46] And your slap is a gift, my friend.

Track 3:

[1:34:48] I'm just curious to know if there's a story there or not or what.

Track 2:

[1:34:53] Well done, J.D. Yeah. Yeah.

Track 1:

[1:34:54] Well done. Yeah.

Track 3:

[1:34:56] I didn't say where I was slapping you.

Track 1:

[1:35:00] Wow, either way it's GIF. Now the hard part!

Your mvp track for your playlists and i've decided i've decided i'll edit this part out but i've decided that when you guys uh have your playlists you guys have to sequence them as wellfuck like because you otherwise it's just going to be in order and it's going to go the first ep like to like it'll it'll sound so weird to start with the first ep and end with man machine poemyou know like i think you guys should have to yeah put a little bit of put a put a little bit of scratch into them.

Track 3:

[1:35:34] All right, we can take a go at that.

Track 1:

[1:35:36] That sounds fun. Yeah, so your MVP track for this record that'll go on the playlist, Timmy on a Lemmy.

Track 3:

[1:35:45] Pete, how about I guess yours and you guess mine? Do you wanna play that game?

Track 2:

[1:35:49] Yeah, totally, I'll play that game.

Track 3:

[1:35:51] I think you're all about Gus.

Track 2:

[1:35:53] You fucker. And you're all about Summer Is Killin' Us.

Track 3:

[1:35:59] Yeah, bro, of course. August birthday, of course, Summer's Killing Us.

Oh, that's so fantastic.

Track 2:

[1:36:06] That was too easy. That was too easy.

Track 3:

[1:36:08] Too easy. I mean, there's some other good ones here, of course.

Track 2:

[1:36:11] Totally.

Track 3:

[1:36:12] I really liked You're Everywhere. Mean Streak, I listened to for something that's more serene. I don't know.

I listened to that one two times. There's a couple of songs on this one I listened to twice in a row. And I'm starting to do that with these albums where I get to a song and it finishes and I goright back and hear it again on first listen.

Track 1:

[1:36:34] Wow.

Track 3:

[1:36:34] Yeah. But then One Night in Copenhagen was that too. I really dug that song, so.

There are some good ones here for me. I was. There's some good ones for sure.

Yeah, I didn't even microdose that week while listening, so here we are.

Track 1:

[1:36:48] You macrodosed. No. You hit the whole goddamn mushroom.

Track 3:

[1:36:54] The whole bag.

Track 1:

[1:36:56] Oh man. I wish I was there.

Track 3:

[1:37:00] They're legal here, so here we are.

Track 1:

[1:37:03] That's what we got for you this week. Hope you enjoyed yourself.

As always, it's my pleasure to be joined by you two. You guys are doing a great job with this.

I'm envious that you're getting to hear these songs for the first time.

But through you, I'm getting to hear them for the first time again, and that's really rewarding for me. So thanks so much, guys.

Track 3:

[1:37:26] Yeah, I just wish we could Play a whole album loudly somewhere and drink beers and hang out, you know, we're due for that.

Track 2:

[1:37:34] I have a feeling it's gonna happen Let's do it Yeah, hear that from from Timmy's mouth to God's ears All right, boys.

Track 1:

[1:37:45] We'll talk to you next week.

Track 3:

[1:37:46] Thanks for your day fellas.

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