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New Sounds: The Tragically Hip
Eden Munro / <!-- e --><a href="mailto:eden@vueweekly.com">eden@vueweekly.com</a><!-- e -->

The Tragically Hip
We Are the Same
(Universal)

The Tragically Hip lost me years ago now. It’s not that I hated them or anything—it’s more like a sense of stagnation had settled over the band as lyrics became a mix of cutting and cryptic and the music and melodies carried along steadily but unsurprisingly for the most part. Oh, there were some pleasant surprises along the way, but just not enough of them to count myself among the masses who hail the band’s work. And We Are the Same isn’t going to change my mind, though there are enough interesting bits scattered throughout the album to make it worth spending time with the band’s second Bob Rock-produced effort. I don’t want to be a Rock hater here, but his bombastic style just seems out of place on these songs. Still, there’s enough here that it even makes me want to go back and check out the last couple of albums that I let slip by over the past few years.

groundcontrolmag.com

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ARTIST: The Tragically Hip - [Album]
DATE: 04-06-09
REVIEW BY: Bill Adams
ALBUM: We Are The Same
LABEL: Universal

There's no arguing that The Tragically Hip have remained Canada's most enduring musical export since Up To Here launched the group to the top of the rock pile in 1989, but it would be hard to contend that the band hasn't made some questionable artistic turns in the years since. After the lights went out and the cord was cut on the Phantom Power album cycle in 1999, The Hip knocked their fan base squarely on its ass with the pop-infused Music At Work and put all bets off in the process. Each following record found the band trying to expand its reach and sound with consistently mixed results (In Violent Light was more textural in tone, for example, while World Container was remarkably slick) and while those albums always found an audience, the excitement shifted to fans waiting on the edge of their seats to see if the band could live up to their reputation with each new album – thus validating it and letting the fans rest secure in the fact that they weren't wrong and The Hip was still the best band they'd ever heard. Operating under that theory, with We Are The Same will come the single best and greatest validation the band will have earned in a decade; it is the dictionary definition of a comeback for a band that has never really suffered a letdown.

It isn't as if The Hip are trying to recapture old glories or make a play for the nostalgia-craving casino crowd with We Are The Same though. That would be lame and basically ensure a cessation of growth in their fan base. Rather, the album plays like the aural act of the band flipping the breakers and re-firing the circuits; it is the sound of them coming back into their own. Operating under that assumption, it makes sense that the album would start slowly with a Neil Young-ian anthem like “Morning Moon” that, with it's classically etched acoustic build and gang harmonic vocals, implies The Tragically Hip have finally found a way to age gracefully. Gord Downie moves back to a lyrical delivery that favors poetry over pop and the band shoots for beauty over rock and nails the mark dead in both cases. With that initial assertion made, the band proves they could play the elder statesmen role through songs like “The Last Recluse” and “Now The Struggle Has A Name” but, after they make that point, their ambition continues to build through “The Exact Feeling” and landmark sighting of “Queen Of The Furrows.” With each successive track, The Hip's engine gets warmer and cooks the dust off of cylinders that have long been left unused and they start to glow a little with the effort. For older fans, the old excitement begins to build because they recognize that their heroes are heading back onto ground where the signs and monuments look familiar. It's almost too good to be true.

By the time the band reaches “Frozen In My Tracks,” The Tragically Hip have arrived – again. That is to say, they've been at this juncture before, but this is the first time in ages. “Frozen In My Tracks” reclaims the lean, poetic and theatrical urgency of The Hip in their prime (think Fully Completely) and illustrates that, like a beloved old work coat locked and forgotten for years in the trunk of a car, the sound still fits and still cuts a striking image. “Love Is A First” clinches the deal and will send fans into a dizzy state of euphoria as Downie starts chattering like the manic street preacher fans know and love and the band stampedes through behind him with trademark, incendiary licks into “Country Day” which gets over on old school vibes in spite of being bloated by the string section supplied by Bob Rock. In the last quarter of the album's run-time, The Hip make it work in the best possible way and there isn't a single fan that won't recognize it and appreciate it.

Will they stay though? That question has plagued fans of The Tragically Hip for a decade but, for the first time in years, the answer actually feels like it might be affirmative because the thematic movement in these dozen tracks implies that to be the plan. Realistically, all fans can do is hope, but the promise is here and a return to form seems imminent.

That dude is clearly hearing the same CD I have, and it sounds like he is a fan.

NegPhil Wrote:like “Morning Moon” that, with it's classically etched acoustic build and gang harmonic vocals, implies The Tragically Hip have finally found a way to age gracefully. Gord Downie moves back to a lyrical delivery that favors poetry over pop and the band shoots for beauty over rock and nails the mark dead in both cases. With that initial assertion made, the band proves they could play the elder statesmen role through songs like “The Last Recluse” and “Now The Struggle Has A Name” but, after they make that point, their ambition continues to build through “The Exact Feeling” and landmark sighting of “Queen Of The Furrows.” With each successive track, The Hip's engine gets warmer and cooks the dust off of cylinders that have long been left unused and they start to glow a little with the effort. For older fans, the old excitement begins to build because they recognize that their heroes are heading back onto ground where the signs and monuments look familiar. It's almost too good to be true.

By the time the band reaches “Frozen In My Tracks,” The Tragically Hip have arrived – again. That is to say, they've been at this juncture before,

That is probably the best description one can give this album. When I first listened to the entire CD, this was my exact feeling. About half way through it makes an upshift and really kicks in to one fantastic album. I do like the entire CD, but I do believe the second half is the best.

www.cokemachineglow.com Wrote:The Tragically Hip

We Are the Same
(Universal/Zoe Records; 2009)

Rating: 42%
Combined Rating: 44%

We here at CMG generally have nothing but love for Canuck living legends the Tragically Hip, right down to the inspiration behind our name. They’re defiantly old-school, a quintet of not-particularly-attractive middle-aged men who built their success on a feverish touring regimen and a succession of good-to-great albums. At the least, a quality rock and roll band with a relatively spotless discography. But don’t think for a second that our love is blind; no amount of unbridled fandom can hide the fact that the above rating is not a misprint. Gord Downie and the boys fucked this one up royally.

We Are the Same is the weakest album the Tragically Hip have ever released. Really, nothing else in their back catalog comes close. My previous least favorite Hip document was 1995’s Trouble at the Henhouse, which, while a little dull, wasn’t exactly what you would call “bad.” We Are the Same most certainly is what you would call “bad.” Bad. There’s a multitude of reasons as to why this is, but let’s start with the most obvious.



Would you let post-botox Vince Neil produce your record?

Metallica fans will likely be able to relate; the heavy hand of “superstar producer” Bob Rock can turn the mightiest of bands into a soft rock wussfest, usually by way of his simply adding orchestras and huge piano to every single fucking song he touches. So, either he’s really persuasive or he’s a skilled blackmailer, prompting over a decade’s worth of awful Metallica albums and somehow getting the Hip to use him for two records in a row, a milestone for anyone not named Mark Vreeken. 2006’s World Container was good in spite of, not because of, Rock’s overproduction, and its weakest moments (altogether now: “Flyyyyyyy-hiiigh!!!”) were indicative of the smoothed-out, pop-glisten’d direction that he so desperately wanted the band to pursue. Most fans were (legitimately) concerned when word leaked that he was being hired for a second go ‘round.

Such fears are now manifesting. Rock interpreted his rehire as a mandate to go apeshit with the overdubs, layering strings, piano, and even muted brass on nearly every track while conveniently forgetting that this is a two-guitar rock band who has never had any need for this stuff over a three-decade career. The pianos on We Are the Same are crisper than the guitars. Really. In addition to rendering the band’s twin axe attack utterly toothless, Rock’s silky production just feels cheap, an unnecessary commercial grasp that’s confusing coming from a band already as successful (in Canada anyway) as the Tragically Hip.

And yet, Rock’s presence, while certainly a negative influence, isn’t entirely to blame for the mediocrity within. For what’s arguably the first time since the band’s 1987 debut EP, a Tragically Hip album features a number of uninteresting songs that would still be sub-par no matter the choice of producer. The only song that could be considered an unmitigated success is “Morning Moon,” the opener, a well-wrought slice of somber pedal steel pie that’s very Buffalo Springfield, and better for it. The remainder of the songs on We Are the Same fall into one of two categories: 1) potentially good ideas ruined by Bob Rock’s production, and 2) songs that would be poor regardless, whose shortcomings Bob Rock can’t help but magnify.

Let’s focus on the former. Most of We Are the Same‘s first half would have been salvageable in more capable hands. “Honey, Please” is a serviceable country rock song that borrows both chords and melodic sense from Tom Petty’s “Listen to Her Heart,” but it’s problematic when the song’s dinky, one-note piano riff is louder (and more memorable) than the guitars. Similarly, “The Last Recluse” is meant to be a spooky acoustic number like “Bobcaygeon” or “Scared,” which would be fine were it not for Rock’s inexplicable decision to incorporate moaning background vocals at the bridge…suggesting the song was actually recorded in a haunted house. “Coffee Girl” would be a lot better without the lazy drum track and muted trumpet solo interlude. “Frozen in My Tracks” has all the trappings of a classic Gord snarler but is derailed by WHOA-OH! fist-pump vocals at the chorus and what sounds like subliminal vocals in the third verse.

And those are the listenable songs. The surging, “We Are the World”-style “Now The Struggle Has a Name” has usurped “Coconut Cream” as the single worst Hip song. Subsisting on a diet of sap that would even shame Coldplay’s Chris Martin, the song would be awful without the beds of melodramatic strings that Rock drapes over the mess like he’s a production designer on cable access television. If the hookless, nine-minute “Depression Suite” wasn’t damning enough on its own, things get even worse once it leads into the record’s second half. “Speed River” and “The Exact Feeling” are instantly forgettable, and first single “Love is a First” is maybe the best example of things going terribly awry. Hip diehards will note that Gord Downie has been toying with the lyrics as far back as 2005, throwing a verse into the version of “Fully Completely” showcased on their That Night in Toronto DVD. The finished product is embarrassing, an uber-primitive lunker. Gord even attempts one of his free-associative rants, a staple of the live show, but holy crap does it not work. Nor does the faux-Tom Morello noise-guitar solo at the bridge.

On a lighter note, not long after absorbing We Are the Same, I returned to 2004’s In Between Evolution as a basis for comparison. Immediately, from the opening strains of “Heaven Is a Better Place Today,” I was stomping my feet and humming along. The guitars roared and the drums had kick; it was the sound of something vital. Turns out, every last bit of that energy is absent on We Are the Same, and as much as I blame some heinous production influences, the band’s been around long enough to know better.

Ouch.

I totally agree with every thing that guy had to say, he totally gets what the hip are all about, but I am definately not as pissed off about the Bobrockisms throughout the record as he is. I couldv'e done without all the WOO-OH's and NTSHAN starts out like an awesome combination of Pearl Jam's "Oceans" and Neil Young's "Harvest Moon" but goes terrebly wrong with that generic chorus, but I can respect The Hip's choice to move on and something different. If there's one thing Bob accomplished, it's that I can go back to DFN, IBE, PP and jizz in my pants about how a perticular record was produced.

The best article to date. It is objective and speaks the unfortunate truth. The more I listen to this record, the more it sounds like it was made for a teenage audience. There are a couple of tunes that really interest me, but, as with World Container, I find myself constantly skipping songs that I dont want to hear. I have been to 102 shows since 1989, and consider myself a diehard. But, I also appreciate people that are honest. The Hip really need to address their next production and that is if they stick together after this one. Hopefully Bob Rock makes another lovefest with Metallica coming out of rehab that will take up the next 5 years of his life. You are a shit musician Bob, and that influence has apparently carried over to your producer's role.

BakersBrew Wrote:The more I listen to this record, the more it sounds like it was made for a teenage audience.

I dont get that at all, this aint kids music. I think The Hip know there demographic, and teenagers are definitely not in it. In View was the only time I thought they were trying to widen out. Thankfully the rest of WC saved the day.

BakersBrew Wrote:Hopefully Bob Rock makes another lovefest with Metallica coming out of rehab that will take up the next 5 years of his life. You are a shit musician Bob, and that influence has apparently carried over to your producer's role.

At least Metallica learned their lesson and came to their senses.

The Hip should go with Rick Rubin next album, cant you see Robby rock posing with the flying V?

The Hip talked about Steve Berlin a couple times in the Bathouse I&I, hopefully they consider going back with him for the next one. I'm sure everyone wouldn't care if Bob hit the bricks.

BakersBrew Wrote:I find myself constantly skipping songs that I dont want to hear.

I do the same but then later I will go back to a song I had skipped over earlier.

Sometimes I just can't put this album away until I've listened to it all over again, In my own order.

Metallica suck. Yep, I said it. Go ahead and blame Bob Rock if you want but Metalica stopped mattering in the 1980's. The last good album they put out was "In Justice For All" and even that was repetitive drivel compared to work like "Ride The Lightning". Yeah yeah, metal heads will grumble "F-U Phil" but nothing changes the fact that James Hetfield is a first class royal asshole and a hack. Give me a break. You guys shit your pants because they put out a new album that sounds like all the other albums they put out twenty years ago. Wall Mart music for stupid people with mullets. Same with AC/DC. What a joke. I'm sure right now somewhere on a 311 board some burnout is yapping on about how Bob Rock will "overproduce" the new album and how they want a more "live from the floor feel". Get over it! Bob Rock is a genius and The Tragically Hip are the best rock band on Earth.

NegPhil Wrote:Bob Rock is a genius.

I'm sorry, what?

Discography, Producer

* 1979 - Young Canadians - Hawaii (EP)
* 1979 - The Subhumans - Death Was Too Kind (EP)
* 1980 - Pointed Sticks - Perfect Youth
* 1981 - Payola$ - In a Place Like This
* 1987 - Rock and Hyde - Under the Volcano
* 1988 - Kingdom Come - Kingdom Come
* 1988 - Colin James
* 1989 - The Cult - Sonic Temple
* 1989 - Blue Murder - Blue Murder
* 1989 - Mötley Crüe - Dr. Feelgood
* 1990 - Little Caesar - Little Caesar
* 1990 - Electric Boys - Funk 'o Metal Carpet Ride
* 1991 - David Lee Roth - A Little Ain't Enough
* 1991 - Metallica - Metallica
* 1991 - Mötley Crüe - Decade of Decadence (new material)
* 1992 - Cher - "Love Hurts"
* 1992 - Bon Jovi - Keep the Faith
* 1992 - Rockhead - Rockhead
* 1993 - Quireboys - Bitter Sweet and Twisted
* 1994 - Mötley Crüe - Mötley Crüe
* 1994 - The Cult - The Cult (album)
* 1995 - Skid Row - Subhuman Race
* 1996 - Metallica - Load
* 1997 - Metallica - ReLoad
* 1997 - Veruca Salt (band) - Eight Arms to Hold You
* 1998 - Metallica - Garage Inc. (Disc 1)
* 1998 - Bryan Adams - On a Day Like Today
* 1998 - Mötley Crüe - Greatest Hits (new material)
* 1999 - Tal Bachman
* 1999 - Metallica - S&M
* 2000 - Moffatts - Submodalities
* 2000 - Nina Gordon - Tonight and the Rest of My Life
* 2000 - Paul Hyde - Living off the Radar
* 2001 - American Hi-Fi
* 2001 - Antifreez - The Sunshine Daisies
* 2001 - The Cult - Beyond Good and Evil
* 2002 - Our Lady Peace - Gravity
* 2003 - Tonic - Head on Straight
* 2003 - Metallica - St. Anger
* 2004 - The Tea Party - Seven Circles
* 2004 - Simple Plan - Still Not Getting Any...
* 2005 - Mötley Crüe - Red White & Crue (new material)
* 2005 - Our Lady Peace - Healthy in Paranoid Times
* 2006 - Nina Gordon - Bleeding Heart Graffiti
* 2006 - Lostprophets - Liberation Transmission
* 2006 - Joan Jett & the Blackhearts - Sinner
* 2006 - The Tragically Hip - World Container
* 2007 - Payola$ - Langford Part 1
* 2007 - Michael Buble - Call Me Irresponsible
* 2008 - Gavin Rossdale - Wanderlust
* 2008 - The Offspring - Rise and Fall, Rage and Grace
* 2008 - The Sessions - The Sessions Is Listed As In A Relationship
* 2008 - D.O.A - Northern Avenger
* 2009 - 311 - Uplifter
* 2009 - The Tragically Hip - We Are The Same

Bob Rock is not a genuis. He has changed the production sound for this band, and I'm not sure why that needed to happen? I hear the same polished version on the last two records, as listening to recent Aerosmith productions. I agree with the most recent article post that suggests the band should know better. In the end, they are the ones giving the go ahead. Love is a first is embarrassing. It totally reminds me of something kids in high-school would get into. I guess I was so optimistic after hearing Morning Moon when it came out, and the clips of Country Day that were on the web-site. But, Country Day goes from something promising to absolute pain. This album has three really good songs, (Morning Moon, The Depression Suite, and Speed River). I think the Depression Suite is some of their best work in years, and the groove in Speed River is the Hip I know. The other music will be difficult to listen to on the road. Steve Berlin is a great idea.

Steve Berlin is awesome and I agree he should produce the next record. That does not detract from who Bob Rock is or what he does. World Container and We Are The Same are epic achievements. The tragedy is, for the most part, they have and will go unnoticed by the world. It's not about what Bob has done with other bands. It's about an expert in his craft sitting down and using state of the art recording technique to produce masterworks. What Rock and The Tragically Hip have done is on par with Revolver and Sgt. Peppers. Get over your "Ex-Canadian" bitterness. It's kind of sweet when Don Cherry does it but all and all it comes off as petty and childish. Your silly bashing reveals more about your insecurity the it does about Bob.

IMO :mrgreen:

I don't think the Hip have to think big for a producer... maybe they have to think out of the box!
Why not bring in Dallas Green to produce? IMO, a musical genius, he's produced for himself in the past and he has a connection from Sleeping Sickness.
I think Dallas Green "gets" music, and could probably bring a special sound to the Hip.