Just listened to LBU. Noticed something that I haven't seen on hipmuseum.com or hipbase.com. Very possible that this has been discussed previously. If so...apologies. New to me. During 'The Luxury' outro at around 3:39 it sort of sounds like Gord Sinclair begins playing the bass line to 'Come As Your Are' by Nirvana. There is a definite deviation from the repetitive bass line of 'The Luxury' at that point. Has this been noticed before? - JH
I have noticed it before. I remember hearing a recording... I want to say Ottawa '96, where Gord sings Come As You Are over the bass line during the outro. That show was on the same tour that LBU was taken from.
sean.bonner Wrote:I have noticed it before. I remember hearing a recording... I want to say Ottawa '96, where Gord sings Come As You Are over the bass line during the outro. That show was on the same tour that LBU was taken from.
It wasn't Ottawa '96; that was my first show and they definitely didn't play The Luxury then. I'll have to pull out LBU to check that out, though...
Maybe Buffalo '96 then... will have to take a look too!
I don't mean to go off topic here but does a audience recording exist of the entire LBU Cobo show, with all songs included? I'd love to check out what they left off the album.
spottrax Wrote:I don't mean to go off topic here but does a audience recording exist of the entire LBU Cobo show, with all songs included? I'd love to check out what they left off the album.
Never thought of that, yea, I would love to hear the rest of the show too, I love the hard jam on Ahead By A Century, the last 2 minutes is killer, then ya hear Johnny do the drum signal that he wants to stop or had enough and the song ends within 10 seconds. I wish they kept going.
The entire Cobo show was available via tape trades years ago. Not sure if it ever got digitalized. My old analog copy has likely been lost to the ages (or the garage back home).
I got a copy of it in 98/99. I was still a new-ish fan then. I tried to get as much of that tour as possible, being completely enthralled by the development of the Phantom Power songs in the rants, particularly Escape, which was known as Stereo on the tour.
Full setlist is here, if you haven't seen it before, to see what was removed from the CD. <!-- m --><a class="postlink" href="http://www.thehip.com/shows/index.html?SetListAction=ShowYear&PA=GetSetList&ConcertID=262&ShowYear=1996&ShowMonth=11&ShowDay=23&itemID=11_23&NewVenueID=1608">http://www.thehip.com/shows/index.html? ... nueID=1608</a><!-- m -->
hotmetal401 Wrote:The entire Cobo show was available via tape trades years ago. Not sure if it ever got digitalized. My old analog copy has likely been lost to the ages (or the garage back home).
I got a copy of it in 98/99. I was still a new-ish fan then. I tried to get as much of that tour as possible, being completely enthralled by the development of the Phantom Power songs in the rants, particularly Escape, which was known as Stereo on the tour.
Full setlist is here, if you haven't seen it before, to see what was removed from the CD. <!-- m --><a class="postlink" href="http://www.thehip.com/shows/index.html?SetListAction=ShowYear&PA=GetSetList&ConcertID=262&ShowYear=1996&ShowMonth=11&ShowDay=23&itemID=11_23&NewVenueID=1608">http://www.thehip.com/shows/index.html? ... nueID=1608</a><!-- m -->
Damn! Makes you wonder why they didn't just make it a 2 disc set and include the entire show. It's absolutely criminal that they would leave those songs off the album.
I remember seeing an old interview with Gord Sinclair where he said the full show/two discs would be too much music for people to sit through.
That encore looks killer! Obviously, time constraints of one disc cut the set down but I wonder if there were other major blunders that would keep the band/label from releasing a "deluxe" version of LBU. They could do an Itunes download only thing with almost no added cost, only mixing the remaining songs. I could seriously imagine jamming that encore on 10 in my vehicle this summer!!!
Most definitely. I would love to have the full show
Rye Wrote:I remember seeing an old interview with Gord Sinclair where he said the full show/two discs would be too much music for people to sit through.
Exactly. Similarly, why it was a one show as opposed to a multi-show record, was to keep the band from hearing 100 some-odd versions of New Orleans Is Sinking. I believe the line was "you wouldn't have a band in front of you if we did that."
I think it was Sinclair who had final veto over the show selection too, as he was the one doing the setlists at the time.
Live Between Us partially explained on Wednesday april thirty
LBU Bio 1
There's an alley near the corner of King and Princess Streets in Kingston Ont. where someone has written "The Hip Live Between Us". The graffiti appeared in the Spring of 1986, and at the time it was the biggest thing that had happened to us. 'Too cool', we thought, to be immortalized on a wall. Someone actually cared enough to deface private property with our name. The thought didn't enter our minds until a few years later that it was our sax player at the time who had painted this as a message to his ex-girlfriend. A less than sober testament that nothing comes between a man and his music. Davis didn't last long in the outfit, replaced by Paul that summer. But his legacy, like that piece of graffiti, lives on. Since the days of our young blood-brotherhood, we had always thought that The Hip Live Between Us would make a great album title someday, a clever homonymic play on words that would beguile our fans. Is it 'live' or 'live'? What does Tragically Hip mean anyway? As in the case of the latter, I'm sure we'll grow tired of the question.
Ten years later, in November of 1996, we began our most ambitious concert tour to date. Twenty four arenas across Canada and the United States in support of our sixth record, Trouble at the Henhouse. For a month and a half, along with the tons of staging and sound equipment, we dragged a portable 24 track recording studio along with us. The ever-present Mark Vreeken, along with Andy Bishop, would diligently set it up side-stage day after day to capture the evening's festivities. We'd taken a cue from the late great Frank Zappa that if you can isolate instruments live, there is always the chance that you can capture that certain elusive 'vibe' from a gig and build a track later in the studio. That was the original idea...
LIVE BETWEEN US
partially explained on friday may two
LBU BIO II
...We wound up in Toronto mid-December with two sold-out dates at Maple Leaf Gardens. The whole tour had been a vibe but it was over. All that remained were the memories and a pile of tape. We set about over the next couple of weeks to determine exactly how good a recorder of memories our set- up had been. Any gig is only partly to do with music. For us, performing live has never been an exact science, something where you can just turn on a switch. As Gord has often said, "we reflect the mood of the day" when we perform. That means that everything, the weather, the crowd, what you ate, whatever, can and will come into play. Even if we could simply 'flip the switch' on stage, it's not like you can capture the whole experience on tape. All that's there are the notes that were played and sang. Right?
For years we had recorded every performance. First on cassette, then on DAT, improving the quality as the technology became available. We played often and were continually working on new material. Live recording became, and still is, a necessary part of the song writing process; capturing works in progress as they evolve or little pieces of improvisation which we'd later develop into songs. Not to sound too narcissistic, but when we weren't playing we'd spend the long hours on the road listening to ourselves. Where this has really paid off is in the new material we've written. Along with keying in on new ideas, all the listening confirmed something we already knew, that every show is different. Each night has a life of its own. There's an intangible element to any live musical performance, a mix of magic and electricity that can make the difference between a good night out and the greatest night of your life. We have never played the same set twice, mostly for our own sake. Boredom is death for music and the more routine a live performance gets, the more boring it can become for the band and the audience. We have always guarded against this. You have to believe that every night is special, so you make it so. Throw in a new idea here, jam a little there and wham, something magical can happen. We've been doing things that way for ten years now. We have a mountain of live material to prove it...
LIVE BETWEEN US
partially explained on monday may five
LBU Bio III
...Long before the Internet we realised that a lot of people were starting to follow us around, seeing show after show and enjoying cross continent road trips with their friends, with the band suppling the itinerary and the sound track. Very flattering. We also began to realise that bootlegged tapes were changing hands amongst the few and faithful. Again very flattering, yet a little disconcerting given the marginal sound quality of some of them. For years people had been asking about the possibility of a live record. "Maybe ... someday" was all we ever thought. We were in no hurry to release anything live. There were always new songs that demanded more immediate attention, so we never seriously considered the idea. The thought of doing a 'best of ... live' compilation culled from years worth of tapes never appealed to us. The task of going through all that material is more than a little daunting. Besides, live records done that way often fall short of re-creating the live experience. After all, a live show is just that ...an experience, with every set having an ebb and flow all its own. That's hard to create if you're stitching together excerpts from over the years. Sounds and moods can change from night to night let alone from year to year.
I've been at every gig in body, mind and spirit in varying degrees, since the days of Monkees covers. On the nights when everything is clicking and the music flows out of you, mixing with what the other guys are doing easily and naturally, there is no better feeling in the world. As I sat down and began to listen to the shows from the last tour, I started with the ones that had been noted as being especially vibey. Among these was the Detroit Cobo Arena show. It was as great as I remembered it. We had hit the ground running that night. From the instant the intro drum loop to "Grace Too" went up there was a tingle of electricity. I felt it. When the band kicked in, it was still there. There was something there on tape beyond just the notes. We'd somehow managed to record the electricity of the moment. I have to admit that it gave me goose bumps and as I listened on, the show got better and better...