Use It Up and Throwing Off Glass are the next eliminations; down to six songs for Round 3.
Eliminated Round 1
Are You Ready
All Tore Up
Silver Jet
Eliminated Round 2
Use It Up
Throwing Off Glass
Vote for the song you believe to be the weakest on In Violet Light and after 48 hours, we will remove the two songs that have the most votes. As before, a song must have at least 10% of the vote in order to be removed otherwise it will carry forward into the following round.
The poll will end Sunday at 9:37am Eastern.
Happy voting!
Shane
Harvey's Makes Your Hamburger A Beautiful Thing.
Why are the voters so oblivious, I asked
After a beautiful thing & leave advanced past
Throwing off glass deserved better.
sean.bonner Wrote:Harvey's Makes Your Hamburger A Beautiful Thing.
:lol:
Voted A Beautiful Thing. Could have gone with Leave; they are both decent songs but they don't compare to the rest of the songs left.
Escape@Hand Wrote:Voted A Beautiful Thing. Could have gone with Leave; they are both decent songs but they don't compare to the rest of the songs left.
My thoughts exactly.
Moof_Milker Wrote:Escape@Hand Wrote:Voted A Beautiful Thing. Could have gone with Leave; they are both decent songs but they don't compare to the rest of the songs left.
My thoughts exactly.
My thoughts exactly exactly.
Except I voted for Leave.
Voted Beautiful Thing. It's just not as good as the remaining songs.
Leave for me; like Beautiful Thing just a little more.
Still shocked Throwing Off Glass is gone - have always loved it.
Shane
I voted A Beautiful Thing last round, so it gets my vote once again.
ryan93 Wrote:I voted A Beautiful Thing last round, so it gets my vote once again.
Same.
Leave is streets ahead of A Beautiful Thing.
I was sorry to see "Throwing off Glass" go as well. TOG is a very interesting song. In it GD creates a story that simultaneously ruminates on parenthood, serves as a beautifully poignant reminder of the passage of time, and through metaphor provides ballast in the confusing times of the post-9/11 aftermath. He accomplishes this through a loose construct of historical fiction, tying the late 90’s incident of a beer bottle thrown from a passing car striking a Mennonite girl in the face and disfiguring her, to a conversation (real or imagined) he’s having during a walk with his young daughter.
This song is a great example of GD doing a masterful job of creating a story that is immersive. He shares his understanding of the world with us and allows us to carve out a spot for ourselves in the narrative. Anyone with kids would nod their head in understanding and recognition of the moment he is recounting if they were sitting in a bar, sharing a beer with GD, as he related this story. In fact, it's easily universal enough to also be deeply appreciated by those without kids.
There are a number of interesting lines in the song: “I know I'm losing you, I know what that means, yea”. This a time of profoundly mixed feelings in parenthood, a time where the parent loses their position as main influencer (the one a child would go to with questions about the world) as the peer group begins to hold greater influence and importance.
“Told her that it isn't, That, that it's exquisite, But like love, it has it's barbarous threats”. A line to help the child make sense of the malevolency that they are noting as they observe the world around them. GD tries to assuage the child’s fears about the world, but not in a patronizing manner. Interesting he pulls out a full stop denial of the “world being creepy”, and then quickly undercuts this denial by stating that even something as magnificent as love can have it’s “barbarous threats”. He provides some comfort and then pulls on the rug on a bit.
The lyrics of TOG are as poignant a read as nearly anything in the Hip catalogue. I’ve always wondered if the song, which lacks a memorable chorus, and which closes awkwardly, might actually have functioned better as a CMG poem. The words give the feeling that they were meant to be contemplated on a page, rather than mumbled incoherently at a drunk concert sing-a-long. The band puts in a suitably understated performance on the song, but I would not vociferously argue with anyone who wanted to pull out the “It’s sonically dull” argument.
I think TOG qualifies as an underappreciated song, if not exactly underrated. Interestingly, around the time of release of IVL Gord Downie wrote a song by song bio of the album (which I believe was posted on the Hip's website) in which he stated that TOG was his favourite song on the album.
Well said potsie, though I think the band served the song quite well. All the TOG voters: defend your vote. I'm curious to hear why this song isn't top five for people. It's my favourite on the album.
andrew sharpe Wrote:Well said potsie, though I think the band served the song quite well. All the TOG voters: defend your vote. I'm curious to hear why this song isn't top five for people. It's my favourite on the album.
It is good for what it is. But not really as a song.
Just like stated in the above post it is a piece meant for CMG as a piece of spoken word over background music.
Reminds me as a demo to the future beautiful tune 'As A Mover' or if not a demo then at least 'As A Mover: Part 1'
omg, I took a little breather & somehow imagined by the time I got back y'all would be on In Between Evolution or farther, but jesus wept we're still parked at the drive-in of In Violet Light! Yessssssssssssssssssss!!!!!
I was out walking on this bitterly cold beautiful afternoon & thinking about someone I wanted to get in touch with, & in the distance another human appeared & as we got closer I realized it was the person I was thinking about. Which--brain power!--but the first thing I said when we stood face to face was that while I was in the zone I planned to conjure Gord Downie next. So here I am, lol, as close as I can get...
potsie Wrote:I was sorry to see "Throwing off Glass" go as well. TOG is a very interesting song. In it GD creates a story that simultaneously ruminates on parenthood, serves as a beautifully poignant reminder of the passage of time, and through metaphor provides ballast in the confusing times of the post-9/11 aftermath. He accomplishes this through a loose construct of historical fiction, tying the late 90’s incident of a beer bottle thrown from a passing car striking a Mennonite girl in the face and disfiguring her, to a conversation (real or imagined) he’s having during a walk with his young daughter.
This song is a great example of GD doing a masterful job of creating a story that is immersive. He shares his understanding of the world with us and allows us to carve out a spot for ourselves in the narrative. Anyone with kids would nod their head in understanding and recognition of the moment he is recounting if they were sitting in a bar, sharing a beer with GD, as he related this story. In fact, it's easily universal enough to also be deeply appreciated by those without kids.
There are a number of interesting lines in the song: “I know I'm losing you, I know what that means, yea”. This a time of profoundly mixed feelings in parenthood, a time where the parent loses their position as main influencer (the one a child would go to with questions about the world) as the peer group begins to hold greater influence and importance.
“Told her that it isn't, That, that it's exquisite, But like love, it has it's barbarous threats”. A line to help the child make sense of the malevolency that they are noting as they observe the world around them. GD tries to assuage the child’s fears about the world, but not in a patronizing manner. Interesting he pulls out a full stop denial of the “world being creepy”, and then quickly undercuts this denial by stating that even something as magnificent as love can have it’s “barbarous threats”. He provides some comfort and then pulls on the rug on a bit.
The lyrics of TOG are as poignant a read as nearly anything in the Hip catalogue. I’ve always wondered if the song, which lacks a memorable chorus, and which closes awkwardly, might actually have functioned better as a CMG poem. The words give the feeling that they were meant to be contemplated on a page, rather than mumbled incoherently at a drunk concert sing-a-long. The band puts in a suitably understated performance on the song, but I would not vociferously argue with anyone who wanted to pull out the “It’s sonically dull” argument.
Well said! Such a criminally underrated song, which I've loved right from day one. I was lucky enough to hear them play it live once in Boston, and it was heavenly.