04-02-2018, 12:29 PM
Sadly, we've reached the end with album #13. Released June 2016, recorded at The Bathhouse and produced by Kevin Drew and Dave Hamelin.
Man
In a World Possessed by the Human Mind
What Blue
In Sarnia
Here, in the Dark
Great Soul
Tired as Fuck
Hot Mic
Ocean Next
Machine
With the benefit of hindsight, the band had a definite pattern of pushing the envelope, return to a more basic approach, push the envelope again. M@W, then IBE, then Bob Rock. WATS, then a pretty conventional NFPA. So it makes sense that MMP moved band in a different direction.
I also think they were treading water. NFPA is IMO a decent album, but if I had to pick one tour where I felt the band was a bit less engaged it was in support of this release. Shakeup was likely a bit necessary. It was also interesting to learn after the fact that Gord had made Secret Path with Hamelin and Drew, I assume enjoyed the results and brought it to the band.
I have a conflicted view on the album overall. In some cases, IMO the production leaves songs feeling unfinished. Possibly it's an album that also most reflects Gord's musical interests in terms of production and sonic palette. Lyrically, he went from some of his most straightforward writing to his most deconstructed. There's allusions to family, children, sadness, separation but I find it much harder to dissect or understand than any other album.
Track by track:
Man -- an interesting opening, just as much to signify this will be a different type of album for the band, but unless I'm listing to the whole album gets skipped.
IAWPBTHM: Lead off single, which was met with a lot of vitriol on this board, especially around the drum sound. I liked, it, I still like it, especially that transition into the chorus. After that May announcement, driving to work this song came up on shuffle. I showed up to work looking like I have been on a long weekend bender, bleary eyes and snotty.
What Blue: Sort of like a later day "The Rules" in terms of vocal delivery, with a cool throaty solo from Rob. I appreciate the lyrical sentiment.
In Sarnia: I go back and forth on this. It really feels like a scratch vocal take from Gord over a completed musical piece, but it's an interesting track.
Here, in the Dark: My second favorite track on the album. I like what Gord is doing vocally, and it's too bad this one never got a chance live.
Great Soul: Similar to In Sarnia, sounds unfinished to me. I'll have to listen to it again more closely, but generally forgettable.
TAF: Maybe this is a later day The Rules? Again, a song met with mixed views. I like it -- Gord singing slightly off the beat is interesting, plus I like gin.
Hot Mic: Never really got into this track at all.
Ocean Next: A song that benefits from its unique production. That moment at 3:17 when the distorted vocals end and the guitar line is repeated and then extended in sublime. I guess in Ottawa I saw the only performance of this song?
Machine: If this is the band's final album, this is a great track to close it on and again one where the production works (I like the background hand clapping rhythm). One of my favorite solos from Rob, and likely up there with all time -- simple, but it fits the song perfectly.
The record was met with strong reviews -- by far the most positive and prolific reviews of their later day albums. I like it, but it likely filters down towards the bottom of the discography when I consider their whole body of work. Possibly because I always appreciated Gord's lyrics and phrases, and on MMP he's far more compact in his writing. I don't think there's a Hip album with fewer words? That said, there are a few phrases here that do really stick for either their insight or humour.
I would like to hear the "shadow version" of this album, with curiosity of hearing these songs either in a more stripped down approach or with Drew/Hamelin given full reign over the production. And of course I would have like to hear what was next for the band -- how these songs translated in a full tour, and if they followed what had been the pattern with a more straightforward album as the next release. I listened to Wilco's Yankee Hotel Foxtrot, first time in a long time spinning that LP; it reminded me of MMP and it's interesting how that album influenced the direction they've taken.
In closing -- thanks for participating in these threads. It's been fun, cathartic, sometimes controversial. It's brought a new perspective on some songs, and made me relisten to some tracks with fresh ears.
Man
In a World Possessed by the Human Mind
What Blue
In Sarnia
Here, in the Dark
Great Soul
Tired as Fuck
Hot Mic
Ocean Next
Machine
With the benefit of hindsight, the band had a definite pattern of pushing the envelope, return to a more basic approach, push the envelope again. M@W, then IBE, then Bob Rock. WATS, then a pretty conventional NFPA. So it makes sense that MMP moved band in a different direction.
I also think they were treading water. NFPA is IMO a decent album, but if I had to pick one tour where I felt the band was a bit less engaged it was in support of this release. Shakeup was likely a bit necessary. It was also interesting to learn after the fact that Gord had made Secret Path with Hamelin and Drew, I assume enjoyed the results and brought it to the band.
I have a conflicted view on the album overall. In some cases, IMO the production leaves songs feeling unfinished. Possibly it's an album that also most reflects Gord's musical interests in terms of production and sonic palette. Lyrically, he went from some of his most straightforward writing to his most deconstructed. There's allusions to family, children, sadness, separation but I find it much harder to dissect or understand than any other album.
Track by track:
Man -- an interesting opening, just as much to signify this will be a different type of album for the band, but unless I'm listing to the whole album gets skipped.
IAWPBTHM: Lead off single, which was met with a lot of vitriol on this board, especially around the drum sound. I liked, it, I still like it, especially that transition into the chorus. After that May announcement, driving to work this song came up on shuffle. I showed up to work looking like I have been on a long weekend bender, bleary eyes and snotty.
What Blue: Sort of like a later day "The Rules" in terms of vocal delivery, with a cool throaty solo from Rob. I appreciate the lyrical sentiment.
In Sarnia: I go back and forth on this. It really feels like a scratch vocal take from Gord over a completed musical piece, but it's an interesting track.
Here, in the Dark: My second favorite track on the album. I like what Gord is doing vocally, and it's too bad this one never got a chance live.
Great Soul: Similar to In Sarnia, sounds unfinished to me. I'll have to listen to it again more closely, but generally forgettable.
TAF: Maybe this is a later day The Rules? Again, a song met with mixed views. I like it -- Gord singing slightly off the beat is interesting, plus I like gin.
Hot Mic: Never really got into this track at all.
Ocean Next: A song that benefits from its unique production. That moment at 3:17 when the distorted vocals end and the guitar line is repeated and then extended in sublime. I guess in Ottawa I saw the only performance of this song?
Machine: If this is the band's final album, this is a great track to close it on and again one where the production works (I like the background hand clapping rhythm). One of my favorite solos from Rob, and likely up there with all time -- simple, but it fits the song perfectly.
The record was met with strong reviews -- by far the most positive and prolific reviews of their later day albums. I like it, but it likely filters down towards the bottom of the discography when I consider their whole body of work. Possibly because I always appreciated Gord's lyrics and phrases, and on MMP he's far more compact in his writing. I don't think there's a Hip album with fewer words? That said, there are a few phrases here that do really stick for either their insight or humour.
I would like to hear the "shadow version" of this album, with curiosity of hearing these songs either in a more stripped down approach or with Drew/Hamelin given full reign over the production. And of course I would have like to hear what was next for the band -- how these songs translated in a full tour, and if they followed what had been the pattern with a more straightforward album as the next release. I listened to Wilco's Yankee Hotel Foxtrot, first time in a long time spinning that LP; it reminded me of MMP and it's interesting how that album influenced the direction they've taken.
In closing -- thanks for participating in these threads. It's been fun, cathartic, sometimes controversial. It's brought a new perspective on some songs, and made me relisten to some tracks with fresh ears.