[Killer Whale Tank]

It does seem odd that you have one of the all-time great live bands and, instead of trying to capture that, you go and "produce" them. Oh well, that's the way the recording business rolls. Unfortunately.

I was intrigued to hear Rob talk about 'In Sarnia' and how Gord 'nailed' his vocal very early on in the process of recording that track. This got my attention because I don't think the vocal on that track is very good. It's oversung, and harshly sung to boot; it gets in the song's way. Yet clearly his bandmates felt it was a vintage performance.

This raises another, slightly sacrilegious question: how do people like Gord's vocals on this record?

I'll come clean here. They're not my favourite by any stretch. I love Gord in lower registers but find that his higher-register stuff has gotten thinner, more warbly - more like Geddy Lee, who has a horrible voice in my books -in later years. Much of this record is sung in those higher registers. The pitch is a bit erratic at times also, and he makes slightly odd decisions to subvert the melody (as in the refrain of 'Here, in the Dark,' which, I feel would be better if he just held the note rather than kept mucking with it). Anyway, I'm just curious as to what others think. Or if we can even bear to talk critically (albeit with love) about this.

[Escape@Hand]

It does seem odd that you have one of the all-time great live bands and, instead of trying to capture that, you go and "produce" them. Oh well, that's the way the recording business rolls. Unfortunately.

I was intrigued to hear Rob talk about 'In Sarnia' and how Gord 'nailed' his vocal very early on in the process of recording that track. This got my attention because I don't think the vocal on that track is very good. It's oversung, and harshly sung to boot; it gets in the song's way. Yet clearly his bandmates felt it was a vintage performance.

This raises another, slightly sacrilegious question: how do people like Gord's vocals on this record?

I'll come clean here. They're not my favourite by any stretch. I love Gord in lower registers but find that his higher-register stuff has gotten thinner, more warbly - more like Geddy Lee, who has a horrible voice in my books -in later years. Much of this record is sung in those higher registers. The pitch is a bit erratic at times also, and he makes slightly odd decisions to subvert the melody (as in the refrain of 'Here, in the Dark,' which, I feel would be better if he just held the note rather than kept mucking with it). Anyway, I'm just curious as to what others think. Or if we can even bear to talk critically (albeit with love) about this.

I've mentioned in previous posts very similar comments, and totally agree with you.

[carebread]

This. The past few albums have been great performance wise, it's the production that's making them worse. I was hoping maybe they'd produce their own album next time, but..

[andrew sharpe]

This raises another, slightly sacrilegious question: how do people like Gord's vocals on this record?

Love it

I love Gord in lower registers but find that his higher-register stuff has gotten thinner, more warbly

Much of this record is sung in those higher registers. The pitch is a bit erratic at times also

Yep, still love it. In fact it might be the eccentricity in his vocals that I like. Unless you're Thom Yorke, I prefer non-traditional male falsettos, ie Josh Homme, Pattersoon Hood in The Sands of Iowa Jima, Springsteen in Reno. Adds colour.

he makes slightly odd decisions to subvert the melody

Sometimes his habit of "Music At Work"-ing the vocal melody bugs me but I kinda like it on this record, In Sarnia being the best example. Perhaps because it's the exception this time, instead of the rule. On several MMP songs he actually copies Robby's riff exactly, which it seems he has not done for awhile, or at least not made a habit of.

[Jasper]

Already this is my favourite Hip album since at least In Between Evolution. And music takes a while to grow on me.. have only listened to it half a dozen times or so.

[swm]

Love at 1st vinyl listen.
Only played the leak once, honest.

Taking it in as a whole, Gord's voice +, Johnny Fay +, post-production + .
No apparent negatives.
I would, hopefully, never knock this band for trying something new, they've earned it.
Best since at least PP for me.
From M@W to WC - something in the sound production fatigues or hurts my ears, I would enjoy the music more otherwise.
No sound issue with the vinyls since then, other than a poor WATS pressing.

I recall Gord once said they wanted a body of work rather than hits or fame.
Goal achieved imo.

[mrlayance]

Not sure where I should post this but I need to get this out of my head.

Last Friday I went to the Mall and bought a CD for the first time in probably 10 years. After that I went for some lunch. On the way out of the food court a group of 70+ year old guys are chatting at a table with coffee's, like old guys do. Then all I heard was a gentleman say "The day everyone died!" in a loud voice. Kept walking and thinking with my new CD on my brain.

I wonder what day he is referring too? DDay? Nautical Disaster?

[emperor penguin]

This raises another, slightly sacrilegious question: how do people like Gord's vocals on this record?

Love it

I love Gord in lower registers but find that his higher-register stuff has gotten thinner, more warbly

Much of this record is sung in those higher registers. The pitch is a bit erratic at times also

Yep, still love it. In fact it might be the eccentricity in his vocals that I like. Unless you're Thom Yorke, I prefer non-traditional male falsettos, ie Josh Homme, Pattersoon Hood in The Sands of Iowa Jima, Springsteen in Reno. Adds colour.

he makes slightly odd decisions to subvert the melody

Sometimes his habit of "Music At Work"-ing the vocal melody bugs me but I kinda like it on this record, In Sarnia being the best example. Perhaps because it's the exception this time, instead of the rule. On several MMP songs he actually copies Robby's riff exactly, which it seems he has not done for awhile, or at least not made a habit of.

I agree with all of this. You've articulated it a lot better than I could have. He rides a line on this album with his vocals and I personally love it. In Sarnia, like you say, being the best example.

[direwolf74]

This raises another, slightly sacrilegious question: how do people like Gord's vocals on this record?

I think he sounds great on this album. He does get a bit out of control on In Sarnia, but in a strange way, his unhinged performance is part of the song's charm. I like it.

[opiated49]

His vocals MAKE the song

[TG]

This raises another, slightly sacrilegious question: how do people like Gord's vocals on this record?

I think he sounds great on this album. He does get a bit out of control on In Sarnia, but in a strange way, his unhinged performance is part of the song's charm. I like it.

I think "Sarnia" has his best vocals, personally. Its "great soul" and "here,in the dark" where I still don't quite get what he's doing with the vocals.

different strokes and all.

[NegPhil]

Now that I can get past my own emotional projection it has become apparent that this is not a sad album.

[zoppo]

All killer no filler this one....human mind, what blue and ocean next top favourites for now. Never expected them to come up with such a coherent, daring and possible classic album at this stage.

Maybe getting a little carried away but i am really in love with this one

Greetings from the Netherlands

[Chris Tanz]

Now that I can get past my own emotional projection it has become apparent that this is not a sad album.

At the centre of it, a little sadness?

[NegPhil]

If an album can have a center to which the individuals songs adhere to then I'm going to go with mellow.

<!-- m --><a class="postlink" href="http://www.merriam-webster.com/dictionary/mellow">http://www.merriam-webster.com/dictionary/mellow</a><!-- m -->

Mellow: pleasantly rich, full, or soft : not harsh, bright, or irritating
: having a pleasing rich flavor that develops over time
: very calm and relaxed.