[edgoffin]

Sadly getting too close to the end -- Now For Plan A, released October 2012.

At Transformation
Man Machine Poem
The Lookahead
We Want To Be It
Streets Ahead
Now For Plan A
The Modern Spirit
About This Map
Take Forever
Done And Done
Goodnight Attawapiskat

Plus extended version with live cuts:
Grace, Too
Man Machine Poem
We Want To be It

If you're looking for patterns in their recording career -- M@W was a mess of a record after PP, and while I'm not sure how much of the blame goes to Steve Berlin, IBE was a much more concise, off the floor album. IMO same applies here, where Rock got a good result with WC, WATS feels like an overly long slog at times. They returned with their shortest running time album that has a much more "in the room" feel than the past two albums.

Also, just solely an impression on my part -- Rock is known as a far more involved producer, where I think Brown was there more to make sure the band got the best sound possible (just based on his reputation, producer output, and some interviews with him at the time).

I think the album starts off strong, goes off track, and finishes with a whopper. My main criticism, too many choruses that rely on repetition. Around release time, I recall Gord doing an interview and being questioned on themes, and Gord dismissed the question. The next day he was on CBC, and said the album was shaped by his wife's cancer and treatment (which makes me feel for that first reporter, who really got the stock answer after picking up a central theme likely with the benefit of only a listen or two).

Knowing how the story unfolded, I see the theme more about an attempt at reconciliation before a breakup. There's a lot of regret on this album.

At Transformation was released really early -- I went back and looked it up, came out in May. I really liked the track when it was released, and I still really like it today. That opening bass line, nice chunky Paul riff and Rob on top of it is great, and Gord really hits it with that later day growl.

Man Machine Poem is an interesting song, that alludes to what was to come with the MMP album. I can't think of another example where a song then becomes the subsequent album title, and I'd love to know the reasoning? A track that has grown on me over time, where in 2012 felt a bit misplaced.

The Lookahead -- nice vocals from Sarah Harmer, and back to Gord working some great words into lyrics. The video makes the song memorable.

We Want to be It: After hearing what was dubbed "drip, drip, drip", was cool to get a recorded version. I love the extra menace in Gord's vocals at "sucked" around the 30 second mark. At the time of the release I took "drip, drip, drip" as related to chemo, but I think it's more the breakdown of the relationship. Also a case where I'm OK with the repetition.

NFPA: Love this track, a great headphones in the dark song, and again a nice accompaniment from Sarah Harmer and a really cool double tracked Gord. Again, a breakup song.

So starts off with 5 solid tracks, gets a bit dodgy after that.

Streets Ahead was the second single, and I never have really got into this song. I also find Gord's vocals are oversaturated at times (a true hot mic).

The Modern Spirit -- writing this had to actually go back and listen to this track, as it's never left any impression on me.

Bit of a bump back up with About This Map. I like Gord's delivery again, but the chorus sort of drags. My main criticism of the album is maybe best captured here, too much word repetition.

Take Forever is another Modern Spirit -- sort of forgettable.

Done and Done -- like the "wish for more of this" thought, but feels slightly unfinished or an idea that was rushed and never fully formed as a song.

Goodnight Attawapiskat -- after fumbling through the last half of the album, what a closer! I'll call it the last "classic Hip rocker" of their recording career.

I ended up seeing a handful of shows on this tour, and screaming Gord is well documented on this board. I'm not sure if he was bored, distracted, or simply the mix was too loud and he had to push the vocals. Two shows stand out for me.

Syracuse was deafening loud, we took friends who had never seen the band and they left sort of "meh", while I was happy to hear Eldorado. It was too loud. There was a guy who proposed, I think during Bobcaygeon in the encore. It may have been a different track but I feel like he missed the right opportunity with ABAC. I get a laugh thinking about the guy with the ring in his pocket, waiting for the right song and getting in to the encore and panicking a bit. Not a huge fan of the public proposal, but hope it worked out for them.

I saw The Hip play numerous times in Syracuse, some amazing shows, sadly this was the last one for me. Liked getting there mid-afternoon, hitting one of the bars with an amazing beer selection and charcuterie board. Maybe fit in some Dinosaur BBQ before or after. When they played Syracuse it was an event -- the bars were blasting Hip tunes, there were Hip cover bands sometimes. For anyone who says the Hip never broke the US, Syracuse was like a Hip tailgate and an increasingly US crowd over the years.

Second show that stands out was Kingston. Sarah Harmer joined them, the Arkells opened and were great. Kingston shows were always special, and I took my then early teen to see The Hip. He was around the same age as when I first saw the band -- I think they made more on an impression on me than him at that age, but glad he got to see a Hip show.

So a bit of a scattered album. I was not a fan on WATS, so was glad for a return to less production. Again, knowing Gord's marriage dissolved not long after this tour wrapped up now shapes my view on this album. In Gord's last interview with Mansbridge he talked about how hard it is to be a musician, husband, and father and he hoped his kids take the good from him and leave behind some of the bad. I think a lot of this album was him trying to work out some of that good and bad in his own relationship.

[Killer Whale Tank]

I didn't like this one at first. In fact, I dismissed it as a "meh" record I wouldn't bother with...EXCEPT: I found the songs sticking in my head. Couldn't shake 'em. And so I eventually came back to the record and have ended up listening to it quite a lot. Very rewarding, very underrated album. I see it as a very strong, *mature* rock record. It's not trying to dazzle, just to communicate, with urgency and intelligence. That it mostly eschews musical sensationalism explains its relative obscurity.

That said, it's not perfect. "Spirit" and "Take Forever" are forgettable junk, while the title track continues to strike me as just plain boring. On such a short album, to count three songs as "skippers" is a significant failing.

The standout classics here seem to me to be

1. "Man Machine Poem:" a true step forward for the band in that it sounds like nothing else they'd ever done. Strange, potent changes and great elliptical lyrics by Gord, especially that magnificent final verse. Had he dialed back the vocals a bit, we'd be talking perfection.

2. "We Want to Be It." Here's a song where the extreme vocals seem to enhance the desperation given in the lyric. "All our friends gave us a week...WE'RE STILL HAPPENIN' AS WE SPEAK!!!" is one of my favourite late-era Hip moments.

3. "Goodnight Attawapiskat:" a tremendous, blistering CanCon anthem, mercilessly sending up the colonial gaze. Just brilliant stunner of a song, and only the Tragically Hip could have done it.

Two songs which I suspect will be in for a rough go on these polls, but which I love, are "Done and Done" - devastating in its sound and simplicity, a real master class in songcraft and performance - and "About this Map," which gives us a neat metaphor and a cool guitar sound.

Truly rock and roll for grown-ups. I'm a fan of NFPA.

[fingernailsonhull]

Man Machine Poem is an interesting song, that alludes to what was to come with the MMP album. I can't think of another example where a song then becomes the subsequent album title, and I'd love to know the reasoning?

My understanding is that the Man Machine Poem album was originally supposed to be called Dougie Stardust, as an homage to David Bowie. However, after Bowie's passing, they decided to rename the album. Since Man and Machine were both tracks on it, Man Machine Poem made sense.

[fingernailsonhull]

On this tour, I went to go see them play Rexall here in Edmonton. I took a friend who had never seen them live before. I splurged for VIP tickets. We were in the second row, right in front of Paul. I sang along every word to every song. Toward the end of the show, Gord started picking out people at the front of the crowd who were clearly devoted fans, knowing all the words. Not into his microphone but mouthing the words, he asked several people their names and then said, 'Thank you.' I was one of those people. It was my only sort-of interaction with the man. But it was cool. I'm so thankful for the band and for the part their music has played in my life. It was cool to see that they are likewise grateful for fans who love their music, commit it to heart, and come to hear them play.

At Transformation is a monster and I love it. Sinclair's bass absolutely thunders in the second half of that song.

We Want To Be It is a great tune. I heard them play it live during the summer tour prior to the release. I thought Gord and Paul's harmony on the chorus sounded fantastic. I love the second and third verses, in particular.

I don't mind About This Map. I know it gets a lot of flack for the cliché metaphor and the repetition. But I like the tune.

Goodnight Attawapiskat is fantastic. The satire is cutting, and so the social commentary is on point.

[sean.bonner]

I absolutely adore this album (obviously).

My biggest complaint is Streets Ahead. I like the actual song, however the recording of it on here sounds like it was recorded in a tin can.

[schaggs]

I'll chime in with the Counterpoint:

- I felt like the band was completely distracted with things external to the music during the making of this record. Seems thin and disjointed to me
- I like MMP and GA, and At Transformation is alright, but the rest of the album is eminently skip-worthy.
- I'm not trying to be a hater, I just couldn't get behind this one. Least favourite album for me - and I'll defend World Container all day.

[mark]

I sang along every word to every song.

correction: you screamed along to every song.

screaming Gord was in full force by this point. oh my god it was awful. WATS represented the low water mark in terms of my fandom with this band. when it first came out, i enjoyed At Transformation and MMP (and i still love MMP), but the rest of the album didn't really do anything for me. and then the tour recordings came out and holy shit Gord sounded band. i was so turned off by the screaming/off key singing, they i basically gave up on them for more than a few years. i never went to another show. i didn't buy another CD on launch day. i've gone back to this album and still don't love it.... but i don't have near the same level as contempt for it as i do WATS

[fingernailsonhull]

I sang along every word to every song.

correction: you screamed along to every song.

screaming Gord was in full force by this point. oh my god it was awful. WATS represented the low water mark in terms of my fandom with this band. when it first came out, i enjoyed At Transformation and MMP (and i still love MMP), but the rest of the album didn't really do anything for me. and then the tour recordings came out and holy shit Gord sounded band. i was so turned off by the screaming/off key singing, they i basically gave up on them for more than a few years. i never went to another show. i didn't buy another CD on launch day. i've gone back to this album and still don't love it.... but i don't have near the same level as contempt for it as i do WATS

I sang. Gord screamed.

[direwolf74]

Solid return to form after the Bob Rock era. At the time I called this album a late-career gem, and I still feel that way. You can tell the band consciously scaled back on the glossy production and aimed for an edgier live off the floor vibe. Some of these songs sound like direct throwbacks to earlier Hip albums, and for the most part it works nicely.

At Transformation- Classic 90s style Hip rocker. This song honestly wouldn't sound out of place on DFN, TATH, or PP. Gord's vocals are ferocious on this tune, and his lower register kicks so much ass. This was during the screamo Gord years, and at the time I was amazed at how he could sound so great in the studio, but so awful in concert. It was like he was purposely trying to sabotage the shows.

Man Machine Poem- Brilliant song, and a foreshadowing of what was to come 4 years later on the MMP album.

The Lookahead- Catchy little pop-rock tune with a big, spirited chorus and wonderful lyrics from Gord.

We Want To Be It- Beautiful song with a passionate vocal from Gord. My 3rd favorite on the album behind Attiwapiskat and Transformation.

Streets Ahead- This one's a dud in my opinion. I like the chorus, but the verses don't do much for me, the production sounds like a muddy mess, and screamo Gord shows up during the bridge, which is a huge turn off.

Now For Plan A- This song is pure sonic ear candy, especially if you listen with a good set of headphones. Sarah Harmer's lovely vocals brings it to another level. Without her the song wouldn't be nearly as good.

The Modern Spirit- Another song that I often skip. Pretty forgettable by Hip standards.

About This Map- Love the guitars on this one. Fantastic lyrics and a solid vocal from Gord as well.

Take Forever- Unlike most people, I actually dig this song. The music, the production, and the song's basic structure is very reminiscent of the UTH/RA era, and harkens back to their bar band roots a little bit.

Done And Done- Decent track, even though it feels somewhat half finished. Not great, but it's not bad either.

Goodnight Attawapiskat- Another 90-style throwback, and also one of the finest songwriting moments in the Hip's catalogue. Great guitars, excellent lyrics, and a wonderful vocal performance from Downie. And that chorus is just heavenly! The only thing missing is a Robby guitar solo during the outro. Thankfully he made up for that when they played it live. Unfortunately this song was completely dropped from the set after the 2012 tour, which was a damn shame. Such an awesome tune.

[Dire Wolf]

I like the songs on this album. Unfortunately, the sonics are horrifyingly bad, so I don’t spin it very often. It’s really a shame. Johnny’s drums are so buried in the mix, among other things. I would love to hear the original versions of the songs, that the boys recorded before the break, prior to Brown coming on board.

[direwolf74]

I like the songs on this album. Unfortunately, the sonics are horrifyingly bad, so I don’t spin it very often. It’s really a shame. Johnny’s drums are so buried in the mix, among other things. I would love to hear the original versions of the songs, that the boys recorded before the break, prior to Brown coming on board.

I agree, Johnny's drums sound pretty rough on this album. I can't remember where I read it, but weren't they originally planning to self-produce this album?

[Dire Wolf]

I like the songs on this album. Unfortunately, the sonics are horrifyingly bad, so I don’t spin it very often. It’s really a shame. Johnny’s drums are so buried in the mix, among other things. I would love to hear the original versions of the songs, that the boys recorded before the break, prior to Brown coming on board.

I agree, Johnny's drums sound pretty rough on this album. I can't remember where I read it, but weren't they originally planning to self-produce this album?

I believe so. They had already recorded at least 7 songs by late 2010 / early 2011.

[Tomacco]

Man Machine Poem, At Transformation, We Want to Be It, Now for Plan A, and Street’s Ahead are all good to great songs. Goodnight Attiwpiskat is fine too, but I’m so bored by the second half of the album that I rarely get to it. I associate this album with the point when the Hip became boring live. Setlists were repetitive as hell, and Gord screamed EVERYTHING. I consider 2011-2014 a sadder time to be a Hip fan than any, with them really entering their nostalgia/greatest hits band phase (which the FC tour kind of solidified).
Sad as it is, Gord’s diagnosis was the best thing to happen to the band in terms of re-invigoration and amazing live shows. They went from a coasting band back to a pull-out-all-the-stops band. And MMP was an interesting artful record too which helped. So, I think of NFPA as the calm before the storm really.

[Moof_Milker]

NFPA, the penultimate Hip album. I've found myself nodding along in agreement to most of the comments thus far. As a fan of WC and WATS, I was eager to hear the direction this album would take.

I first heard At Transformation, We Want to Be It and Streets Ahead in the summer of 2011 when the Hip played in Peterborough during their warm-up show for the Bobcaygeon show a week or so later. I immediately loved We Want to Be It...liked At Transformation...and didn't dig Streets Ahead. Now all these years later, I would say I now love At Transformation, really like We Want To Be It It, and just don't get Streets Ahead. On an album that is decidedly more intimate, concise and stripped down when compared to it's immediate predecessors, Streets Ahead's loud mix hurts my ears. Not a fan. Overall, I liked NFPA, but felt it might be the most underwhelming Hip album to date. Some really interesting/fresh ideas here though - Man Machine Poem, I'm looking at you. I dig the title track and The Lookahead (hello Sarah Harmer!), Goodnight Attawapiskat and About this Map, among others. My feelings toward this album have grown stronger over time -- for example, a song I used to be indifferent about, Take Forever, is now one I quite enjoy.

Interesting to note that this album was sandwiched between two solo Gord albums: Grand Bounce in 2010 and Conquering Sun in 2014 -- two fantastic albums I would rank higher than this one for sure.

It's be interesting to see how the Weakest Link poll shakes out with this one -- if it were up to me, the final showdown would be between At Transformation and Man Machine Poem.

[Killer Whale Tank]

Screamo Gord remains a mystery. He stopped doing it eventually, so clearly it was a willed choice rather than some side-effect of vocal damage or something. At the time I had a sense he was frustrated within the Hip - aggravated, I speculated, at the fact that the new work was being ignored and the audiences overwhelmingly going for the nostalgia value rather than any real engagement with the music; and so his response was to dismantle the songs, play games with timing and structure, and at times offer almost a cartoon of the leather-lunged hard rock vocals of 1990 that these nostalgia audiences wanted. That's just my theory. Perhaps with the FC revisited tour he had made his peace with the 'nostalgia' aspect and reverted back to proper singing.

Then again, I recall an interview from around that time where he talked about how every time he readied to go on stage, he knew it was going 'to hurt.' Hurt what? In what way? I never understood this remark.

I'm a fan of NFPA but I do agree that there's something odd in the drum sound. I also don't care for all of Johnny's choices; e.g., the drum kick in the pre-chorus of 'Lookahead' seems wrong to me. But none of this is nearly as disastrous as the burying of the bass-lines on IVL, which sabotages much of that album.