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We Are The Same Discussion

The Darkest Canuck Wrote:
BulletRiddled Wrote:I'd like to hear some of these songs live, but there's no way in hell I'm paying $70-$90 per ticket for the opportunity. To compare, next month me and my girlfriend are seeing my other favorite band (Clutch) live, and then I'm going to Edmonton to see them again. All three tickets together cost me $84.

Between the limp album, exclusive tracks, and the absurd ticket prices, I'm a pretty disillusioned fan right now.

Ever hear of supply and demand? More people want to see the hip than clutch, therefore, tickets to see the hip cost more...


"More people want to see the hip than clutch" Not sure about that. Perhaps if Clutch didn't live their life on the road...things would be different. They hit Michigan...3-4 times a year.

My top two bands for sure. And since Hip only get round these parts every so often...the higher ticket price is okay with me.
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<!-- m --><a class="postlink" href="http://www.thetelegram.com/index.cfm?sid=264464&sc=84">http://www.thetelegram.com/index.cfm?sid=264464&sc=84</a><!-- m -->

'We are the same'... only different
The Hip tour, 13th album, mark two decades of making music

TARA MULLOWNEY
The Telegram

They may be the same five guys from Kingston, Ont., that started a band more than two decades ago, but despite what they might profess on their latest album cover, the members of The Tragically Hip are not the same as ever.

"We Are the Same," the Hip's recently released CD, is different from the band's previous 13 albums, appearing to be a little more melancholy and reflective.

"We are the same, but we couldn't be further apart, you know?" drummer Johnny Fay told The Telegram of the band members. "In a working relationship of more than 25 years, it's hard to all stay on the same page."

The album, through songs like "Honey, Please," "Love is a First," and a trio of tunes called "Depression Suites," is an examination of relationships of all sorts, Fay said.

"Gord (Downie) writes all the lyrics, and he lets everyone paint their own picture in their mind," Fay explained. "He says from the stage that this album's about relationships - relationships with his father and his kids and us as a band, and maybe even as a family. A travelling family that's been doing it for 25 years."

Though Fay doesn't classify the album as being political, Downie's lyrics also discuss topics like residential schools and the country's First Nations population, and those stuck working menial jobs.

"Someone said the other day, 'These new songs are not like your hits.' Well, those songs took 10 years to become hits," Fay said of the band's earlier tunes.

"We were playing them as we were driving across the country, sitting around by a campfire, things like that. Six or seven months after we first put our record 'Up to Here' out, we were playing in Pennsylvania to, like, nine people. We came off the stage and our road manager at the time said, 'I know it's not looking good out there, but I just got a call from your record company. I think your record is going to go gold at home, which is 50,000 copies.' We just thought, whoa- there are 50,000 people who like our band. Do you know how great that feels?"

Since then, the Hip has sold more than eight million albums worldwide and has won 11 Juno awards out of 31 nominations.

Staying current after so long and through so many albums - and with a fan demographic that now includes teenagers who weren't even born when some of the band's biggest hits were made - isn't easy, Fay said.

For The Tragically Hip, it comes down to the guys' unwillingness to sit still - rarely going four months without getting together to write, record or play a gig - a supportive record company, Universal, and not following trends.

"We've always made our own music and if people liked it, they liked it. If they didn't, then they didn't buy it. We didn't hold anyone hostage for it," Fay said.

"We just do our own thing and if it appeals to people, that's great."

The Hip has been touring the country in support of "We Are the Same," and will play at Mile One Centre in St. John's Thursday evening.

Fans can expect some old as well as new tunes, along with an acoustic set featuring earlier songs like "Fiddler's Green, and somewhat of a nautical theme," Fay said.

The Hip members are particularly pleased that their schedule allows them to get in town a little early, and they plan to take in a little sightseeing.

"We always look forward to playing out there. I'm sure it'll be a good show and a great time," he said.

Tickets for The Tragically Hip concert are still available at the Mile One Centre box office, by phone at 576-7657 or 1-800-361-4595, and online at <!-- w --><a class="postlink" href="http://www.sonicconcerts.com">www.sonicconcerts.com</a><!-- w -->.

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"We're forced to bed, but we're free to dream"
Dana
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I stopped surfing this site after WC came out. But what the heck, here's my 2 cents.

I don't like Bob Rock either. I generally hate heavily 'produced' music, and while there were certainly a handful of good track on World Container('The Kids Don't Get It' was my favourite), I found that album to be mostly an embarassment: good Hip songs utterly sabotaged by ghastly, tasteless production. 'Grotesque' would be my word for that failed fusion of styles (traditional Hip songs + Bob Rock's glossy stylings).

But my response to this record is completely different. And I think the key is that this isn't an album of prototypical 'Hip' songs subjected to Rock's production. Instead, it's as though they wrote the songs with that kind of production ethos in mind. 'Coffee Girl,' 'Honey Please,' 'Morning Moon,' 'Country Day,' are great examples; these songs sound about as perfect as they possibly could sound. But none of them conform to the classic Hip 'formula.'

The song that best fits that formula - Love is a First - is the one that suffers the most from Bob Rock. Quite simply, the guy is a terrible rock and roll producer, but he knows what to do with well-crafted POP songs. His sensibility is more Beatles than Stones. And the Hip delivered enough of THAT kind of material to make this an album with a critical mass of good stuff.

The first four songs, for instance, are gold - 1, 3, and 4 are sheer delights, and 'Honey Please' reveals its pleasures the minute you think of it as a Ron Sexsmith song. 'Struggle' is definitely overblown, but it's *interesting* to hear the Hip doing U2 (and the cryptic lyrics help - 'honey watson??'). In the right mood it works. 'The Exact Feeling' is an agreeable midtempo number that has Gord in terrific voice; a prototypical 'album' song. 'Speed River' - straightforward rocker that Rock somehow manages not to fuck up, maybe because it IS so straightforward; it'd never be a single but like 'Feeling' is a satisfying album cut. 'Love is a First' - the song's primal excitement survives the Rock treatment, but you do have to close your eyes and imagine what it REALLY sounds like. 'Country Day' - nice finish. The middle eight is a bit unfocused, maybe.

So that's nine tracks, more than enough to make the album strong in my books. This is good music, and I find something humourless and uptight in a lot of the criticism. Sonic candy - enjoy it!
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Killer Whale Tank Wrote:'Honey Please' reveals its pleasures the minute you think of it as a Ron Sexsmith song.

Great comparison! I just listened to the song again after reading your post, and you're right. It definitely has a strong Sexsmith vibe to it.
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I also love the coda - the guitar and the 'stars of the county' line. Just a great feeling there.

That's not the only song on that record that 'makes sense' once you frame it in terms of music other than the staple 'Hip' sound, IMHO. 'Country Day' - the verses are pure Hip but the chorus is pure Willie Nelson (!), while 'The Struggle Has a Name' is the Hip doing U2. I wonder if the sketchy fan reaction to this record owes partly to the fact that people like Sexmith and Nelson aren't typical favourites of your average FM Radio listener?
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Killer Whale Tank Wrote:The first four songs, for instance, are gold - 1, 3, and 4 are sheer delights, and 'Honey Please' reveals its pleasures the minute you think of it as a Ron Sexsmith song. 'Struggle' is definitely overblown, but it's *interesting* to hear the Hip doing U2 (and the cryptic lyrics help - 'honey watson??').

This is good music, and I find something humourless and uptight in a lot of the criticism. Sonic candy - enjoy it!

Why on earth do I need to pretend one band is another in order to appreciate it?

I don't want to hear the hip doing U2. I prefer it if they do some variation on themselves (no, this does not mean i wish to hear them re-do old material).

"This is good music" is highly debatable. And since when is criticism full of humour?
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[/quote]

Why on earth do I need to pretend one band is another in order to appreciate it?
I don't want to hear the hip doing U2. I prefer it if they do some variation on themselves (no, this does not mean i wish to hear them re-do old material).
"This is good music" is highly debatable. And since when is criticism full of humour?[/quote]

Hmm. Well, I guess I just find 'Morning Moon,' 'Coffee Girl,' and 'The Last Recluse' in particular so self-evidently enjoyable that the only obvious rationale for not liking them must be some sort of disappointment that the band isn't sounding like it "should" sound, according to some rigid definition. Now I don't know if that's where YOU in particular are coming from, but that sort of critique always strikes me as intransigent (not to say constipated). It's like when Michael Gray attacks Bob Dylan for daring to use echo on his voice on later recordings because Gray's idea of how Bob Dylan should sound does not include echo.

As for me, I find it at worst *interesting* to hear the Hip (or any good band) going to this or that particular place for one song, and at best very enjoyable, especially since it's not like they're just playing musical chameleon - all those songs are distinctive from the templates they draw from, just indebted to their sources, as all good music should be. What I'm really saying is that (say) 'Honey Please' speaks a musical vocabulary closer to Ron Sexsmith's than most Hip songs - AND that it's a good record - AND that recognizing the vocabulary helps us to relate to the song. Now, Sexsmith, or U2, or Willie Nelson, or whoever, may not be your cup of tea...that's fair enough. But I still think those are good songs on their own terms. Which may, of course, not be yours.
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read my review on pg 63. i make a point of not criticizing them for sounding like i 'expect' them to (i never expect them to sound like anything), but for sounding how they do on this album. as in i don't like what they've brought to the table with this effort. admittedly, there is alot of 'they don't sound like they used to' going on here, so one can be forgiven for assuming all critics of the album are thinking that way...
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day_for_night Wrote:read my review on pg 63. i make a point of not criticizing them for sounding like i 'expect' them to (i never expect them to sound like anything), but for sounding how they do on this album. as in i don't like what they've brought to the table with this effort. admittedly, there is alot of 'they don't sound like they used to' going on here, so one can be forgiven for assuming all critics of the album are thinking that way...

Yeah, fair enough. Interesting critique...I just disagree with most of it (which seems strage given that you and I appear to share a similar basic attitude toward elaborate production values, i.e., we dislike them). Unlike you, I find the sound on this one much *crisper* than on WC, on which I could barely make out distinct instruments. On this one, most elements on most songs seem to me nicely defined. The drums in particular seem excellent. 'Morning Moon,' for instance, sounds just about *perfect* to me, one of their best recorded moments. Yet you have precisely the opposite reaction. I suppose it proves Abe Lincoln's dictum.

And I really don't get the hate-on for 'Coffee Girl.' Great groove, catchy tune, pointed lyric, well sung...resistance to it just baffles me.

As I say, I find that, on this particular record - unlike WC, which he ruined - Rock really gets in the way on the songs that are intended to be Big Rockers. Furrows, Frozen, Love is a Curse - only the last survives (The Depressions Suite is just a badly-designed song, period, its failure is not Rock's fault...although I doubt he helped).
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Quote:...I suppose it proves Abe Lincoln's dictum.

Hey wait a minute; no need to bring in Latin based sexual innuendo into this!

"we've only got three hundred feet to go ..."
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thebends Wrote:
Quote:And anyone who thinks the sound of this album was more The Hip's doing then Bob Rock's is delusional.

I guess I'm missing something here. To me WATS is a natural, stunning progression for the Hip. So there may be string sections, trumpet and backup vocals overtones that some people object to - details. Look beyond the window dressing and it’s not hard to appreciate the strength of these tracks. They have stated themselves they believe this is the best music they've ever written (Gord has anyway), and that parallels closely to how I feel about WATS. I appreciate and in fact love the beer chuggin' tracks and moods from the past but I'm ecstatic the band did not settle for those anthems and have moved on to new ones. I can put on ANY track from this release and instantly know it’s the Hip, not Bob Rock. To be honest I really don't care what Bob Rock did or didn't do on WATS, or WC for that matter, or that he apparently ruined Metallica. The fact is IMO that WATS, under the liner notes, stands up to anything the Hip have released, and it has paved the way for a continuing career of fantastic live music, some of the best in the planet. And that’s good enough for me.

What do you want Gord to say? This album is okay???

I think they have said that every release :lol:

That being said, I'm giving this yet another try
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I just saw the video for WE ARE THE SAME at the HIP's website. WOW! Epic! Amazing! This video is the best video since Nautical.
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