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Has anyone made any plans to meet up in Toronto before the show? I'd like to put a few more faces to names if I could, or at least hoist a beer or two next to some other fans.

My choice is The Loose Moose on Front Street; it's close, serves cold beer, and plays The Hip. :thumb:

i recently made the switch to bell express and was nothing but happy with it until....today...snow...and of course...no signal...just wondered if anybody else with sattelite has this trouble, and should i expect a long, tv-less winter...i'll be pissed if this happens all the time..they promised it wouldn't happen(well...i guess that makes sense, doesn't it?)

I have acces on friday to the ACC sound check session, I will reporting all the juicy details, however I am not sure what time the boys actually get up on stage before the show to do the soundcheck ? Its usually around 4 or 5 for a 7:30 show ??? cheers

Guess Gord is getting sick of answering the question of why the Hip hasn't made it big in the US. Hopefully people will back off and stop asking them that question! :censored

http://jam.canoe.ca/JamMusicTragicallyHi...p-sun.html

I was nought but a lad when my brother came home from his tours of duty in Viet Nam and Thailand; still too young and the "war" too fresh for me recognize the futility of the conflict, he was a hero in my eyes. I was glad he was home and spent as much time as I could with him, doing everything, and nothing.

The soundtrack to this chapter of my life was provided by three battered eight-track tapes he brought home with him: Queen, Queen II, and Sheer Heart Attack. I was barely twelve years old and had never heard such thick, textured music or a singer with such an unusual, powerful voice. I became an instant fan and anxiously awaited each new release, much like I've done with The Hip over the last fifteen years or so.

I grew up in a southern region where concerts were few and far between but when Queen played on the other side of the state on September 4, 1977, my mother bought me tickets for what would be my first concert ever. A buddy and I road-tripped to the show, listening to the entire Queen catalog along the way, much like I've done for The Hip over the last ten years or so.

The diference between Queen and The Hip, between Freddie and Gordie, seems extreme and obvious; their sounds are practically diametrically opposite, yet, in contemplating the anniversary of Freddie's passing and re-reading Brian May's wonderful tribute / obituary originally published by BASCA in late November 1991, it's become clear that on an artistic level, there are far more similarities than differences.

I realize that Queen and their music are from a different time and a far different world than anything currently popular, but Freddie's talent as a writer and showman, and Queen's contribution to the musical landscape that has brought us to this point, in between evolution, are undeniably important and therefore, worthy of acknowledgement.

Here's what Brian wrote on that devastating November day in 1991:

Brian May Wrote:FREDDIE MERCURY: A MAGICAL FREE SPIRIT

IT SEEMS inconceivable that we now have to do without Freddie; this proud, vibrant, irreverent and passionately creative man surely can't have been extinguished in the prime of his life? Freddie was denied the privilege of growing old, but in 44 years he packed in enough living for a dozen lifetimes.

A child of strict upbringing, he was, when I met him some 25 years ago, an uncertain youth stepping into an unfamiliar world outside, but his head was full of great dreams and the certainty that they could be achieved. At the age of 20 he already lived the dreams, and behaved with a gentle grandeur that demanded respect. He looked and acted like a million dollars, though he had scarcely the bus far home on his person. (That never changed - later when his millions were safely in the bank, someone else always carried the purse!) Perhaps in changing his name just prior to our first record release, he decided to leave the fragile Frederick Bulsara at home under parental care, and become the god Freddie Mercury.

Freddie was a very uncommon creature in our time - a free spirit. He knew what he wanted to be and set about it with complete dedication. His loves were music and life; life was for living and enjoying to the full, and when life disappointed and hurt him, he poured all the more passion into perfecting his music, weaving his spells. He never hid in modesty. He gave himself credit for his own achievements and gave credit generously to the achievements of those around him. Freddie never did anything by halves; he had no time for anything but the best.

His spirit will live on as long as musicians strive to pour excitement, drama and mystery into their work.

I was fortunate to share in many moments of creation with Freddie, and I still hear his voice whenever a mediocre compromise is threatened "No Darling, we don't compromise". His songs say it all: The March Of The Black Queen, Lily Of The Valley, Killer Queen, Bohemian Rhapsody, We Are The Champions, The Miracle, Play The Game and many others - all have the finest shades of emotion among the bold strokes. Freddie never wanted to discuss his lyrics; "They should speak for themselves" was his curt dismissal.

But the imagination in those lyrics combined with a magical sense of melody, and a deft knack of sliding between keys at the drop of a hat, made him one of the truly original songwriters of our time. Person, writer and finally performer. This is where the superlatives run out. For, on a stage in front of 200 people or 200,000, he was, of course, matchless. Somehow by channelling his inner self through the heroic, yet intensely human figure that he had created, he reached out to every heart, every boy who ever struggled to be a man, every woman who wanted a man like this. He had the touch of genius which spurred us all to greatness. Freddie, you did it: you were the best: you changed the world.

God speed
Brian May

If you're interested, the original page from the BASCA publication in which Brian's tribute appeared can be viewed HERE.

"The show must go on..."

~Scott

http://tracker.hipfans.com/torrents-details.php?id=36

Quote:The Tragically Hip
July 1, 1992
Barrie, ON & Vancouver, BC

548 MB


Disc One (26:54)

Barrie, oN
Molson Park

01. Fifty Mission Cap
02. Cordelia
03. Last Of The Unplucked Gems
04. At The Hundredth Meridian

05. Courage
06. Twist My Arm
07. Fully Completely

Tracks 1 - 4 from a Much Music TV broadcast.
Tracks 5 - 7 from a different, unknown source.

Quality is not as good on Tracks 5 - 7, but it's
still alright. Fifty Mission Cap is introduced by
a VJ, announcing that the show is already in
progress. I'm not sure if the last three tracks
of this disc were actually played before or after
the first four, but either way, this is probably
not the complete set.


Disc Two (61:34):

Vancouver, BC
U.B.C. Thunderbird Stadium

01. Little Bones
02. Fully Completely
03. Twist My Arm
04. Courage
05. Fifty Mission Cap
06. Cordelia
07. Last Of The Unplucked Gems
08. At The Hundredth Meridian
09. Blow At High Dough
10. Lionized
11. Locked In The Trunk Of A Car
12. New Orleans Is Sinking

Encore:
13. On The Verge


All tracks are from the second part of a Much Music
TV broadcast. Some fan interviews interupt the
beginning of Fifty Mission Cap, but the "damage" is
minimal. The introduction to On The Verge starts
quite suddenly. Part of the encore may have be
missing from the TV broadcast.


From what is available, it's easy to tell that these
were two great shows, and amazingly enough, were
played in Ontario and British Columbia on the same
day. These two shows are filled with some of the
best Gordism's out there! Enjoy!

Seeded by Hairbird
(James)

"Happy Stupid Day! Good night dumb patriots!"

B&P's for those who need it. Just shoot over a PM and we'll get it worked out. Cheers.

Picked up my local rag, the Milwaukee Journal-Sentinel(and I do mean rag) and was surprised by this well written article about Montreal and its music scene. Sam Roberts makes a guest appearance! :thumb:

Bright creativity spins out of dark past
Montreal rises from hard times to vibrant new cultural life
By CARY DARLING
Knight Ridder News Service
Posted: Nov. 22, 2004
Sam Roberts remembers a time a decade ago when Montreal wavered on the edge of collapse. A recession as deep as the nearby St. Lawrence River, French-English language wars and a movement for the province of Quebec to secede from Canada had turned his hometown into hostile territory.



Things got so bad that the singer's parents - who had escaped the upheaval in South Africa in the late '60s - fled from Montreal to North Texas in 1994, settling in Mansfield. His brothers attended high school in Fort Worth, while Roberts, who had stayed behind to continue college, visited during summers and worked at a La Madeleine restaurant in Arlington.

Montreal, he recalls, "was really a dark place for a few years."

But then a light clicked on: Secession failed, the economy sparked to life, the fires of linguistic rage died down from a rapid boil to a slow simmer, and a retooled cultural life took shape.

"In the wake of that kind of trauma, the rebound is often stronger," says Roberts, whose family returned to Montreal in 1999.

Now, the polyglot, multi-culti city of 3 million is home to a diverse rock and dance-music scene that's making inroads in the United States.

"Still Not Getting Any," pop-punkers Simple Plan's follow-up to "No Pad, No Helmet . . . ," which sold 2 million copies in the United States, arrived in stores recently.

Also just released are "No Cities Left," the U.S. debut disc from the Dears, whose emotional, orchestral rock is earning critical acclaim in the States and in Britain; and "Funeral" by Arcade Fire, whose Flaming Lips-style eclecticism is getting lots of critical kudos and college-radio play.

These acts aren't alone; some of the faces coming out of Montreal include: DJs Kid Koala, Jojo Flores and A-Trak; alt-rockers, including Roberts, the Stills, the Unicorns, Stars, Wolf Parade and Belle Orchestre; retro dance-funk band Chromeo; experimental ambient outfits God Speed You Black Emperor! and Fly Pan Am; Smashing Pumpkins / Hole bassist Melissa Auf der Maur; and kitschy Bran Van 3000. The city is even attracting some emigres: Electronica artist Amon Tobin moved to Montreal from Brighton, England, two years ago.

Throw in the Cirque du Soleil entertainment juggernaut and the pop-culture empire spawned by Vice magazine - it's now into book publishing, a record label, film/TV production, marketing and retail clothing outlets - and the world is finding out that Quebec's largest city is much more than separatism and snow.

"I call it the city that never sleeps. Next to Vegas, we're pretty much always active," says Steven Lex, founder of the site <!-- w --><a class="postlink" href="http://www.montrealmusicscene.com">www.montrealmusicscene.com</a><!-- w -->. "Bars close at 3 a.m. The party scene is always happening here, especially in summer. . . . And everybody's into side projects. . . . Here, people are always busy, with their own business or something artistic."

"It's a really vibrant place," echoes Sandra Sperounes, pop-music critic at the Edmonton Journal in western Canada and a frequent Montreal visitor. "It's like Europe in Canada. Even though there has been talk about Quebec separating, I just find that anything goes here, and it's a very welcoming place culturally. . . . People aren't scared to try something new."

"The winters are so long that people stay inside and write songs," says Simple Plan guitarist Jeff Stinco.

The city's painful political problems are credited with fostering creativity. Much like other cities - such as Miami or Johannesburg - that experienced a flight of English-language white residents in the past two decades, those who decided to stay had to adapt to a new cultural reality.

"The majority of Toronto's growth was due to the English diaspora. Toronto became this hugely populated, bland city," says Nick Chen-Yin, a production assistant at Vice magazine who moved in the opposite direction, from Toronto to Montreal. "People who decided to stay had a different attitude from Toronto or Ottawa. It's reflected in the art and the overall scene that's prevalent in the city."

"That (period) ended up galvanizing a lot of us," says Roberts, whose hooky "We Were Born in a Flame" CD is a highlight of the current Montreal wave. "I think it changed us - we're not the happy-go-lucky Canadians anymore. You're confronted with literally having your country torn apart."

'An artists' town'
The departure of people and capital from Montreal also meant a scene could blossom outside of the media spotlight.

"Toronto has more of a grip on the whole marketing and music industry aspect of it," Lex says. "Montreal is an artists' town. . . . Artists do what they want."

The down side, of course, is that Montrealers have to leave town to attract attention. The Stills and the Vice media umbrella, for example, moved to New York City, and Simple Plan's Stinco complains that there aren't many places to play.

"There's no industry for the English bands, to speak of, so a lot of the bands feel they have to go to Toronto, Los Angeles and New York," says Too Tall, a Montreal rock DJ.

What's happening in Quebec is part of a broader Canadian modern-rock upsurge.

But Montreal appears especially vital. Roberts finds the city is a relief after he spent several months on the Los Angeles treadmill. And the guys in Simple Plan could live anywhere these days, but they choose to stay close to home.

Hey all

Anyone seen Ron Sexsmith live recently? I just got back from his Kingston show, and I'm desperately trying to review it for the school paper. It wasn't earth shattering or life altering, but so good and really so different than a lot of other bar shows, that I'm somewhat at a loss for words. Such a good rapport with the crowd, and a back catelogue that he's not affraid to reveal. Seeing him should be a "how to" for people who already know "how to" to paraphrase GD.

And he covered the Clash's "Bank Robber"... how awesome is that.

Cheers

Pat

IF YOU HAVEN'T SEEN TONIGHT'S EPISODE DO NOT READ THIS!!!!
















Anyone else as ticked off about this "you choose the verdict" BS. It's like JUST PICK A VERDICT! WE WILL BE HAPPY WITH WHATEVER YOU PICK WE LOVE YOUR SHOW!

UGH. BTW GREAT SHOW!

I don't know how you do it. I was out and around yesterday and I saw a younger woman, maybe 29-30ish, walking in tight, pointy-toed, high-heeled boots. Why do you put yourselves through this agonizing torture? And if there are benefits to it, which are difficult to imagine, how could they possibly outweigh the ridiculous pain you must go through. Am I missing something?