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Does anyone have a comprehensive list of Hip shows that are from broadcast FM?

I have one extra seat available in Row 2, Seat 11 (dead centre stage) for $200 even, discount of approx. $60 of actual ticket price.

Email me at <!-- e --><a href="mailto:kfenech@nrcan.gc.ca">kfenech@nrcan.gc.ca</a><!-- e --> or MMS me at 613-314-6717

listened to the interview today, scribbled notes and turned it into something of a transcript from the chat.

Note: Absolutely nothing here is an exact, direct quote. A lot of it is close but I ended up paraphrasing just about all of it. The spirit of the answers here compared to what was actually literally said is damn close. I listened live-as-it-played and jotted notes as I went, no benefit of pausing or rewinding to clarify things. Just a head's up. Enjoy!

-----

What's the difference in recording an album now compared to years ago? Does it get easier? Is there more pressure?

JF: It's always a different experience. We don't keep the same producer for more than two records so there's always a fresh take. The writing process is similar but there are obviously technical differences now compared to back in the day. For instance, digital recording instead of recording to tape... Other than that, not too sure.

GD: It always feels brand new, it's both merciless and merciful. It feels like you should know how to do it every time but you don't. When you get in the studio, you search for a blueprint on how to make a record but you quickly abandon it. You recognize spontaneity and realize you have to go with your intuition and instinct as soon as you get in there.


-AT TRANSFORMATION-


When you finish up a tour and begin your non-work lives for awhile, what's the process for getting back together again? When you first meet up after time away, is it instant? Does it start with a lyric and then find the music that fills it in?

JF: First thing is to reconnect with the guys and rekindle the friendships. When we're all back in the room it just makes sense. It's something unexplainable really, and yet is the reason why it's been this strong for this long. We don't do what a lot of bands do, we don't go after each other about the technicalities of how you play instruments, "you should play it that way," etc... the vibe of the band just makes sense.


-MAN MACHINE POEM-


Is there a particular reason why you use a producer only a couple of times?

GD: It just happens that way. For this record, we thought maybe we'd try to do it ourselves but quickly decided to be friends instead and let someone else make the record-making decisions. It's certainly not easy for a producer to stick his head into the hornets' nest of a 25 year old band. We'll definitely be working with Gavin again. We maintain friendships with all of the producers we've used over the years.


-LOOKAHEAD-


A producer doesn't just turn knobs and stuff, but becomes a part of the band so to speak. Was Gavin Brown a match because of his experience with some of the young bands of today? As compared with other producers who work with established, large bands, did Gavin provide a fresh look at the songs and does it add to the experience?

JF: With Gavin, you get his concentrated heart and soul. He's big about the sound, the tempo. He's not afraid to tell me something like "don't play here, you don't have to play in this spot" He has an incredible ability to take unorganized ingredients and simplify them. He's very direct.


A lot of the time, bands get in the studio and think they have to 'play sounds' all the time, but they have to be able to step back, right?

JF: In my case, he'll remind you as a drummer that people want to tap their toe. He's a drummer himself, he knows the sonics and knows where the song can go.


-WE WANT TO BE IT-


Missed this segment, The question was about whether there's a vast catalogue of ideas, lyric snippets, beats, riffs, they have written down somewhere and can draw from or do they take an almost fresh approach every time

Gord started to say they usually have a few memorable, strong ideas from albums and such that for whatever reason didn't make the cut but stick in the brain and can turn into other things. Feed cut out here, came back through the next tune.


-STREETS AHEAD-


In the studio, sometimes you just can't hammer a nail through a song and finish it. But do you bring back a song idea from the past?

GD: Well, going on from the end of the last question, there was a song from two records ago, I had changed the lyrics out completely with a fresh set but it still didn't make the cut. Bobby came up to me and said he loved where I was going with it initially and everyone liked the music, but you have to run it past your heart in order for it to be genuine and if the heart doesn't agree, it can't move forward.


-NOW FOR PLAN A-


It used to be that albums would set up a tour, now it seems almost the opposite, that tours now kinda set up albums. You never have to make another record again and can just stand on a vast impressive catalogue...

GD: Yeah but then you're just Barbara Streisand, but think of the dresses! (everyone laughs)

JF: The creative process is still incredibly satisfying for us. With Gavin on this record, if it wasn't working, we would re-dress it, re-approach it. As for touring, well you want people to know you have a record out, it's getting harder and harder for guitar bands to be noticed these days.


-THE MODERN SPIRIT-


You guys have very nice jackets and presentation to your albums, it's a trend that seems to be fading as pop bands don't put a lot of effort into artwork and presentation. Is the full package important, like it can't be just an mp3, does it need to be something more?

GD: Andrew Meyers is the photographer behind the album cover. It's from his portfolio of work. We went through it looking for something that worked with the title "Now For Plan A". We had quite a few possibilities because Now For Plan A is so layered in meaning. I can count six scenarios where that saying can be used. We're in the people business, they wanna see that you took time and care in the complete package. Pop artists don't do a lot of these things, they don't challenge corporate ideals. But we have Fucked Up and Billy Talent out there still keeping Joe Strummer's ideals alive. I'm getting off track here... (laughs)


-ABOUT THIS MAP-


It's a weird thing when you're a band, you need corporate help, you need guidance from experienced individuals in the industry. It's a fine line between help and hurt though, and you have to be able to resolve the idea that you can be kinda stuck playing for a beer manufacturer on a given night. Do you have any advice for new bands trying to cope with working with the corporate machine or with record labels?

GD: We were in a green room with Celine Dion's manager and our manager asked him for one piece of advice to give to a young manager out there. He said, "make every decision like you already have a million dollars." Basically, don't make decisions for money, but for artistic reasons only. The world doesn't buy what it doesn't like. Rock 'n roll is badly needed today and its death is premature.

JF: I remember we were playing a gig under the stands at the Ex in Toronto, a Molson Ex beer tent, and Neil Young was on the main stage. I remember these guys running around trying to get Molson Ex banners up around the stage. We got paid more for that show then our shows at lakeview manner. The corporate machine really helped financially in the early days.


-TAKE FOREVER-


So you create 'Now For Plan A' and it's time go on stage with it. How much time is put into rehearsals in order to be able to pull off a new song live in one shot on stage. Do you get enough time to feel like 'we're ready to play it live'?

GD: Recording is just a starting point. The song might get faster, slower or change live, but it's ready. For shows, I don't worry, don't plan or really 'rehearse'. We're a complete band, not a singer-songwriter, so there's more that goes into a show. People hire bands to escape. I don't sell illusions to people, so I don't create them. I want to be surprised every night just like everyone else.


-DONE AND DONE-


This far into a career, is it harder to write lyrics that you still feel are timeless?

GD: I'm more interested in getting them tight than timeless. I want to make sure y'know, "will it work, will it hold water." Timeless? It's a waste of time. For instance, Bobcaygeon I wrote while walking home from Baskin Robbins down Carlyle Ave. I don't know about timeless, I just want to get it tight.


There's a movie coming out about that show now.

GD: Yeah, Andy Keene did a great job, we're not in it much (laughs) and that says more for us than we ever could


About the Bobcaygeon show, it was something of a pilgrimage for 25,000 people. They came from all over, showing up in a field. It was a full community effort to be able to pull it off.

GD: Yeah, and the film covers all that. It does a great job showcasing the spirit of small-town Canada.

JF: I remember I stayed at the Bobcaygeon Inn. There was a band soundchecking just as Bobby and I got there, a hip cover band that was going on that night


So you ended up hearing a few of your songs played again? (laughs)

JF: (laughs) yeah we heard a few songs, it was good


Do you look for an opportunity to re-do or recapture that moment?, not necessarily another show in Bobcaygeon, but anywhere. Can you capture it in any arena?

JF: You have to treat it like a jazz gig, you just move on to the next gig. The magic was in the air that night, you remember it, but you move on.

GD: It's a very Canadian thing to see music outside in the summer. We're trapped indoors all winter. Y'Know, why do we do that? Travel from all over, to endure mud and tents just to see live music outside. it's an incredible phenomenon.


One thing I know about your band is that the effort is always the same, from the early days to now, no matter the venue, audience, location...

GD: Well you can thank Johnny for that (laughs), you're only as good as your drummer.

JF: Whether it's in Gord Sinclair's mom's basement getting ready for a show, or to 25000 in Bobcaygeon, you have to be ready.


The final track on the album is Goodnight Attawapiskat. Set it up for us.

GD: Well it's a great closer, it's part of Canada. It's a great metaphor for when economics dominate politics. You have to check that ruthlessness a little bit. You know, every time there's a flood, they rush in and say 'we can relocate you!' It's a 'fly-in' community. We played a show in Fort Albany, just south of Attawapiskat, and the show was one of the highlites of our career and we'll go back. Those communities teach us more than we can ever teach them about community, togetherness and "stretching a god-damned buck"


Gord, Johnny, thanks for doing this

GD: Our pleasure


-GOODNIGHT ATTAWAPISKAT-

I know there's a few things out there on Dime and whatnot, but I'm wondering if someone has and could share a complete set of all the available demos/unreleased stuff, perhaps on hipfans or via Dropbox? I'd be more than willing to trade or upload any shows from my vast collection as a thank you.

Sunday mid-afternoon in Kensington market will be a 'Hip' place to be. ^MAv <!-- m --><a class="postlink" href="http://fb.me/1AWmWMuYV">http://fb.me/1AWmWMuYV</a><!-- m -->

I bought 2 tickets(2 separate transactions) and got 2 download emails
Hit the link and only got 1 song. At Transformation
Did this happen to anyone else?

The link was advertised as the cd and not just 1 song.

Holy confusion. Tuesday is soon enough. but

Heard the hip were playing at a festival in Toronto this sunday. Dont know how true this is. Probably some kind of tribute or cover band i would imagine and he got his info mixed up.

Might as well keep all the reviews in one place than making separate threads for them all:

<!-- m --><a class="postlink" href="http://newsok.com/article/3713623">http://newsok.com/article/3713623</a><!-- m -->

CD review: The Tragically Hip 'Now For Plan A'
By Gene Triplett | Published: September 28, 2012

The Tragically Hip ‘Now For Plan A' (Zoe Records)

“At Transformation” is the opening shot that sets things spinning winningly on The Tragically Hip's 13th long-player “Now For Plan A,” with fuzzed-out, twanging and stinging guitars swirling around Gordon Downie's distinctively dramatic warble as he sings of his resolve to be a positive force in a negative world and “not a bullet in the right place.”

Good plan, Gord. But then on the dreamier mid-tempo rocker “About This Map,” he concedes quite emotionally that life doesn't always go according to plan, so tear up that map and let the winds of fortune blow you where they may.

Sometimes life leads to heartache, as he observes on the slow-dancing, beautifully melancholy breakup song “Done and Done,” while the hard-driving, chord-churning “Streets Ahead” seems to exhort the listener not to mope around and left life run off and leave you.
Here's yet another great record from one of Canada's biggest concert draws, a band tragically overlooked south of the border despite nearly 30 years' worth of melodically memorable and lyrically potent rock 'n' roll. Downie's soul-wrenching vocals are at turns reminiscent of the Call's Michael Been and Velvet Underground-era Lou Reed, while the muscular three-guitar drive of Downie, Paul Langlois and Rob Baker make them Kingston, Ontario's answer to the Rolling Stones.
Maybe No. 13 is the charm.
— Gene Triplett

So I was looking at the NY&CH tour website with all the info on it, you can click on set list of past shows. Seems like he is only doing 14 songs a night. Unless they are doing a lot of jamming, it seems like it could be dissapointing. Has anybody seen him on this tour yet? If so how was it. Im asking becuase I have the opportunity to get some Row 1 tickets right beside the stage for cost but thats $420 so im humming and hawwing after checking out those setlists from this tour.

I noticed that most of the US shows (including the 2 I'm going to, Rochester and Syracuse) have a start time of 9:00. That sounds like it will be a regular show, just with no opening act, rather than the traditional Evening With shows that are extended set lists. I hope that's not the case, but usually shows end at 11:00, so it doesn't seem like these will be 2.5 hr shows with 25-30 songs.