“Avoid trends and clichs. Don’t try to be up to date.” This is the second verse from the song “My Music At Work”, and a true statement about the band’s fortitude and work ethic in making another successful record. With no critical acclaim stateside, The Tragically Hip is more than content on selling out venues across Canada and Europe year after year. Like many other great Canadian artists, The Hip have gone untouched in the States because their music is not exactly deemed marketable, and sadly enough no one is giving them the break they so badly deserve. On their seventh studio album, Music @ Work, the band finally seems to have found a comfortable niche in recording and producing their music, releasing their best effort since Day For Night. They again team up with Steve Berlin (Los Lobos), whose efforts on Phantom Power go beyond the call of duty, and mixing/producer guru Steven Drake (Odds). Together, they helped The Hip find the songwriting strengths that lie within Day For Night and tapped into the musical mindset used for Phantom Power as a formula for recording the new record.
First, let’s get a few things out on the table. Believe all the hype you hear about lead singer Gord Downie. The humble frontman is a poet with the down to earth sensibility of the average Joe, but when inspired by art, history, or visionary landscape, he transforms into a lyrical genesis. Gord has a craft in his songs that would never work for the average band. Honestly, when I first studied Music @ Work, I really did not care for it. However, like a kid who craves sugar, I found myself coming back to the record and singing out verses in the middle of my day. Songs such as “Lake Fever”, “Stay”, and “The Bastards” took a few approaches before I realized the effect Gord’s vocal presence has on each one of the songs. Mark my word, “Lake Fever” will be The Hip’s “Jack and Diane” song as it wins over the listeners who stumble across this track. This is Gord’s best lyrical work since Day For Night. The lyrics are written in a way where you could read them as if they were a short poem.
Second, the members backing this lyrical madman are built better than any German cars. I have not heard anyone in the biz who creates an atmospheric controlled groove like The Hip. “Toronto #4” and “The Bear” assembles their guitarists in a tightly knit groove as Johnny Fay mathematically fills in a perfectly timed fashion. Taking some of the residues from Phantom Power, the band, Berlin, and Drake were able to capture their tremendous live sound on this record with steady rock numbers “The Bastards”, “Tiger The Lion”, and “Freak Turbulence”. It was also nice to see The Hip finally work some female accompaniment with the talents of Julie Doiron for three tracks. “The Completists” is cunningly balanced between Rob Baker’s streamline guitar work and the plucking of Gord Sinclair’s bass work, fitting well with the vocals of Downie and Doiron to make for a flighty upbeat cut.
The studio albums are a good buy, but if you want to truly enjoy this band’s talents, go see them live! You’ll thank me later.
+larry sarzyniak
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