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The Tragically Hip|The Tragically Hip

The Tragically Hip

The Tragically Hip

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The Hip's self-titled debut album is blanketed with a roadside texture that is interesting because it harnesses their music in its rawest and earliest stages. Gord Downie has not yet mastered his poetic rigidity or his soothsayer approach to obscure experiences and events here, as he does on future albums. Instead, the simplicity of their first outing comes fumbling through on a track like "I'm a Werewolf Baby," but redemption is quickly found with the frustrated cry of "Small Town Bringdown," complete with an anticipated chorus and burnished guitar. There's even a glimpse into the future with "Last American Exit," which sounds like it could have come from their accomplished Road Apples album. On the other hand, just because the band hasn't yet mastered their musicianship as a whole, doesn't mean the album is a total washout, either. The Tragically Hip were still playing extremely small venues, so its appeal lies within its freshman sound and its link to what the band later became. Songs like "Cemetery Sideroad" and "Highway Girl" may lack the lyrical depth or conceptual tapestry that Downie later evinced, but the overall coarseness is what causes this debut album to seep with some slightly unsophisticated allure.

© Mike DeGagne /TiVo

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1
Small Town Bringdown
00:03:01

Rob Baker, ComposerLyricist - The Tragically Hip, MainArtist - Paul Langlois, ComposerLyricist - Gord Sinclair, ComposerLyricist - Gordon Edgar Downie, ComposerLyricist - Johnny Fay, ComposerLyricist - Ken Greer, Producer

℗ 1987 UMG Recordings, Inc.

2
Last American Exit
00:03:51

Rob Baker, ComposerLyricist - The Tragically Hip, MainArtist - Paul Langlois, ComposerLyricist - Gord Sinclair, ComposerLyricist - Gordon Edgar Downie, ComposerLyricist - Johnny Fay, ComposerLyricist - Ken Greer, Producer

℗ 1987 UMG Recordings, Inc.

3
Killing Time
00:04:53

The Tragically Hip, MainArtist - Gordon Edgar Downie, Author - Ken Greer, Producer - Robert Edwin Baker, Composer

℗ 1987 UMG Recordings, Inc.

4
Evelyn
00:02:24

The Tragically Hip, MainArtist - Ken Greer, Producer - Robert Gordon Sinclair, ComposerLyricist

℗ 1987 UMG Recordings, Inc.

5
Cemetery Sideroad
00:03:17

The Tragically Hip, MainArtist - Gordon Edgar Downie, Author - Ken Greer, Producer - Robert Gordon Sinclair, Composer

℗ 1987 UMG Recordings, Inc.

6
I'm A Werewolf, Baby
00:03:23

Randy Staub, Producer - The Tragically Hip, MainArtist - Gordon Edgar Downie, Author - Johnny Fay, Composer - Robert Gordon Sinclair, Composer - Robert Edwin Baker, Composer

℗ 1987 UMG Recordings, Inc.

7
Highway Girl
00:03:31

Randy Staub, Producer - Rob Baker, ComposerLyricist - The Tragically Hip, MainArtist - Paul Langlois, ComposerLyricist - Gord Sinclair, ComposerLyricist - Gordon Edgar Downie, ComposerLyricist - Johnny Fay, ComposerLyricist

℗ 1987 UMG Recordings, Inc.

8
All Canadian Surf Club
00:02:49

Bob Ludwig, Mastering Engineer, StudioPersonnel - The Tragically Hip, MainArtist, ComposerLyricist - SAM HOFSTEDT, Engineer, StudioPersonnel - ADAM KASPER, Producer, Mixer, StudioPersonnel

℗ 1987 Universal Music, a division of Universal Studios Canada Ltd.

Resenha do Álbum

The Hip's self-titled debut album is blanketed with a roadside texture that is interesting because it harnesses their music in its rawest and earliest stages. Gord Downie has not yet mastered his poetic rigidity or his soothsayer approach to obscure experiences and events here, as he does on future albums. Instead, the simplicity of their first outing comes fumbling through on a track like "I'm a Werewolf Baby," but redemption is quickly found with the frustrated cry of "Small Town Bringdown," complete with an anticipated chorus and burnished guitar. There's even a glimpse into the future with "Last American Exit," which sounds like it could have come from their accomplished Road Apples album. On the other hand, just because the band hasn't yet mastered their musicianship as a whole, doesn't mean the album is a total washout, either. The Tragically Hip were still playing extremely small venues, so its appeal lies within its freshman sound and its link to what the band later became. Songs like "Cemetery Sideroad" and "Highway Girl" may lack the lyrical depth or conceptual tapestry that Downie later evinced, but the overall coarseness is what causes this debut album to seep with some slightly unsophisticated allure.

© Mike DeGagne /TiVo

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