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“ Fight ,” and “ On the Verge ” are performed from the then-forthcoming Road Apples album , which the Hip would begin recording five months later .
Another album side features four previously unreleased album contenders , including the band ’ s holy grail studio track in Sinclair ’ s reflective “ Get Back Again .”. Recorded before the band signed to MCA Records , the song was released this June as a single and shot to # 1 on the Canadian charts . The song ’ s midtempo tension would be echoed by later chart hits , including Pearl Jam ’ s “ Alive ” and Stone Temple Pilots ’ “ Interstate Love Song .” In a tremulous voice , Downie sings about losing “ all the time that I thought was my friend ,” echoed by Langlois ’ harmony vocal and steady acoustic guitar . Other studio cuts include the heavy alt-country of “ She ’ s Got What It Takes ,” the sweet jangle and twang of “ Rain , Hearts and Fire ,” and the taut “ Wait So Long .”
Titled How We Got Here , the set ’ s final platter includes demos from 1988 of eight Up to Here tracks plus demos from the
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urgent non-album track “ Hailstone Hands of God ” and the aforementioned “ Rain , Hearts and Fire .” Album tracks like “ Blow at High Dough ” are certainly recognizable from the band ’ s road-worn arrangements but less polished in producer Chris Wardman ’ s time-constrained mixes . Sinclair ’ s bass sits further to the front , which isn ’ t bad , but the reverb blanketing Fay ’ s snare and Downie ’ s voice was a good element to temper in service of the album version ’ s more immediate punch . The barnburning “ I Believe in You ( Or I ’ ll Be Leaving You Tonight )” is a few clicks faster in its demo form , making an even more biting portrait of a codependent woman contemplating lethal justice at the frayed end of a bad relationship . “ Boots or Hearts ” is rooted in electric rather than acoustic guitar . The results are more comparable to the Stones meet the Replacements meet Elvis Presley rather than Mellencamp .
In addition to the music , a 28-page book is packed with photos and liner notes . Bruce Dickinson , the A & R man who signed the band , offers an essay about preparation and luck called “ Timing is Everything .” In his
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essay about producing the 1988 demos , Wardman paradoxically writes about his belief that Fay ’ s drum sound and Downie ’ s voice should dry and not rely on reverb and delay to heighten the drama . The final essay , “ To Memphis and Back ,” is written by guitarist Baker . He recalls heavy-handed and |
conformist tactics proposed by the band ’ s first major-label suitor , expressing pride that the band was too principled to accept even though they had no other prospects at the time . Baker writes that Wardman ’ s spacious “ Blow at High Dough ” demo might be superior to the finished album version . He |
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