 Formed in 1983 in Kingston, Ontario,
the Tragically Hip came together with childhood friends Gordon Downie (vocals),
Bobby Baker (guitar), Paul Langlois (guitar), Gord Sinclair (bass), and
Johnny Fay (drums). The group took their name from a
Michael Nesmith video entitled Elephant Parts and focused on making a name
for themselves in the local scene during the mid-'80s. While performing
Toronto's Horseshoe Tavern, MCA Records president Bruce Dickinson was impressed
by
the Tragically Hip's infectious live presence and offered them a deal. A self-titled
eponymous EP appeared in 1987, but it took the band two years to get critical
attention. Their proper studio effort, 1989's Up to Here, boasted the swagger of
"Blow at High Dough" and
Downie's powerful songcraft was blossoming. College charts were instantly
attracted and fellow Canadians were appreciative of
the Tragically Hip's insatiable appeal. Road Apples, issued in 1991, was
moderately successful; however, the band's third album, Fully Completely (1993),
allowed for international crossover. Singles such as "Courage" and "Wheat Kings"
became mainstays in pockets of Michigan and New York;
the Tragically Hip were slowly being noticed and American fans began cherishing them as
much as their Canadian loyalists. They continued with a steady rise for 1995's
somber storm, Day for Night, and their star power was burgeoning. Sold-out tours
across Canada and Midwest America and a spot on Saturday Night Live catapulted
the vibrance of "Grace, Too" onto modern rock charts. The Tragically Hip were becoming an anthemic band among the split indie and
rock crowds, practically on the verge of being an arena attraction.
Trouble at the Henhouse, their first for Atlantic, was blistering with
similar passion of Day for Night, but released too closely to the previous
effort. It wasn't radio-friendly enough for America, either, but the band wasn't
concerned.
The Tragically Hip trudged on, selling out countless dates in North America.
Downie, who was also a poetic madman, composed a frenzied stage presence and
the band's tight rhythm was infectious. The mix of roots rock and light country
tinges was something tangible for mid-'90s grunge reign. While touring in
support of Trouble at the Henhouse,
the Tragically Hip recorded their first-ever live album Live Between Us (1997). This
particular album captured an astonishing night at Detroit's Cobo Arena in 1996
and it was uncut and unfearing. The band was at the top of their game, never
selling out to corporate ideals. They were a stadium sensation without ever
having a major hit in America. The rest of the '90s were a time of rest, but
also a period when the band returned to basics of true rock & roll grit.
Phantom Power (1998), the band's sixth studio album, eighth overall, marked
their most cohesive work to date. It was also their debut for Sire Records. The
album was recorded in the band's hometown of Kingston and the songs themselves
were cathartic and seductive. "Fireworks" and "Poets" were again mainstays on
college radio. A showcase at Woodstock '99 proved glorious for Canadians the
next summer. Music @ Work followed in summer 2000 with subsequent U.S. tours
with
Guster. The next year,
Gordon Downie put his pen to paper for a book of poetry and a solo album,
entitled Coke Machine Glow.
Downie returned to the studio in 2001 to join his bandmates for another Hip
record. Producer Hugh Padgham (Split Enz, XTC, Phil Collins) was also on board
to tweak
the Tragically Hip's ninth record, In Violet Light, issued in June 2002. In
Between Evolution, the band most introspective work yet, followed in summer
2004. 2005 saw the release of Hipeponymous, a limited edition box set that
included the two-disc greatest hits compilation Yer Favorites, the live DVD That
Night in Toronto: Pierre & Francois Lamoureux as well as a bonus DVD of all of
the group's videos. ~ MacKenzie Wilson, All Music Guide
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