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  2. nurktwin

    Classic Rock Video of the Day II

    5/24/19 The Rolling Stones
  3. Yesterday
  4. MaryJanes2ndLastDance

    Will There Be. Full Moon Fever Deluxe?

    Very funny. Not just higher...but a "Complete Lot" higher.
  5. MaryJanes2ndLastDance

    Will There Be. Full Moon Fever Deluxe?

    A little while ago I listened to it in the first time in a long time and it really is a darn good album. And I really like how it sounds, what a blend of instruments and the drums on this record sound better than ITGWO which is perhaps odd since Lynne was a big part of both. Anyway, I still think they never surpassed the studio version of Runnin' on stage. And no matter how overplayed Won't Back Down is, it still sounds good when not listened to in a long time. It's a good song. And man, Zombie Zoo is the perfect way to end the record. The whole thing flows. Sure, release some demos or unreleased tracks if any from this record but leave it be as is and heck, maybe release a live show from that tour. cheers
  6. MaryJanes2ndLastDance

    Wildflowers BOX set and Filmore release potential!

    If they have these shows recorded, it would be good if they released a show from each tour with a bonus disc of the one-off or deep cuts they rarely played from that tour. And if not enough for a whole disc then at least a few bonus tracks. I suppose it's good the last Fillmore was broadcast and exists out there in such good quality for free as it was one of their best concerts. cheers
  7. MaryJanes2ndLastDance

    Free Fallin video actress Devon Kidd interview

    Thanks for sharing, very interesting. Sounds like she was able to navigate her level of modeling/acting and come out the other side unscathed. She could give off the cute-girl-next-door look or the hot femme fatale and looks great years later, too. Seems like a nice person. The odd thing for me, is aside from a few clips there and there...I've never watched this video. cheers
  8. Just came across this older interview with Devon Kidd, the actress that does the skateboarding in the Free Fallin video. Thought you folks might enjoy it. The biggest surprise to me was she was an accomplished boarder at the time of the shoot as I always thought she looked a little uncomfortable on the half pipe. https://www.noblemania.com/2013/07/the-girl-in-video-free-fallin-1989.html article in spoiler below.
  9. Mudcrutch


    I missed it
  10. Last week
  11. MaryJanes2ndLastDance


    Too bad. My veggies and dip were a big hit with everyone...especially Jimmy Iovine.
  12. MaryJanes2ndLastDance

    Let's Try to Make Southern Accents Great Again

    That song has grown on me. I kinda wish they'd played it for the woman in their crew who wanted to hear it. Or...no, I"m thinking of How Many More Days, a woman they worked with always wanted to hear that I think. Either way, they could've played the latter for the woman they worked with and the former for those sign-holding fans; oh well. cheers
  13. MaryJanes2ndLastDance

    Let's Try to Make Southern Accents Great Again

    I think that perspective is the difference between a good live band and a great one, the latter will take such "risks" repeatedly. Look at the one and only performance of Fault Lines, sure it wasn't...faultless (geez!) but it could've taken off on stage had Tom stuck with it. Oh well. I'm not denying it must stink to see the crowd go from a 10 in excitement down to a 2 for a new song or deep cut but so what? Either win e'm over or it's their loss for not caring for it, but somewhere in that audience were some people who appreciated the band playing new songs and deep cuts, even on those big stadium/arena tours. cheers
  14. MaryJanes2ndLastDance

    Did anyone read 33 1/3 Southern Accents? What did you think?

    Rereading this now I can see how the song Rebels could be an entry point for discussion of race, as the title itself evokes the South's rebellion and the overall bitter, past-his-prime? vibe of the song's subject. From that perspective, much like I consider the book a "bait-and-switch" I could see how someone could view it the same with the first track on this record. But I still think my points about potential pandering etc. etc. above are valid. Heck, the way the album turned out, the cover and title itself feels like a bait-and-switch! cheers
  15. MaryJanes2ndLastDance

    New TPATH Releases

    Two points: #2) Eventually these songs will be released, money and the record companies will see to that but it does make All The Rest seem pushed even further back. #1) I understand how you feel. Things went from friendly, enthused promotions for AAT to a sudden ugly affair. Could kill anyone's enthusiasm understandably. I figure law suits will be forgotten songs (ha!) if/when these promised albums are finally released. But in the meantime I get why even discussing it feels like picking at a pus filled sore. fini
  16. So far, the best 33 1/3 book I've read is Pixies Doolittle and in my opinion could be the template for this series. It has interesting interviews with most of the band, it primarily focuses on the conception of the album and goes in-depth on each track. And then it ends. It's perfect. The only thing I could've had more from is just an even longer book! I was hoping Southern Accents would be roughly the same in nature and believed it was at first. Washburn is a good writer and his being a fan of the band comes through and it's an interesting idea to write about a failed concept record that isn't a classic, like FMF or DTT or to some ears, WF. The book's best moments in my opinion are when it focuses on the songs and the Mike and Benmont interviews, the whole thing could've just been that or at least 90%, it's a shame there isn't more from the 88 keys man and Mike. The problem is the author focuses on race much too long. I respect Washburn's discussion of his past, and how he felt about certain superficial elements of the Confederacy and growing up in the South. I also like how he notes his respect for Tom after chiding the confederate flag from the stage and his later apology for using it. But much like how he and others (including myself) look at Southern Accents and think about what it could've been instead of what it is, I feel the same way about this book, thinking it a shame more time wasn't spent on the music and songwriting process than on Washburn's relationship to the past and what it means in relation to Tom's goal for the album and the actual record itself. I think I understand why he took this approach, as what's the point of art if not to move people and clearly discussing the album has given him an opportunity to clarify and perhaps expunge his own feelings of the south but this didn't interest me even where in some areas I agree; it is tasteless, hell worse than tasteless, it's downright wrong to tour with a plantation stage set and to celebrate the confederate flag to one degree or another and risk blurring the line between Tom playing a character on stage and in song and the musician himself. Having not watched Pack up the Plantation nor seen shows from that tour (aside from It Ain't Nothin' To Me) I don't know what else to say about that. When I was a little boy I never understood why the losing side of the civil war kept the flag. Then I just accepted it and didn't really consider it the way I figure most people don't think about it. It became a part of the south and nothing of interest to me. But I also understand how the band went with the flag as some in the South do view it differently, they don't think of it as slavery but as their own freedom and heritage; maybe it's a case where a symbol's meaning can change over time. I think I understand (but I could be wrong) to them, it was something they grew up with the way many of us do with symbols we don't understand; it was years before I learned Nike was a Greek Goddess (and I had to look her up again just now to remind myself since I thought she was Roman) and not just the name of a shoe company; symbols and their meanings change over time or are forgotten, so I get why Tom used the imagery without thinking beyond a simple connection to the idea of the South. My other main contention is Washburn's point that the black perspective isn't represented on the record. 1) It's almost a no-win situation. If Tom decided to write a song about segregation or slavery or racism or whatever, from a white observer or black p.o.v., unless he was truly inspired it could come across as pandering and be a weak song since the primary motviation wasn't writing a good tune but making a political point. My understanding is Tom sat down with a guitar or by the piano and began playing and songs would emerge and he didn't stop to question why or how but was grateful he could do it. If such a song came to him about a black man (or woman) or about racism I'm sure he'd have given it a go, maybe he even did and the tune ended up on the studio floor, maybe it didn't. But my understanding is he wrote the songs and then figured out how they fit (or didn't) on an album. So maybe he didn't have a song on this subject or from the black perspective. And even if he had written such a tune, years later he'd most likely be criticized for daring to do so as a white man or for not truly digging deep enough into the black experience. In other words, there'd be no appeasing criticism of the record in this area. 2) Tom isn't obligated to write about the black man or woman's experience. Why would he be even if the record is about the South? The South isn't just about slavery or its past and having grown up there and found success on the west coast, perhaps Tom's focus were on other areas not touching on its shameful disgusting past. That Washburn focused on this is his call but a little bit goes a long way and too much for my taste. I get it and I think the point comes across that no one in the band is racist and truly no harm was meant and beyond that, why keep hammering the point? Heck, Tom even chastised the crowd for the adoration of the flag from the stage at one point. And later apologized for its use. At points book became less about the album and more about the issue of racism, it felt like a bait-and-switch. Overall, it's disappointing. Still, I'm glad the book was written and did enjoy the parts that covered the music and can respect Washburn for being open about his past. Some other points: What I found interesting is how Benmont's take of his own band seemed to match mine to a degree, when on page 17 he says: "The band has always been up and down, it's never been a band that does a consistently great record after great record." While not quite my thought that each album has a really good e.p. underneath the weaker tracks, it's close enough, well...in my opinion anyway : ) While I didn't expect Washburn to offer a defense or even like the song, I never knew so many people don't care for It Ain't Nothing To Me. I still say it's one of Tom's best songs, it's not just catchy but a lot of fun with a unique structure he never repeated with that back and forth in the verses. Washburn notes the power of the chorus but like a lot of people just doesn't care for the tune. But hey! All three other people besides me who like this song still appreciate it! It's ironic that the two biggest cited sources for the disruption of the record were cocaine and Dave Stewart and yet without the latter the band would'nt have written perhaps it's strangest greatest hit, Don't Come Around Here No More. And maybe too much blame is laid upon Mr. Stewart when cocaine, wild expectations and a demo that couldn't be equaled were more than enough to derail the concept. The parts where Washburn discusses the transition to being an LA band is interesting. I don't really care one way or the other because I more thought of them as this weird little classic rock band that's a bit stranger than they seem on first listen. But I think it's an overall interesting observation, maybe he's right and on some level Tom had to formally draw a line between their southern Florida beginnings and where their careers really took off. He might be onto something that Southern Accents certainly could've been the catalyst for Tom embracing/promoting them as an LA band from that point forward. I'll leave this for more devoted listeners than me to discuss. To sum it up, the book's a well written letdown, especially after some of Washburn's interesting promotional interviews. Maybe it was naive of me to think more would be on Mike and Benmont and song discussions and less on race. It's also a bit off putting since this has come out after Tom's death and he can't defend himself though to be fair Washburn was going to interview him. If future books come out about the band I hope they focus more on the music and less on Tom (or other member's bios) and more on the playing in studio and on stage. I still rank Zollo's Conversations with Petty as the best book to date on the man and his band but it's good this book is out there. What do you think?
  17. nurktwin

    Norm's guitar shop visitors

    A few people that stopped by Norm's Rare Guitars in Tarzana, CA.
  18. TomFest

    Classic Rock Video of the Day II

    Awesome. A couple of nice rarities in there.
  19. Shelter


    Anyone miss the party yesterday? I did. Dangit. Anyway.. a day too late.. Happy birthday Stan Lynch!
  20. nurktwin

    LP of the Week II

    5/21/19 This weeks LP is "Eldorado" by ELO.
  21. nurktwin

    Classic Rock Video of the Day II

    5/21/19 Roger Hodgson
  22. nurktwin

    Rock N Roll Drive-In

    5/20/19 This weeks movie is "Roger Hodgson Live". Enjoy the show!
  23. nurktwin

    Classic Rock Video of the Day II

    5/20/19 Paul McCartney
  24. TwoGunslingers

    Let's Try to Make Southern Accents Great Again

    Maybe they liked their concerts the same way as the major part of their audiences: Without any big surprises. The odd new song can throw you a little bit, because it takes you somewhere else, changes the overall atmosphere. Some people like that and go for it, others don't.
  25. nurktwin

    Classic Rock Video of the Day II

    5/18/19 The Smiths
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