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  1. 3 points
    I've been waiting to see this for a long time. This is how I will remember the last TPATHB tour in my mind....yes I know it's 2014 and not 2017, it's a personal way I'm choosing to look at things. I was blessed to see 8 shows on the 2014 tour. Bless you Tom.
  2. 3 points

    TP Question

    "Petty: The Biography" Review and Interview with Warren Zanes Details Written by Archivist Liberty Published: 18 November 2015 Like no other author I have read before, Warren Zanes knows exactly what Rock and Roll is about—not the logistical, statistical stuff like what year Elvis was crowned king—but the stuff that only someone who is passionate about music can understand. Anyone who has experienced this intense desire to make their own music will relate to this book on a level deeper than they will relate to most people. The best thing is, Zanes can formulate it into words; he writes in a way that allows everyone to feel Petty’s ambition and passion. The first real feeling I had about this book was a sadness—the bittersweet kind. Watching Runnin’ Down a Dream: Tom Petty and The Heartbreakers (documentary by Peter Bogdanovich), you get the ambition, the get up and go get ‘em attitude of the Heartbreakers. But ambition isn’t born out of ambition. There’s a catalyst, and with this biography, you actually get it: You get Petty’s home life and the struggles that pushed him forward into the unknown. That’s what makes it sad, for me. The Bogdanovich documentary is actually what made me a fan of the Heartbreakers. I’m one of the young fans, but I’ve had enough time to read thousands of articles, interviews, reviews, and now to own and operate The Petty Archives. With this huge archive behind me, it was always in the back of my mind how Earl was as a father, how Kitty passed so soon… but Zanes pulls it right up front. It’s more painful when you actually have to face it. Tom Petty is so private that even many of his close friends never knew exactly what was happening, let alone the general public. I never wanted to let my mind wonder at how tough it was or what Tom's marriage was like. I never wanted to believe how heartbreaking it could be. Tom Petty reminds me of this fortune cookie I got last time I ate Chinese… “Tough times don’t last, but tough people do.” It's the cheesiest saying, but also the truest. I’ve always looked up to Tom Petty. I find it funny how he convinced so many of his bandmates and friends to leave college and pursue music. He makes a great leader, because he is truly passionate about his cause. Even I fell for it and started making music, before an injury put a stop to that. The drive that he radiates comes through in his music and how he carries himself, inspiring not only those around him, but anyone who has ever enjoyed a piece of his music. It’s like he’s all stretched out—he’s down to earth and relatable, but has his head up in the clouds searching for something better. The best thing about Zanes’ book which I think a lot of people will find refreshing is that it’s not boggled by times and dates. It’s not heavy in that way. It has a smooth flow and a feeling that you’re along for the ride. Almost every in-depth biography or article I’ve read on Tom Petty has some date wrong. Even the Rock and Roll Hall of Fame and Museum says that both Petty and Mike Campbell were born in 1954… (Yes, I did write them a correction and put it in the suggestion box while I was there). But Rock and Roll doesn’t care about dates, and I think Zanes understands this. Who gives a sh*t what year anything happened? …That doesn’t change what it felt like or what it does to people. Petty: The Biography is an introspective book about looking back and pushing forward with Tom as a guide. Zanes writes in a way that gives insight into human connection. The book is full of block quotes from key players; the most reflective and contemplative voice of all is Adria Petty. She seems to look on all of it with a clarity which no one else has. Olivia Harrison comes very close, but there is something authoritative in Adria’s words which dictates insight. I cried on page 260. Like how Petty’s relationships evolve with his friends and bandmates, my own relationship with Petty evolved while reading this book. Like Tom, I’ve always had that stubbornness and ability to fight any kind of injustice, despite the consequences. Warren Zanes is in this small club of Tom Petty fans who can tell me something about Tom Petty I don’t already know. Everyone has their struggles, but I never knew Petty’s struggles ran so deep. I’m still trying to peel away the blankets off of my own bed of clinical depression. I’ve changed so much in the last year of my life that I’ve been painfully waiting for someone to introduce me to myself. I read in another interview with Zanes’ that he reassured Petty the story of his struggle would be told as a cautionary tale. It breaks my heart to know that Petty understands the feeling of wasting away, likely even more than I understand it; even if it sounds selfish, it helps me to know I’m not alone. Tom Petty has always done that for me, though. Kept me going. Telling me that I don’t have to put up with bullshit if I don't want to. If there is any book which should be assigned to developing teenage musicians as a textbook… it’s Petty: The Biography by Warren Zanes. This is a book anyone could read and find some connection with, whether it’s musical, biographical, or emotional. Because more than anything, it’s about human connection and our incessant search for peace. Tom Petty and the Del Fuegos; Warren Zanes (far right). The Petty Archives Interview with Warren Zanes: Liberty: You write a bit about the past and future of music and the industry. A lot of older music fans tend to be a bit cynical about how the music industry has changed—they don’t seem to like that anyone can make “music” these days on their computer. But I think it’s a hopeful thing. There is no doubt that Tom Petty changed the music industry for the better. He helped make it more people friendly in his battles against injustice. That’s the way I see it—people friendly. I like that independent artists with ambition are able to do more things without the ties of big music corporations (although the corporations still have a lot of hold). What do you think about the future of music for ambitious kids akin to Tom Petty? Warren: That's a good question. While I've watched some changes with skepticism, I do believe that popular music culture still has room for voices from the margins to have an impact on the mainstream. Rock and roll has a beautiful history of giving working class kids a forum in which to grab the world's attention, which doesn't happen with all art forms. Elvis, Buddy Holly, Nirvana, the list is long and extends over decades. In American life, only in sports have we seen this kind of possibility. And that's what we've always been told American life is supposed to be like. Tom Petty's is among those great stories. So, despite the changes in the technology of music-making and in the business, it remains true that the next important moment in music may well come from a kid in some basement who no one gives a shit about until he makes the recording that changes the way we think. As long as that remains a possibility, all is well. And so far, the art has had the governing vote over the business. Even if just barely at times. Liberty: Tom Petty has, in my eyes, always been underrated as an artist and an influence. I was thinking about Walk the Line, Ray, I Saw the Light, and other biopics about posthumous musicians. Do you think a biopic will ever be made about Tom Petty and who would you want to play him? Warren: I generally don't like biopics. They often make sacrifices in the storyline in order to create a narrative that will work at the box office. Fair enough, but if you love the artist being portrayed, it can be a rough ride. So, if it had to happen--and the story warrants it, for sure--I suppose I'd want to go back in time (sorry, I'm adding time travel to this answer) and get the young Steve McQueen in the role. He'd have to grow his hair. But he's got the right kind of cool, and that would be the most important thing as a starting basis. But wouldn't we all be sorry if anyone but Tom Petty sang those songs? Liberty: In the Bogdanovich documentary, they mention choosing the name “Heartbreakers” after the song “Heartbreaker.” Do you know if that is the Led Zeppelin song, the Rolling Stones song, or another song with “heartbreaker” in the title? Warren: I don't have an answer for you on that one. Doo Doo Doo Doo Doo (Heartbreaker) came out somewhere around 1973, so that's certainly in the air. But the Zeppelin song was the more iconic. Here's what we know for sure: thy didn't name themselves after Pat Benatar's "Heartbreaker" of 1979! For a few reasons. But, all that aside, my sense--and this is just me--is that the name wasn't the biggest priority in that moment. Denny Cordell helped them with the issue, but the greatest attention was on making that band into the recording band they needed to be. Everyone had put in years working toward that goal. The push forward was the focus. Liberty: You have interviews from Alan “Bugs” Weidel, Stan Lynch, and others who seemed to come out of the woodwork for this book. Why do you think they decided to talk? Warren: In the case of Bugs, I think it was a matter of him choosing to do this and me having Tom's approval and involvement. And Bugs did an interview that was nothing short of remarkable. In various contexts, far beyond this project, I've done a lot of interviews. And what I've found is that the people who have been interviewed less often provide very open, sometimes even raw conversations. The people who have given thousands of interviews often repeat themselves, and for good and obvious reasons. With Bugs, this was the first time he did an interview. I've always liked him a lot, even if I feel like I don't know him nearly as well those who work with him. And, really, no one was closer to Tom, from the beginning. Bugs is a legend for those who love that band. So this interview was important. We went for a few hours, and he was among the most open. Regarding Stan, I think that was a crucial interview. When he initially said no, I was certainly disappointed. But I kept at it, finally offering to fly down, come to his door, and limit the conversation to twenty minutes. What he told me was the difference was that I said I'm come right to him, that I didn't treat him like I was doing him a favor in including him. He was gracious, open, vulnerable: everything you would want in an interview. There are certainly points at which he and Tom didn't see things in the same light, and I made every effort to capture the tension between their viewpoints. Liberty: You worked with Boganovitch on the Runnin’ Down a Dream book that went with the film as an editor. There are things in the film and the film’s companion book which are not elaborated or mentioned in your biography. This biography feels like you’re filling in the gaps—in a good way. Was that part of your intention? To fill in the gaps? Warren: If gaps were filled, that's good. But, no, that wasn't my aim. I wanted a cohesive work that had the elements of character, conflict, and narrative structure. My aim wasn't to be comprehensive, if only because that would have led to a thousand-plus page book. What I wanted was to capture the Tom Petty story and show how that story is the ideal case study if one wants to understand what the age of rock and roll meant in American life. The arc of his experience is remarkable. But I also wanted to show the sacrifices made and the passion involved in creating a band and keeping it together. And, lastly, I wanted to explore how the world of songwriting became his safe place, the world he went into where he knew what to expect and good things happened. As a songwriter, he's in the league of Hank Williams and Buddy Holly, so I had to attempt to capture the life that led him to songwriting and the time he spent in that creative space. Liberty: There’s a middle ground here too, but did you feel obligated to write this biography or was it something you wanted to do for pleasure? Warren: I wasn't driven by a sense of obligation, no. I was given a remarkable opportunity, one for which I'm very, very grateful, and I have lived my life with Tom Petty's music playing, from age eleven forward. There was a lot of joy in the process. But I think Tom is an important American voice and more needed to be known. For people like me--and there are many, obviously--it deepens our connection to the material we love to know more about the life from which those songs emerged. It's not required, but I think it does something important. I believe Tom's place in the story of American music will grow larger with time. He gets a lot of respect, but I see him getting more. To me, there are acts whose importance will be reevaluated, acts like Sly and the Family Stone and The Band, even James Brown, acts that are revered but will get a still bigger place in the history books in ten, twenty years. Tom Petty is one of them. This book is a part of a much larger, collective project, of increasing our knowledge about the man and his music. But, to your question, I sure as hell got some pleasure out of it as I did the work! Liberty: As a writer, I’m interested in the process of writing this book. The way it’s laid out is very nice. It skips around a little bit without feeling jumpy at all, which seems to happen a lot in biographies; either they feel too chronological or they jump around, but your writing is perfectly balanced. Did you have this formula from the get-go, or did it evolve as you began the biography? Warren: There's always work involved. Gustave Flaubert said something like, "There's no writing, only rewriting." I take that to mean that the writer has to try things out, play with structure, keep retooling the language, deepen the sense of character, make conflict and narrative development clear. And nobody gets all that in a first draft. I have an editor and an agent who are there if I'm unsure of what direction I want to take something, my sounding boards. And, at many times, I needed only to stop writing, to go listen to the music, and then I knew what to do. But the early drafts and the final version, if related, were distant cousins. Liberty: What parts of the process of writing Petty: The Biography were the easiest and most difficult for you? Warren: The most difficult part? Stopping. Tom Petty is a deep man. He is worthy of more documentaries, more compilations, more books. His story continues still and his past remains something worthy of further excavation. So, yeah, it could have gone for years. But when I recognized that I had fulfilled my early goals and had a book that worked, it was time. The easiest part? The interviews with Tom. I'm grateful that I found myself sitting there beside him. He's as smart, as funny, as wise as you'd both hope and imagine. His mind was always a few steps ahead, restless and certainly searching. That he's cool is merely the final wrapping on a remarkable human package. Petty: The Biography is on sale now and a book any fan of Petty should consider mandatory reading. Official Book Website Warren Zanes Website Amazon Book Listing
  3. 2 points
    So from what I gather here is that TwoGunslingers doesn't like straight ahead rock 'n' roll and probably detests punk music for being bare bones on substance lol. "Come on Down to My House" is a simple, lyrically lite rocker that is made great by how unabashedly straight forward and full-steam ahead it is with it's garage rock. And I fucking love it. One of my favorite songs by the band actually. Anytime it comes on, I crank my radio/speakers as loud as they go and revel in it's amazingness.
  4. 2 points
    Man, those residencies were something else, weren't they? Such unique and amazing performances. I was so lucky to see two of the Vic shows in 2003. Honestly, one of the things I am saddest about, musically anyway, about TP's passing is the fact that there will be no more experiences like this. The stadium tours, as most diehard know, were played out. But runs like the Fillmore ("97 and '99), the Vic ('03) and the Beacon/Fonda ('13) represented under-explored terrain for the band to do more of in the future.
  5. 2 points

    TP Question

    Did you read Petty: The Biography by Warren Zanes? That's where all of the information is on it. Long story short, I think it was mostly due to his separation from his family, feeling isolated, lost, like a failure, and trying to numb the pain of the depression that crept in. As far as I know, Tom did not tour while he was on heroin. He started around '96 and got clean before the Echo tour. Howie was using during the Echo tour. Howie was using as far back as '85. Tom got clean via a rehab that knocked him out while his body detoxed. “I probably spent a month not getting out of bed, just waking up and going, ‘Oh fuck.’ Lying there,” said Petty. “The only thing that stopped the pain was the drugs. But it was stupid. I’d never come up against anything that was bigger than me, something that I couldn’t control. But it starts ruining your life. It went for a while before Dana and my family got involved. And Echo come in the middle of that mess. I’m lucky I came through. Not everyone does,” (Zanes 260). " Doctors told the Heartbreakers they were enabling Howie because they made sure he never went through withdrawals while on the Echo tour so that he could continue to perform. They let him go because the doctors said they should distance themselves for being enablers. Obviously this lead to the feeling that they should have done more to help Howie, but hindsight is 20/20. I've worked with someone who I later found out was on heroin. I honestly didn't notice until he told me and showed me the track marks. He was coming down, but not in withdrawals. I honestly couldn't tell he had done heroin. There are some good resources now, especially with the drug epidemic so huge, on how to recognize if someone you know/love is using. https://americanaddictioncenters.org/heroin-treatment/signs/
  6. 1 point
    Ok, I'm a big fan of Echo. I rate it as the best TPATHB album. I would also rate it the most true and genuine Heartbreakers record in terms of transmiting a human mood at the time of recording onto record without 'music industry hype' or marketing buzz dilution filters that are so ever increasingly harder to transcend. I think it is also a very brave record, maybe not a full exposure of Tom's emotions at the time in terms of divorce issues and trying to make sense of a new reality, but all the same rooted in a genuine human place. There is a rare honesty and believability in this album. Dirt under the finger nails, sleepless nights, quiet private moments of contemplation about what it's all about. Real human feelings. You can't program and create these emotions in the studio, luckily Rick Rubin was there and able to just record them and recognise what was happening naturally and organically. a rare skill in and of itself for any producer to be able to recognise what is happening naturally without artificial interferance. I love this album, I don't see it as a depressing album as some would label it as, hey even the band itself are wrong in rating it as that by all accounts. The honesty transcends into a bigger picture for those who refuse to surrender heart and soul. Genuine human honesty transcends labels and categorisation. Anyway, I may be in an army of one on this, but are there any other Echo disciples out there? My most treasured studio album!
  7. 1 point

    George Harrison

  8. 1 point

    New Fleetwood Mac

    Same here. I looked for tickets but just can't stomach the prices anymore. $150 per semi-decent seat is my pain threshold.
  9. 1 point

    Photo of the Day Part III

    Tom's 1st band
  10. 1 point
    That was a nice quiz and I get "Mary Jane's Last Dance" what is your result here is test https://www.needsomefun.net/which-tom-petty-and-the-heartbreakers-song-are-you/
  11. 1 point

    TP Question

    It will be within the next week! We're in beta phase doing user testing, then we'll make a few changes, and be ready to go! I'll post a thread here about it. We also have a FB page if you're on there.
  12. 1 point

    TP Question

    Tom was very original in his style of dressing, I'm not keen on the word as I think it's overused but he a was cool dresser.
  13. 1 point

    Classic Rock Video of the Day II

    4/28/18 Joe Walsh
  14. 1 point
    I will also use this opportunity to renew my begging for anyone that has a recording of this show to please share it if at all possible! Please and thank you!
  15. 1 point

    What do you need to do today?

    Getting ready to make spaghetti sauce tomorrow. I'll probably make about 16 quarts. Today I'll get all the meats ready and brown them in a pan and save until tomorrow. I'll make and brown Bracciole, Sausage, Meatballs and a Country Rib. Tomorrow I'll start the sauce with spices and all and let it simmer a couple hours to thicken up. Then I'll add the meat and let simmer a few more hours. That means Sunday dinner will be Pasta e patate (Ditalini's with potatoes in a watered down sauce, soupy). That and all that meat means one hell of a dinner!!!
  16. 1 point

    Classic Rock Video of the Day II

    4/27/18 Fleetwood Mac
  17. 1 point
    Here's the audio if you or others don't have it already: http://www.filefactory.com/file/3o5dxislt0pr/ToPe.2014.08.30.Boston.MA.Fenway.Park.AUD.FLAC.MBK.zip https://bootlegkingdom.blogspot.com/search?q=tom+petty+fenway
  18. 1 point

    Makin' Some Noise from 2005 question

    Makin Some Noise (live 6-17-05).mp3
  19. 1 point


    TPATH - Pack Up The Plantation 1985
  20. 1 point
    Interesting listen, thanks! Makes me appreciate the song more; it's so overplayed I've been tired of it for years and years but this was quite interesting to listen to. cheers
  21. 1 point
    ^ HoodooMan, this a Fenway photo from a few years ago. I think their crew has a few TPATH fans, lol.
  22. 1 point

    Dirty Knobs Single - Bumble Bee

    Steve Ferrone played this Dirty Knobs song on his New Guy show yesterday. It sounds great to me! Gosh I love the Knobs - The new line up and the old! Check it out! Bumble Bee https://drive.google.com/open?id=1vjqQFTSz33ZIvsVLKWJ5jClN_p5R_hMB
  23. 1 point

    Changing Mojo's track listing

    Yeah, TF.. that is some great reasoning. No doubt. It's a point long since taken, IMO. Still, nothing will prevent me from both agreeing with what you say AND failing to get my head around the totality of Mojo. TP is great, the greatest, but that to me is not a religious stand. I think my take is well known from my reasoning (or lack of) over the years, but still. It may be worth saying: at the end of the day I have done my homework, and then some, with this music - there are tons and tons of benefits of doubts all over the place, if not quite as many tons as there are TP records - and to me cherishing an album "as it is" or re-cutting it to my private likings, to maximize it, is really not a debate concerning "better than the artist" or not, it's rather just a matter of "better for me". And it comes after a lot of exposure, I assure you. A lot of consideration and deeply felt sense of the parts, of the whole and of the parts inside the whole (and just about every vague shadow within that silly way of phrasing it). Perhaps it's easiest summed up by the old saying about how, perhaps, sometimes all that glitter isn't gold, especially not all that stinks and smells. Strange as it seem, this rule apply to TP as much as anybody, no matter how much above the rest I hold him in general. Sometimes these things change over time, mind you. Music is very organic to me. Lot of things do shine in time. Sometimes glitter fade too, but rarely. But in a few cases there seem to be a sort of definite void, or rather it's mostly a bump admittedly, and to me that is not the least problematic. Sometimes there seems to be an absolute quality or dimension and more rarely said things are lacking. Just like there are circles in hell, there are circle of genius, and few, if any, travel the circle of the total flawless eternal bliss. Not even Bob. (Actually.. right now, I can't think of anyone who never made a mistake. But then again, to me this is entertainment - ok, it's highly soulful, heartfelt and borderline scientific but it's still entertainment rather than religion, right?) Given that speaking of individual songs is one thing and the total experience of an album is another, my understanding is that both deserve that benefit of a doubt that you mention. It's a known fact that albums too tend to grow or develop over time. And since albums (or Mojo, specifically) is what is discussed here, I think I will have to once again redeem myself, by saying that I might not end up loving or praising all TP decisions being made in terms of sequencing or even production (the artist's pride has nothing much to do with these things to me - thank goodness, considering how proud even bad artists are and how bonkers certain pride has made this planet in general, right?). But I do respect the work and I love TP's heart in certain matters, even in the cases where I personally prefer the listening experience slightly altered. Even his "worst" to me is rather charming, but his best also sets a standard that takes a lot of above-average work to level, a task he himself, if very rarely so, falls a tiny bit short of. No wonder. I'm not upset. Besides. Given the logic of the song and the album being different entities, sometimes it's a great (or at least good) song that helps messing up the album - case in point Saving Grave on HC. Good song, but not in line with the rest of the album and even less suited as an opener. So this thing about rethinking albums, does not always mean bashing songs, more often than not -at least to me- it's about rethinking the vibe, the mix and/or lifting songs that TP himself scrapped. Speaking of giving things a benefit of a doubt. (Grumpy Old Men of the Muppets heard in the control room of the making of this post: "Yeah so, this crappy aweful outtake is really not that crappy.. it actually reveals this bundle of songs for me in quite a new way..! In fact, I love it! It's my favorite song of all time!!" "Or this one here.. it's a masterpiece! How could it have been deleted from the Playback set for the sake of Moon Pie??" "Wait what, Moon Pie is my favorite song of all time too!!!") Anyway. Over the rather vast and glorious catalogue of TP albums - where indeed most of them beat most other artist's albums - I'm still stuck with this unholy dissatisfaction of mine (concerning the total end product) in only two (2 !) clear cases (that is Mojo and Southern Accents) and perhaps the odd borderline case or two, depending of further dimensions discussed. Only one of which - although, given the vaulted material that may or may not exist in other cases and given that several perfectly great albums would've been interesting and fun to hear revisited, anyway - only one of them could easily be imagined within the frames of what is officially released. And that one happen to be the long and winding Mojo. The best of examples, as I have said. As always, more or less all TP albums are packed to the rim with great songs, but that is not the same thing as all of them being totally flawless albums in the full sense of the word (although, I'd say he more or less nailed it on at least five or six occasions - maybe I am religious after all!! ). I do say these things a lot, seemingly, and I'm not sure most of Farmers or Lurkers understand the distinction between good songs or good albums (or between artists' success rate at fulfilling the intentions and the listeners' success rate at getting the message and loving it too) or if they even care for it. Nevertheless, it does explain where I come from and why I sometimes chose to play along in such here humorous ventures. Btw. Side of main point, but still: Candy is a perfectly fun and good bar band song, IMO. I'm in no doubt that you guys have a lot of fun and that you sound awesome playing it! Only thing, to me it's quite subpar to TP's high average album standard, for one thing. For another, it ends up on an already long and "disjointed" album, that already has focus problems in the midst of many great songs. It could do well as a b-side, by all means. Same goes for Don't Pull Me Over. And on a good day (for me), TP can come up with a sequencing that doesn't have to bother with the likes of Takin' My Time either. Again.. these to me are not great songs.. but they are good. But good songs is one thing and a good album is another. Not to mention a GREAT album, an album worthy of the likes of First Flash of Freedom, Trip to Pirate's Cove and Good Enough, just to mention a few. My $ 0.002.
  24. 1 point
    Jack White, Tom Petty and Eddie Vedder P.S. Young Dhani Harrison. I like his t-shirt
  25. 1 point

    Photo of the Day - Part II

    Benmont confirmed that it's Jeff Jourard on Twitter...and the pics too good to not see again He wrote - "Good Lord, that's crazy early - Jeff Jourard's in the band & I've still got my mustache!!!! They're hiding me in the back hah - or more like I'm hiding on purpose. That and the hair made me laugh. Jeff Jourard's hair is kinda amazing."