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Showing content with the highest reputation since 07/21/2019 in all areas

  1. 2 points
    Hoodoo Man

    Lost Universal Master Tapes

    I know right? I've heard the tompetty store is getting really bad about shipping orders....
  2. 2 points
    Big Blue Sky

    Wilburys

    Have you all seen this version of the Wilbury Twist music video? Released on official Travelling Wilburys you tube channel. Says it's the original version!
  3. 2 points
    Cousin Mike's 45's - volume 4 Wilson Pickett - "Funky Broadway" b/w "I'm Sorry About That". Was never really a Wilson Pickett fan but this was a #1 on R&B charts and top 10 in the pop charts. Come to think of it, I've played a number of his songs over the years, so maybe I was a fan after all. Todd Rundgren - "Hello It's Me". Another staple of FM radio back then. Kind of got sick of it, actually. I wasn't a fan of his. Then I heard he had words with John Lennon and I really didn't like him. HA! Of course John was no angel, but hey - he's a Beatle. King Floyd - "Baby Let Me Kiss You" b/w "Please Don't Leave Me Lonely". Didn't recognize either song before or after playing them. I know that voice though. 'Groove Me" was a big hit. I think The Blues Brothers covered it. Steely Dan - "Show Biz Kids" b/w "Razor Boy". Good tune. I had a couple of earlier Steely Dan 45's but by the summer of '73 I wasn't buying 45's anymore very much. I guess that helps explain why I had very few of these in my own collection. The Band - "Get Up Jake" b/w "Ain't Got No Home". I love this tune and my band plays it sometimes. But a bit of a strange single release. The mono version of "Get Up Jake" from the live "Rock Of Ages" album, paired with the stereo version of "Ain't Got No Home" from the "Moondog Matinee" album. And there are 2 of this record in the stack - both on the Capitol Records "orange" label again - which makes sense for the era. But why 2 of these? Some background...........Cousin Mike and I pretty much grew up together. Our Mom's were sisters and best friends, and we played on the same Pee-Wee baseball team at ages 9 and 7 (I was 2 years older) and were thick as thieves pretty much ever since. We started our first band together and we were still playing music together when he passed at age 51 in what you might call "death by misadventure". Anyway.......we're walking, we're walking....
  4. 1 point
    Big Blue Sky

    Benmont's Summer Tour 2019

    Hi, as we know, our favourite piano playing legend (drum-roll) Benmont Tench (applause) is currently touring along the Northern California coast. According to setlist fm, on 18th July 2019, Benmont played these songs at The Chapel in San Francisco! 🎹🎹🎹 Love Will Tear Us Apart (Joy Division) interesting song choice, not one I would've thought he'd go for I Will Not Follow You Down Welcome to Hell (Mudcrutch) Veronica Said I Want to Know Why Love Is Not Enough If She Knew You Should Be So Lucky Wobbles Lucille (Little Richard) (with Sylvie Simmons (?), ukulele and vocals) Shot of Love (Bob Dylan) Corrine Corrina Dogs on the Run (TPATH) yay!! I love "Dogs on the Run" from "Southern Accents" album. But was it that one - or their other song by the same name??? Roll over Beethoven (Chuck Berry) The Melancholy Season Dogwood This Is a Good Street (Mudcrutch) China Doll (Grateful Dead) Pledge American Girl (TPATH) Someone's posted on YouTube their audience videos of Corrina Corrina, Roll Over Beethoven, China Doll & American Girl. I'm just pausing on that for a moment, though. Respect.... Unlike during Mr Tench's last tour, I haven't read anywhere that he has asked people not to share footage of him playing his more intimate songs, including American Girl. Sorry, too many negatives squished into one tiny sentence! In other words - what's the go? Shall we assume it's standard mobile phone bootleg & it's okay to repost songs from YouTube... unless we hear that Benmont says something about this issue during a show? I think last time the issue was about allowing himself to be particularly raw & vulnerable onstage for one song for a very special live moment. Anyway. I sure hope it's okay to repost, especially if he plays Dogs On The Run again & someone records it! I will plotz! (translates as "explode with joy"). In other, kinda unrelated topic, I listened to The Beatles Live At Hollywood Bowl album this week. Sure, it's one thing to know that audiences screamed the whole time. But actually hearing the screaming, soaking through the Beatles' music, the whole time, is so intense... It's like a wild animal or a howling wind, it has a powerful life of its own. I felt deeply uneasy ...& that's me listening in the safety of my home to a recorded concert years later. My sympathy is absolutely with George Harrison!
  5. 1 point
    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?
  6. 1 point
    Much appreciate hearing from you! I fly for a living so the planes are a day at the office. Looks like a lot of Convairs, a Grumman Albatross and a couple of Beech 18s with a B-25(maybe) thrown in. I'm really interested in the final scene since the painted girl seems to simply have vanished. I've been able to find the names of several extras and dancers etc. but the final scene seems to be the toughest. BTW- Tom was right. Coming down is the hardest part. LOL
  7. 1 point
    No, you can't make an argument about the Civil War being Federal vs. States Rights because it was about slavery. Confederate state constitutions state clearly the idea that slavery is necessary because "Negroes are inferior to whites and thus to be subservient to them". The whole states rights issue is southern revisionist bullshit. Here's the lyrics to the damn song: Honey don't walk out, I'm too drunk to followYou know you won't feel this way tomorrowWell, maybe a little rough around the edgesOr inside a little hollowI get faced with some things, sometimes That are so hard to swallow, hey!I was born a rebel, down in DixieOn a Sunday mornin'Yeah with one foot in the grave And one foot on the pedal, I was born a rebelShe picked me up in the mornin', and she paid all my ticketsThen she screamed in the car Left me out in the thicketWell I never woulda' dreamed That her heart was so wicked Yeah but I keep comin' back Cause it's so hard to kick it, hey, hey, hey(Chorus)Even before my father's father They called us all rebelsWhile they burned our cornfieldsAnd left our cities leveledI can still feel the eyes of those blue-bellied devils Yeah, when I'm walking round at night Through the concrete and metal, hey, hey, hey Nothing there about race folks. Just a drunk who can't get his shit together and blames it all on the fact that he's just born to be a rebel because of his heritage. This is my favorite song of all time, and after listening to it a billion times, theirs nothing grand about it besides the sound. That's a dichotomy. The sound is grand and happy while the message itself is not.
  8. 1 point
    But the thing is, the song isn't about any of that. It's about a drunk loser who wallows in his own self-pity and blames the fact that because he's a Southerner, he's just born to "rebel". It's a great irony that's lost on many. Just like how "Born in the USA" isn't about America being great, but about a Vietnam Vet coming back and finding his life is turned upside down. There's nothing glamours about "Trailer", "Rebels", "Southern Accents" and "The Best of Everything". All the songs are dower and down. About being a poor misguided white guy in the south clinging onto the bullshit that get's propagated about how "The South Will Rise Again!". It's been over a 150 years and the South still can't get out of their own way.
  9. 1 point
    WildflowerNJ

    Sad News

    Yes, keep coming here. Prayers, my thoughts and love still coming, Nurk....
  10. 1 point
    Marion

    Sad News

    Thinking of you Nurk. I hope to see you check in soon. 🥺
  11. 1 point
    I would think it's the opposite right? Race is biology. A Korean man is different from an Irish woman. Pick whatever examples you like. I think the more important thing is quality of character, how one exercises their free will. Along with that are matters of the soul, both of which I find more interesting than race as a topic. While the biological differences exist, that we all share this world and its creatures is what counts and how we treat each other and them, of which, if you haven't gathered, I'm in favor of kindness, generosity, justice tempered with mercy. cheers
  12. 1 point
    WildflowerNJ

    Sad News

    I am still praying, Nurk....
  13. 1 point
    MaryJanes2ndLastDance

    Farm Aid 1985 & 1986

    Here's the audio from the livepetty site: https://livepetty.com/1985-09-22-champaign-il-sbd/ https://www.amazon.com/clouddrive/share/jb4zouD9EvigsxP9aP1Xx83etuXo3MVveP7QWViGomQ?_encoding=UTF8&*Version*=1&*entries*=0&mgh=1
  14. 1 point
    Hi, yes, mostly* agree with above points. Certainly, watching doco there's a sense along the way of so many situations where, if they were another band, it would be "... so, they broke up". (*As dual fan of both Bob & Heartbreakers, I consider them touring with Dylan to be a truly fruitful phase & a high point. No pun intended.) Other peaks at that time? Gotta nominate both Farm Aid concerts, surely! Especially contrast between slightly wobbly Live Aid at start of tour & how sharp & tight they are for Farm Aid just a couple of months later. They seem so genuinely thrilled to be playing - look at those grins!
  15. 1 point
    Wildflower

    Sad News

    Good Luck!
  16. 1 point
    Something that's maybe a little off topic... Maybe people who play in bands have a name / phrase for what I've heard and am trying to describe? Was just listening to "Dogs On The Run" from the Official Live Leg 1976/77 recording. Noticed a similarity with "Melinda" in the way they are controlling the tempo and sound so they create a space within the song where the wave goes out to sea... all the noise falls away until the melody is being carried by one or two instruments. Which is always pretty special when you're in the audience, especially a large & enthusiast crowd, and you can feel the musicians having this very direct influence on you & on the mood of the rest of the crowd. You know, when sometimes it's almost like you can hear a pin drop? The that wave surges back in and the music builds right back up. And everyone breathes again. tend to think of that as an advanced level skill for bands. Whereas, say, support bands want to keep your attention (not have a riot with audience chanting the main band's name). Often they tend to do that by entertaining you all as much as possible and by building one great song on top of another. Not by creating that hollow space between waves. Plus, guess there's a risk some drunk'll yell out if there's a quiet lull. ;-) better to keep juggling! On unicycle!! With flaming torches!!! So. Really quite amazing they were already capable of doing that within the first few months of their initial tour. Sure, experienced musicians, but only in that combo & out on the road for a few months by time it was recorded. So even though they don't say much between songs, seems like they were exceeding expectations straightaway as far as badass playing live goes.
  17. 1 point
    No doubt It Ain't Nothin' To Me is one of your favorites...I mean, how could it not be?
  18. 1 point
    TomFest

    Sad News

    We'll say a prayer for you tonight, Benny. You got this.
  19. 1 point
  20. 1 point
    I'm fine with live only versions. If they did a studio track I'd be all right with a tight version of the song, under three minutes with a brief but memorable solo from Benmont. I could be wrong but the song much like Two Men Talking struck me as a live jamming vehicle. Something like It's Good To Be King turned into a jam song in the live setting but Two Men Talking and Melinda felt like they were written precisely to be jams, if that makes sense. cheers
  21. 1 point
    Shelter

    Wilburys

    Yes, wow.. it's been a while since I saw this particular video. Kinda better than the song.. haha! And golly, I had forgot how many of the 90ish celebs they parade through it. Some of them quite obscure admittedly, but it seems many wanted to be part of it. No wonder.
  22. 1 point
    ^ Yeah, can't stay mad forever. <wink> This is reminding me of some Sunday's I used to spend doing nothing but spinning vinyl. The good old days..... Cousin Mike's 45's - volume 8 The Spinners - "Together We Can Make Such Sweet Music" b/w "Bad, Bad Weather". This only got to #91 in the US, and didn't chart anywhere else. The "B" side had been a single release 5 years earlier and did nothing. The Supremes - "Bad Weather" b/w "Oh Be My Love". This one barely cracked the top 100 anywhere in 1973. The Supremes - "I Guess I'll Miss The Man" b/w "Over And Over". This one actually preceeded the one above slightly, but also barely broke into the Billboard top 100. I guess it did make #17 on the "Adult Contemporary" chart. Tower Of Power - "So Very Hard To Go" b/w "Clean Slate". This is their biggest hit, and it got to #11 on the R&B charts, and #17 on the Billboard top 100. I didn't know it by name, but oh yeah, I remembered this when I heard it. This got a lot of airplay. Nice groove. Nice vocal. I like the "B" side too. Tower Of Power - "This Time It's Real" b/w "Soul Vaccination". The follow up to the above single. It peaked at #27 on the R&B charts. I didn't know it, but it's pretty swingin'. This is a horn band, and I like horns. The Raiders - "Birds Of A Feather" b/w "The Turkey". From 1971 and I guess they dropped the "Paul Revere &" part of the band name. This was the follow up to "Indian Reservation". I know I had that single, but not this one. Rose to #23 on Billboard Hot 100. (Spoiler alert - on the "B" side, the singer is The Turkey.) Doesn't sound like Mark Lindsay singing "The Turkey, but I don't know. The song is well named. T. Rex - "Jeepster" b/w "Rip Off". From 1971 also and this was a #2 hit in the UK and Ireland. It followed the #1 hit "Get It On". This stack of records seems to have a lot of songs that followed the big hit of the artist. I don't recall ever hearing this before. It didn't chart at all in the US. I'd almost guess it maybe wasn't released here, except I"m holding it in my hands. What does it mean "I'm just a jeepster for your love"? Never heard that phrase.
  23. 1 point
    Cousin Mike's 45's - volume 7 Smokey Robinson & The MIracles - "I Don't Blame You At All" b/w "That Girl". Top 20 in the US and UK in 1970. I don't recall ever hearing it. It was the follow up to "Tears Of A Clown" which was #1 everywhere. Martha Reeves & The Vandellas - "Bless You" b/w "Hope I Don't Get My Heart Broke". Top 40 in the UK, but peaked at #53 in the U.S in 1971. I don't recall hearing it, but it's a snappy little thing. Both sides, actually. Nice. The Temptations - "Let Your Hair Down" b/w "Ain't No Justice". Went to #1 on the US R&B charts in 1973. Just about everything these guys do gets my feet moving. Really true of most of the Motown stuff. This is no different. I remember I bought the 45 of "Ball Of Confusion" a couple of years earlier. Great tune. Gladys Knight & The Pips - "I've Got To Use My Imagination" b/w "I Can See Clearly Now". Also went to #1 on the US R&B charts in 1973, and #4 on the Pop chart. This was the follow up to "Midnight Train To Georgia which was also a #1. The "B" side was a big hit for Johnny Nash. That's the version we all probably know. Glady's Knight & The Pips - "Daddy Could Swear, I Declare" b/w "For Once In My Life". Also 1973 but a different label - "Soul" records. The other was "Buddah" records. I don't recall ever hearing it before, but it went to #2 on the R&B charts. Marvin Gaye - "Inner CIty Blues" b/w "Wholy Holy". This went to #10 in the US Pop chart, and #1 on the R&B charts in 1971. The 3rd single from the massive "What's Going On" album. Turns out we have a lot of Motown (and associated labels), R&B and Funk here in this stack of records.
  24. 1 point
    Cousin Mike's 45's - volume 1. I got all of Mike's records when he passed 6 or 7 years ago, and I've played a lot of the albums, but I hadn't even looked through the stack of around 100 45's that he had. So I pulled them out and took a look and laughed and remembered some of these. Anyway, I'm going in...... First up is "Cherry Cherry" by Neil Diamond. Followed by 'Let's Get It On" by Marvin Gaye. I never had these records, and there aren't going to be a lot in this stack that I did have. But it's a trip. Looking ahead - "Knock Three Times" by Tony Orlando and Dawn. This could be harder than I thought.....
  25. 1 point
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