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Showing content with the highest reputation since 09/18/2018 in all areas

  1. 6 points
  2. 5 points

    Ron Blair - Jam in the Van

  3. 4 points
    I don't believe the good times are over, and there's no way the thrill is all gone. By the way, instead of selling the collection (which I'm unsure if anyone has any interest in the first place) I am having a fundraiser as my 17 y/o cat needs expensive life-saving surgery (yes, I realize 17 is on the advanced senior side) He's the litter-mate to my great companion who passed away of kidney failure in April. My sister and I had these two ragdoll cats since they were born. No pet insurance, no credit, no unexpected wealth ... I'm going to be selling Christmas/Holiday cards here soon (Heartbreaker themed) ... that of course will be another thread. It's good to be on the mend ... just happy to be here, happy to be alive.
  4. 4 points
    Thank y’all so so much. I have never before had such an outpouring of understanding, sympathy and resources. I want to say how touched I am that y’all shared with me. I understand that everyone, even Tom, has their problems, and I agree, suicide by any means, even drug use isn’t the answer. So I ain’t selling everything... But I can’t delete this thread, and thanks to everyone here, and Tom, I’m getting help during this time. I won’t leave either. The character I have loved since early childhood is The Dust Witch and Jonathan Pryce as Mr. Dark... peace on Earth, Goodwill to man... Love, Muddy
  5. 3 points
    I got the "Official Live 'Leg" download also, and it includes the 5th song - The Wild One, Forever" that was only on the British version previously. Nice touch adding that.
  6. 3 points
    Tom always was 'lager' than life.
  7. 3 points

    Tom Petty Quiz

    I know, hu.. Time for tomato soup, and they can't even spell!
  8. 3 points


    Casa Dega is up there with Luna and You and I Will Meet Again for great underrated songs. At least the first two have performances out there; I like that moody side of Tom's songwriting, almost magical, swamp music feel...
  9. 3 points
    Thank God! I'm glad you're getting some help and I truly hope things improve. I'm also glad you're sticking around the forum. cheers!
  10. 3 points
  11. 3 points
  12. 3 points

    Buried Treasure Playlist Graph

    Based on a file one of the Farm members put up. With the below link you can use the scroll bar on the bottom to see the full list. https://public.tableau.com/profile/casadega#!/vizhome/BuriedTreasureSongplays/Sheet2?publish=yes Top 5 plays are : Rolling Stones 182 The Beatles 152 The Who 80 Chuck Berry 72 JJ Cale 59
  13. 3 points
    I'm reminded of Tom talking in the Storytellers video about the Heartbreakers having trouble improving on a song they were working on during the "Echo" sessions and while they were doing that, he wrote another song that turned out to be "Swingin'". Could "Gainesville" possibly be that song? I can see why they left it off the record. It's just not quite there. You can tell they put a lot of work into it. There are some things I really like in there - what Benmont is doing, for one thing. I just think Tom's melody isn't quite up to his usual standards.
  14. 3 points
    I found this on another forum and it speaks to the whole set being remastered for the release. https://www.audiomediainternational.com/studios-recording/tom-pettys-an-american-treasure-mastered-at-bernies An American Treasure, the 60-track Tom Petty retrospective boxset will be released September 28 via Reprise Records. Mastered by Ryan Ulyate, longtime Petty mix/recording engineer and the set’s co-producer, with Chris Bellman, award-winning Grundman mastering engineer, the massive collection includes previously unreleased tracks, alternate versions of classics, historic live recordings and deep album cuts. “This will be the first release after Tom passed away," said Ryan Ulyate. “Basically, the family wanted to put something out that would honor him, and also introduce people to some of the deeper tracks that Tom produced. I collaborated with Tom's daughter Adria, his wife Dana, and with Mike Campbell and Benmont Tench, both of whom produced the collection with me. Together, we came up with a list of songs that spans his entire career. There are tracks that people have heard before, some new versions of songs that have never been released, and some new songs that people haven't heard at all. The first song is from 1976, so we have material from the very first tape to the very last thing he did.” Mastering engineer Chris Bellman added: “Ryan and I spent a lot of time with that exact problem. Trying to make everything cohesive while jumping from era to era was definitely a challenge, but I think we've accomplished that, and the listener should have a very good experience hearing it chronologically.” Ulyate added: “Our main focus is Tom's voice, in the sense that in every one of these songs he's talking to you. We focused on keeping the vocals at a certain level of presence, so sometimes the track gets a little more hi-fi, sometimes the track gets a little more lo-fi, depending on when it was recorded, but Tom’s voice is always right in front of you.” An American Treasure features rarities, historic live performances and deeper tracks. Available for preorder, the set comes out on two-CD, four-CD and six-LP incarnations. A super deluxe limited edition of the four-CD version includes an 84-page hardcover book, a lithograph of the Shepard Fairey cover art, a limited number of reproduced, handwritten lyric sheets from four songs, and a link to download all 60 songs in Hi-Res (24bit 96K) format.. Said Ulyate: "One thing that's different about what we're doing here in mastering is unlike the typical situation where I would come in with finished stereo masters. I brought in my Pro Tools sessions and my rig. Rather than just being able to adjust the overall EQ of the mix, we can get into the details and adjust any element individually. We might find that the track is sitting in the right place, but the vocal is a little low. "Rather than trying to do that with the EQ, as you would in typical mastering, I can bring up the individual track. Maybe we add some brightness to the track, but it makes the vocal harsh. Chris can add brightness to the track, and I can soften the vocals, so we have a lot more moving parts here. That additional degree of control helped us cohesively finalise a collection that goes across 40 plus years.”
  15. 2 points
    Empty so far... but I thought this may be a good place to pour your hearts out. Or link to others' labour of love or confusion.
  16. 2 points
    Now for another aspect of the box, trying to stick to the chase here. Some comments on the “alternative takes” I put that within brackets. It seems indeed less than clear, exactly what constitutes a take or a version, at this point. Like Mr Timba has been pointing out, there seem to have been a whole lotta editing and remixing going on here. Many of the basic tracks, vocal tracks and so on, indeed seem to be the same as heard on the old albums. A few extended endings, full length versions (unfaded), some cases of speed correction (that seem to have more or less of the official take under the sleeve), a few occasions or typical remixing (where the familiar take has been stripped of over dub:ed elements or balanced differently between channels to highlight this or that). All of which is totally fine, of course, and the result in general both interesting and fun to listen to, but with the aforementioned lack of technical details for each song, it does feel a bit like a mess. Revisionism, cry one of us. Yeah, well.. there something to that line of criticism. I don’t mind it too much, but I mind being lost with regards to what is what not being specified. In my opinion, it would have been a good idea to separate a bit more firmly between what is an alternative “take” and what is merely an “edit” or a “remix”, with some notes added as to who did what and when to the track other than the musician who played on the recording. That said, I think the remastering that has been done to make it all sound top notch, is successful! Also the remixes and edits that have been done highlight interesting aspect to previously familiar songs and versions. Being it cutting out unnecessary over dubs or lifting a guitar or the vocals in the mix. Other than that, it may be worth saying that one reason that so much of these “alternative takes” may sound so eerily identical to the official versions, to anyone but the ultra fans or studio engineers, is the fact that Tom was such an incredible perfectionist. Sure, he/they may have experimented with songs and arrangements to work out what they song was ultimately gonna be, finding the song within, as it were. (Just listen to Sins of My Youth on this box, or consider how some of Mike's original song ideas or riffs may have been taken places, tweaked and bent into amazing Petty/Campbell compositions quite beyond what perhaps was imagined). Still, once they had the general outline down, once they caught that general shape that Tom had in mind, they were focused enough, professional enough and technically skilled enough (surprisingly early on) to drudge it over and over, making very small subtle changes. That’s how it works, really, chasing magic can be very routine, I suppose. Other times, I really suppose they had the basic track they wanted and decided on, but had to retake the vocals several times to get the right vibe, or trying different drum sounds and so on.. So, even as a pretty seasoned Tom Petty fan and listener, I still don’t know with any exact precision, how many actual alternative takes - that is basic tracks that the band lay down from scratch that are different from the ones on the records – are really on here?! I can’t tell, since it all been a bit “scrambled” in the presentation. At least a bulk of these “takes” certainly have different vocals, slightly up:ed or down:ed channels in the mix, corrected speed, or all of the above, but seem otherwise strikingly close to the “original”. What I can and will say is that hearing the actual drums on Rebels is amazing! I can’t even begin to understand what wasn’t good enough with that, in their eyes then. And generally.. perhaps the main feat of this here box – and here it comes in the middle of a paragraph in a long and rambling post that no one will read in detail – is showcasing how at the top of their game they were in the mid 80s, despite personal struggles, strange times and influential friends in high places. I mean, hearing the SA material like that… While I can agree the album version of Best of Everything has a few features to it’s advantage, I still see this one has some merit, and reveal a few new welcome aspects to these sessions. Not to speak of The Damage You’ve Done.. not until right now did I realize it’s a great, great song in there! Something as simle as those harmonies! So, frankly, just try to forget about the sound production aspects and the admittedly strange (in parts) song selection process, where apparently and reportedly several great songs were left, and it’s easy to picture both SA and LMU(IHE) being every way the masterpiece level records they ended up not quite being. Further, I also find the vocal track on Wake up Time here coming across as being a lot better (closer, sharper, intense) than the Wildflowers version. I always found that one to be one of the few occasions where Tom’s voice sounds off. (Out of key? Just strained to a state of “sour”? - If just ever so slightly, it’s off. I know most people never noticed and/or don’t even think so when they try to notice it, so it may be just me.. ) Here, the voice, as well as the phrasing, is absolutely brilliant! As is it on Don’t Fade on Me. Great song! The differences in arrangement is great, if not necessarily preferable – hard to tell – but the vocal delivery again, is something extra. One version that really truly is an “alternative take”, separated by years from it’s official recording, is King Of The Hill. I was very thrilled to finally hear this, since the song is an old favorite. Surprisingly sharp and finished from the start. In some ways the arrangement really feels better and more raw like this. Especially I LOVE Howie’s harmonies here, so little makes the world of a difference at times and that dimension really is missing in the thick, glossy costume the song was dressed in on Back from Rio. However, the leading riff on this early version is a bit understated and vague in shape.. Kinda cool, I suppose.. but, not really there yet? The main difference, that speaks for the final product in the end, to me, is the lead vocals, though. There’s an almost breathtaking suction to those vocals, that really pull you inside the cinematic story. The 1987 version has most of the magic, even some extra strange depths in some instruments, but it’s not quite there with the vocals and phrasing. What am I saying? A straight pure Heartbreakers version with the official vocal tracks on it would have been the best? Yes, that’s it. Thank you, you’re welcome. Finally - the 1976 take of Surrender is a nice surprise (for me). For a song that they have left on the floor so many times, I must say all versions are adroit. This, thanks to the kinda from-the-hip-yet-slightly-desperate vocals, works as one of the better takes I’ve heard. (Still not sure where it would have fitted. I can see how the 1979 version could have fitted on DTT, but I can also, given a bit spookier sound details, hear it in the YGG context. It certainly wouldn’t work too well on the first one though, so even if this was a really cool listen, I can understand why they moved on without it at the time.)
  17. 2 points
    bit late to this pun-party my cup spilleth over (sorry it's too pathetic - wait - it came out flat?) maybe we need a thread for all the Gainesville-related remembrances ... so far it's beer, parks, concerts...
  18. 2 points
    Wait ... FEATHERED BANGS is now a minute detail? Blue you sound more like the man ... *snicker* Seriously ... girly? Did you see the other photo thread? It was seriously going to start sounding like a group of 40 year old women going to see Magic Mike for the first time ... Let's see the manliest photo of Tom I can find. . . Wait, muttonchops, that's manly right? No feathered bangs and soft Doris Day light here
  19. 2 points
    I honestly don't believe that anyone in this community only limits their listening to TPATH, or even rock n'roll. I certainly don't. As someone who has been on this earth over 50 years now, I've tried to experience as many different kinds of music as I possibly can because it's always a source of wonder.
  20. 2 points


    Ha ha I'm kind of the same way, I often don't want to know the "secrets" behind some songs. Sure, I'd like to hear alternate versions or hear about how the band played or figured the tune out, but song meanings...ahh...I enjoy the mystery. cheers
  21. 2 points
    I've all too slowly been collecting Fillmore shows for ages off and on. I just hope this does not mean they disappear if they don't release every show in their entirety which I would gladly pay for. Also its very cool to not they recorded all their shows digitally for the past 15 years.... Cold be some excellent things in the vault. https://www.rollingstone.com/music/music-news/tom-petty-wildflowers-fillmore-shows-722069/ Tom Petty’s Heartbreakers Considering ‘Wildflowers’ Box Set, 1997 Fillmore Release “The 1997 Fillmore run was almost the pinnacle of the band just being totally spontaneous night to night to night,” says Heartbreakers guitarist Mike Campbell By ANDY GREENE Tom Petty's Heartbreakers guitarist Mike Campbell says the group is considering a 'Wildflowers' box set and the release of the band's 1997 Fillmore shows. Pat Johnson/REX Shutterstock The new Tom Petty box set An American Treasure won’t hit stores until September 28th, but his team is already thinking about future archival releases. Nothing is definite at the moment, but Heartbreakers guitarist Mike Campbell tells Rolling Stone that the group hopes to release a live set commemorating their 1997 residency at the Fillmore in San Francisco. They played 20 sold-out shows at the historic theater in January and February of that year, radically changing the setlist each night. In 2009, seven songs from the Fillmore run were released on the Live Anthology compilation, but that was just a tiny sampling of their total collection. “For me, that was almost the pinnacle of the band just being totally spontaneous night to night to night,” says Campbell. “We might throw in a Grateful Dead song that we just learned that afternoon. We recorded every show and we had guest artists from Bo Diddley to Roger McGuinn to John Lee Hooker. And I know, in my memory of those 20 nights, there’s an amazing album in there.” The Petty vault is overflowing with other concert recordings, particularly from the past 15 years when they began taping every single show digitally, but Campbell is unsure how many of them will ever see the light of day. “Before we went digital, we just made analog recordings here and there,” he says. “But most of the digital recordings we have are just the same songs over and over. I don’t know how much interest there will be in them, but they’re all earmarked and just sitting there. I’d be hesitant to release anything that wasn’t great, though. Some nights, guitars were out of tune or someone sang out of pitch. You have to be careful compromising Tom’s excellence because he liked stuff to be good.” A Wildflowers box set is also in the works, something that Petty frequently spoke of in his final years. The 1994 album was originally envisioned as a two-disc set, meaning many songs got cut for space when it was truncated. “I think I put four of the [Wildflowers outtakes] on the She’s the Onesoundtrack just to fill out the album,” Petty told Rolling Stone in 2017. “But they were very hastily mixed. Take ‘Climb That Hill.’ There’s a version of that on She’s the One, but the Wildflowers one I think is extremely better. I’m gonna put that out. ‘Hung Up And Overdue’ is another one we remixed and it turned into an epic. I had Carl Wilson [of the Beach Boys] and [Heartbreakers bassist] Howie Epstein singing quite a bit of harmony that didn’t come through on the original. Then again, there’s probably six songs that nobody has heard. There’s 11 or 12 [new] songs on the album. I think people are going to like it a lot. I like it a lot.” Now that he’s gone, his former collaborators are determined to see the projection to fruition. “I see that in the cards,” says producer Ryan Ulyate. “It’s going to be fantastic.” There’s also talk of deluxe editions of key albums from Petty’s catalog. “If there’s a market for something like that,” says Campbell, “we’ll do it.”
  22. 2 points
    I think everything of substance (no pun intended) on the matter has already been said here... but being the sucker for redundance that I am, I'll go on anyway! It's clearly an evidence for Tom's incredibly sophisticated songwriting, I think, that he threw out the "Hey, Indiana Girl"-Chorus and came up with the one we all know and love. Sometimes being direct and unambiguous works (see I Won't Back Down), but it better be pretty good. Which isn't to say that being ambiguous is easy. I think it's an idea that is as simple as it is effective to use Mary Jane as the girl's name... the chorus thus lending the whole song an almost desperate edge. It's about goodbye, but is the character in the song saying goodbye to a girl? To his life? Her life? Who is leaving who? Is it about somebody dying? Suicide? Or just a guy hopelessly in love? Pretty heavy stuff. And that's only the lyrics!
  23. 2 points
    And another one also from Annakim's instagram vvvv ok, update on "punk" cards project, I have been looking online for contact details of the music promoter who put his "punk" bubblegum card images online (on his instagram). At this stage I can only find social media (twitter etc) contact options. I'll look a little more & see if there's an actual physical address or email. I'd like to write privately (not on social media) and really nicely ask if he might possibly share some higher resolution photos of the cards with us / other people who share his love for Tom Petty and the Heartbreakers. I'll have some spare time in the next week but have none at the moment.
  24. 2 points
    ^^^^ Two photos of two cool cats Here's a photo from Annakim's instagram from that early photo shoot. Why has he got a cane? Does his t-shirt slogan say Florida?
  25. 2 points

    Tom's last band intro