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  1. 5 points
    I'm gonna laugh when they finally release All the Rest and it's just a reissue of She's the One
  2. 4 points
    Okay, sure, so they're all sensational musicians & over the years have contributed to other people's recording sessions. Are there too many to count? I knew about this first appearance (from 3:20) but was completely surprised while watching the second music video (from 2:10 onwards).
  3. 3 points

    Mike Campbell's fav records

    There is a lot to be said for that. This one is actually one of those things in life that goes beyond whether you find it fantastic or not. (Although, liking it helps some.) At least if you are a music fan with any interest in general rock universe navigation. See.. without The Band in general, their friends and allies, and perhaps that Last Waltz film in particular (as some sort of beacon at the end of a movement), it would be very hard to understand anything of what happened to rock music in the late 60 throughout the 70s and on, how the genuinely American folk rock developed and paved way for what was to become the Alternative Rock, the Americana craze of our times. Milestone material? Well.. Let's just say, trying to understand modern American rock without it, would like trying to understand modern sci-fi without the Alien trilogy. On a more "Farming" level, The Last Waltz certainly helps, if mainly by association, in understanding the influences and style references that are soaking through so much of Tom's music. It may also be a pointer towards the rationale behind some of his choice of covers over the years - since, as much as he loved 50s blues rock and the British invasion stuff (in itself in part influenced by Bob and The Band and so on), Tom was himself definitely a child of his times, wasn't he? The traces of Bob, The Band, Butterfield, Bloomfield, Grateful Dead, Little Feat, JJ Cale and all this 70s Americana rock sentiments - the presence of all the who's-who in terms of various inventors of the folk rock scene - are loud and clear, all the way from the first chords of Mudcrutch*. I basically think this stuff was tremendously important to Tom and the guys! "The same mountain stream", yes... that is so very aptly put! Good or bad - the Last Waltz is, if nothing more, splendid context.** No necessity or obligation to think or care about these things at all, of course. Music is fine as isolated bubbles too. I'm just saying.. if one has an itch... this film is one of the places to start the scratching. That said, hearing that clip there out of context, I can agree it's not the proudest moment of either The Band or Butterfield. The don't exactly nail that song, IMO. And as for Butterfield in general, he sure was a key player and he contributed to a lot of cool stuff, but as a leading man and especially as a singer, I do think that he is slightly overrated. To me he is far from the only reason why his namnesake Blues Band is so groovy. Look more in ways of rhythm section and guitar to find my answers. Also. I'm no big fan of long instrumental harmonica jams, so that may be part of it.... Hm.. having said all this, the one thing that surprise me, though.. is that.. I can't think of all those perfect The Band covers that Tom Petty & The Heartbreakers surely must have pulled out over the years. There is some very strange absence there. A hole in my mind, surely. ---- * Come to think of it - slightly tweaked, a song like Up In Mississippi really could be a The Band song. I can hear their harmonies, the Weight or Cripple Creek style vibe taking that song to it's final destination. **Another document that covers a slightly different limb of this alternative/Americana beast, a slightly more singer/songwriter oriented era and context, that is highly recommendable would be the Heartworn Highways movie. Ya all really need to see that one, if only for the fantastic studio photage of Larry Jon Wilson trying to nail Ohoopee River Bottom Land (that voice!?), of Guy Clark doing Forever, For Always, For Certain and Townes of course, the sob fest that is Townes Van Zandt's kitchen table take of Waitin' Around to Die. Oh man… I would link all those.. or the whole film.. but you all have to do some of the work yourself. Cruel world.
  4. 2 points
    Benmont plays on the Jenny Lewis album that came out last week. This track also features Ringo and Don Was:
  5. 2 points

    Classic Rock Video of the Day II

    3/24/19 The Rolling Stones
  6. 2 points

    Random Thoughts Thread

    I bet this here is a fairly forgotten Tom Petty moment...
  7. 2 points
    I think this is something based on personal preference and will have a bit of variation from person to person for sure. But here is my take from worst to best and the best is really quite good. 3. Highway companion. Its a great album and until recently I would have said its a great Tom Petty and the Heartbreakers album but in truth its one of three solo albums from Tom that has the Heartbreakers all over it. Highway companion has some variety to it but shows a largely happy Tom with a more upbeat core than Wildflowers which was peppered with brooding and often times dark lyrics. 2. Full Moon Fever. The album that brought what is arguably Toms biggest solo hit "Free Falling". Tom always had some amazing lyrics but this album largely took him to a new level where he remained at for the rest of his carrier. Coming after what some feel is the weakest Heartbreakers Album -Let Me Up I've had enough, this marks a milestone in the maturity of Tom as a singer, writer and producer, the album was a hard sell to the label before its release, which boggles the mind. It ended up having 5 singles released and charting at #3 on the Billboard 200. 1. Wildflowers. By a large measure my favorite work by Mr Petty as a solo artist and on most days my favorite album overall spanning his body of work (Damn the torpedoes is a close second for me). Some deeply personal songs and lyrics with dark undertones felt in; don't fade on me, wake up time and my perennial favorite of crawling back to you while still managing to rock with Honey Bee and Cabin down below. Unlike the inclusion of Zombie zoo which is a weak track in an otherwise near perfect FMF; Wildflowers is in fact a perfect album from start to finish and a must have for any collection.
  8. 2 points

    Benmont Shows

    Thank you. I did enjoy it. I think everyone did except one rude woman who didn’t like him talking so much between songs and was heckling. 😡 He didn’t play guitar tonight but he did play a slow version of American Girl. And the audience sang along, gently 🤘❤️
  9. 1 point
  10. 1 point

    Greatest Hits Vol. 2

    Mudcrutch somehow ended up with the more artistic covers (generally speaking) than TPATH.
  11. 1 point
    The line "Driving into sunset, rollin cause we had to roll" just popped into my head out of nowhere and so I listened...Lyrics are sooooo damn good!! Somewhere in between a memory and a dream 😉
  12. 1 point
    Once again i have to be Jealous out here on the east coast. Knobs as well as Robby Kreiger (separately) wold love to see them both live! Saw this on the Knobs FB page.... www.hhmhootenanny.comMAJOR EARLYBIRD DISCOUNTS THROUGH SUNDAY NIGHT!!!THE HOOTENANNY IS BACK!!! MAY 18TH, 2019 - KING GILLETTE RANCH This time to benefit The Kevin Cordasco Foundation /Something Yellow! Not only will you spend this beautiful spring day in the Santa Monica Mountains, sipping and savoring the best our community has to offer, but you will be doing it to the sounds of The Dirty Knobs with Mike Campbell (Legendary guitarist of Tom Petty & The Heartbreakers AND Fleetwood Mac!). Robby Krieger (of The Doors) & Friends! Overstreet - Sir Please - Fraker - Aaron Burch and the Band of One Another and MORE to come!!!🍷🎸🍺 DISCOUNTED TICKET PRE-SALE IS SHORT AND LIMITED! WWW.HHMHOOTENANNY.COM
  13. 1 point
    https://www.negativland.com/news/?page_id=17 THE PROBLEM WITH MUSIC This oft-referenced article is from the early ’90s, and originally appeared in Maximum Rock ‘n’ Roll magazine. While some of the information and figures listed here are dated, it is still a useful and informative article. And no, we don’t know how to reach Steve Albini. -Negativland The Problem With Music by Steve Albini Whenever I talk to a band who are about to sign with a major label, I always end up thinking of them in a particular context. I imagine a trench, about four feet wide and five feet deep, maybe sixty yards long, filled with runny, decaying shit. I imagine these people, some of them good friends, some of them barely acquaintances, at one end of this trench. I also imagine a faceless industry lackey at the other end holding a fountain pen and a contract waiting to be signed. Nobody can see what’s printed on the contract. It’s too far away, and besides, the shit stench is making everybody’s eyes water. The lackey shouts to everybody that the first one to swim the trench gets to sign the contract. Everybody dives in the trench and they struggle furiously to get to the other end. Two people arrive simultaneously and begin wrestling furiously, clawing each other and dunking each other under the shit. Eventually, one of them capitulates, and there’s only one contestant left. He reaches for the pen, but the Lackey says “Actually, I think you need a little more development. Swim again, please. Backstroke”. And he does of course. Every major label involved in the hunt for new bands now has on staff a high-profile point man, an “A & R” rep who can present a comfortable face to any prospective band. The initials stand for “Artist and Repertoire.” because historically, the A & R staff would select artists to record music that they had also selected, out of an available pool of each. This is still the case, though not openly. These guys are universally young [about the same age as the bands being wooed], and nowadays they always have some obvious underground rock credibility flag they can wave. Lyle Preslar, former guitarist for Minor Threat, is one of them. Terry Tolkin, former NY independent booking agent and assistant manager at Touch and Go is one of them. Al Smith, former soundman at CBGB is one of them. Mike Gitter, former editor of XXX fanzine and contributor to Rip, Kerrang and other lowbrow rags is one of them. Many of the annoying turds who used to staff college radio stations are in their ranks as well. There are several reasons A & R scouts are always young. The explanation usually copped-to is that the scout will be “hip to the current musical “scene.” A more important reason is that the bands will intuitively trust someone they think is a peer, and who speaks fondly of the same formative rock and roll experiences. The A & R person is the first person to make contact with the band, and as such is the first person to promise them the moon. Who better to promise them the moon than an idealistic young turk who expects to be calling the shots in a few years, and who has had no previous experience with a big record company. Hell, he’s as naive as the band he’s duping. When he tells them no one will interfere in their creative process, he probably even believes it. When he sits down with the band for the first time, over a plate of angel hair pasta, he can tell them with all sincerity that when they sign with company X, they’re really signing with him and he’s on their side. Remember that great gig I saw you at in ’85? Didn’t we have a blast. By now all rock bands are wise enough to be suspicious of music industry scum. There is a pervasive caricature in popular culture of a portly, middle aged ex-hipster talking a mile-a-minute, using outdated jargon and calling everybody “baby.” After meeting “their” A & R guy, the band will say to themselves and everyone else, “He’s not like a record company guy at all! He’s like one of us.” And they will be right. That’s one of the reasons he was hired. These A & R guys are not allowed to write contracts. What they do is present the band with a letter of intent, or “deal memo,” which loosely states some terms, and affirms that the band will sign with the label once a contract has been agreed on. The spookiest thing about this harmless sounding little memo, is that it is, for all legal purposes, a binding document. That is, once the band signs it, they are under obligation to conclude a deal with the label. If the label presents them with a contract that the band don’t want to sign, all the label has to do is wait. There are a hundred other bands willing to sign the exact same contract, so the label is in a position of strength. These letters never have any terms of expiration, so the band remain bound by the deal memo until a contract is signed, no matter how long that takes. The band cannot sign to another laborer or even put out its own material unless they are released from their agreement, which never happens. Make no mistake about it: once a band has signed a letter of intent, they will either eventually sign a contract that suits the label or they will be destroyed. One of my favorite bands was held hostage for the better part of two years by a slick young “He’s not like a label guy at all,” A & R rep, on the basis of such a deal memo. He had failed to come through on any of his promises [something he did with similar effect to another well-known band], and so the band wanted out. Another label expressed interest, but when the A & R man was asked to release the band, he said he would need money or points, or possibly both, before he would consider it. The new label was afraid the price would be too dear, and they said no thanks. On the cusp of making their signature album, an excellent band, humiliated, broke up from the stress and the many months of inactivity. There’s this band. They’re pretty ordinary, but they’re also pretty good, so they’ve attracted some attention. They’re signed to a moderate-sized “independent” label owned by a distribution company, and they have another two albums owed to the label. They’re a little ambitious. They’d like to get signed by a major label so they can have some security you know, get some good equipment, tour in a proper tour bus — nothing fancy, just a little reward for all the hard work. To that end, they got a manager. He knows some of the label guys, and he can shop their next project to all the right people. He takes his cut, sure, but it’s only 15%, and if he can get them signed then it’s money well spent. Anyways, it doesn’t cost them anything if it doesn’t work. 15% of nothing isn’t much! One day an A & R scout calls them, says he’s ‘been following them for a while now, and when their manager mentioned them to him, it just “clicked.” Would they like to meet with him about the possibility of working out a deal with his label? Wow. Big Break time. They meet the guy, and y’know what — he’s not what they expected from a label guy. He’s young and dresses pretty much like the band does. He knows all their favorite bands. He’s like one of them. He tells them he wants to go to bat for them, to try to get them everything they want. He says anything is possible with the right attitude. They conclude the evening by taking home a copy of a deal memo they wrote out and signed on the spot. The A & R guy was full of great ideas, even talked about using a name producer. Butch Vig is out of the question-he wants 100 g’s and three points, but they can get Don Fleming for $30,000 plus three points. Even that’s a little steep, so maybe they’ll go with that guy who used to be in David Letterman’s band. He only wants three points. Or they can have just anybody record it (like Warton Tiers, maybe– cost you 5 or 7 grand] and have Andy Wallace remix it for 4 grand a track plus 2 points. It was a lot to think about. Well, they like this guy and they trust him. Besides, they already signed the deal memo. He must have been serious about wanting them to sign. They break the news to their current label, and the label manager says he wants them to succeed, so they have his blessing. He will need to be compensated, of course, for the remaining albums left on their contract, but he’ll work it out with the label himself. Sub Pop made millions from selling off Nirvana, and Twin Tone hasn’t done bad either: 50 grand for the Babes and 60 grand for the Poster Children– without having to sell a single additional record. It’ll be something modest. The new label doesn’t mind, so long as it’s recoupable out of royalties. Well, they get the final contract, and it’s not quite what they expected. They figure it’s better to be safe than sorry and they turn it over to a lawyer–one who says he’s experienced in entertainment law and he hammers out a few bugs. They’re still not sure about it, but the lawyer says he’s seen a lot of contracts, and theirs is pretty good. They’ll be great royalty: 13% [less a 1O% packaging deduction]. Wasn’t it Buffalo Tom that were only getting 12% less 10? Whatever. The old label only wants 50 grand, an no points. Hell, Sub Pop got 3 points when they let Nirvana go. They’re signed for four years, with options on each year, for a total of over a million dollars! That’s a lot of money in any man’s English. The first year’s advance alone is $250,000. Just think about it, a quarter million, just for being in a rock band! Their manager thinks it’s a great deal, especially the large advance. Besides, he knows a publishing company that will take the band on if they get signed, and even give them an advance of 20 grand, so they’ll be making that money too. The manager says publishing is pretty mysterious, and nobody really knows where all the money comes from, but the lawyer can look that contract over too. Hell, it’s free money. Their booking agent is excited about the band signing to a major. He says they can maybe average $1,000 or $2,000 a night from now on. That’s enough to justify a five week tour, and with tour support, they can use a proper crew, buy some good equipment and even get a tour bus! Buses are pretty expensive, but if you figure in the price of a hotel room for everybody In the band and crew, they’re actually about the same cost. Some bands like Therapy? and Sloan and Stereolab use buses on their tours even when they’re getting paid only a couple hundred bucks a night, and this tour should earn at least a grand or two every night. It’ll be worth it. The band will be more comfortable and will play better. The agent says a band on a major label can get a merchandising company to pay them an advance on T-shirt sales! ridiculous! There’s a gold mine here! The lawyer Should look over the merchandising contract, just to be safe. They get drunk at the signing party. Polaroids are taken and everybody looks thrilled. The label picked them up in a limo. They decided to go with the producer who used to be in Letterman’s band. He had these technicians come in and tune the drums for them and tweak their amps and guitars. He had a guy bring in a slew of expensive old “vintage” microphones. Boy, were they “warm.” He even had a guy come in and check the phase of all the equipment in the control room! Boy, was he professional. He used a bunch of equipment on them and by the end of it, they all agreed that it sounded very “punchy,” yet “warm.” All that hard work paid off. With the help of a video, the album went like hotcakes! They sold a quarter million copies! Here is the math that will explain just how fucked they are: These figures are representative of amounts that appear in record contracts daily. There’s no need to skew the figures to make the scenario look bad, since real-life examples more than abound. income is bold and underlined, expenses are not. Advance:$ 250,000 Manager’s cut: $ 37,500 Legal fees: $ 10,000 Recording Budget: $ 150,000 Producer’s advance: $ 50,000 Studio fee: $ 52,500 Drum Amp, Mic and Phase “Doctors”: $ 3,000 Recording tape: $ 8,000 Equipment rental: $ 5,000 Cartage and Transportation: $ 5,000 Lodgings while in studio: $ 10,000 Catering: $ 3,000 Mastering: $ 10,000 Tape copies, reference CDs, shipping tapes, misc. expenses: $ 2,000 Video budget: $ 30,000 Cameras: $ 8,000 Crew: $ 5,000 Processing and transfers: $ 3,000 Off-line: $ 2,000 On-line editing: $ 3,000 Catering: $ 1,000 Stage and construction: $ 3,000 Copies, couriers, transportation: $ 2,000 Director’s fee: $ 3,000 Album Artwork: $ 5,000 Promotional photo shoot and duplication: $ 2,000 Band fund: $ 15,000 New fancy professional drum kit: $ 5,000 New fancy professional guitars [2]: $ 3,000 New fancy professional guitar amp rigs [2]: $ 4,000 New fancy potato-shaped bass guitar: $ 1,000 New fancy rack of lights bass amp: $ 1,000 Rehearsal space rental: $ 500 Big blowout party for their friends: $ 500 Tour expense [5 weeks]: $ 50,875 Bus: $ 25,000 Crew [3]: $ 7,500 Food and per diems: $ 7,875 Fuel: $ 3,000 Consumable supplies: $ 3,500 Wardrobe: $ 1,000 Promotion: $ 3,000 Tour gross income:$ 50,000 Agent’s cut: $ 7,500 Manager’s cut: $ 7,500 Merchandising advance:$ 20,000 Manager’s cut: $ 3,000 Lawyer’s fee: $ 1,000 Publishing advance:$ 20,000 Manager’s cut: $ 3,000 Lawyer’s fee: $ 1,000 Record sales: 250,000 @ $12 = $3,000,000 Gross retail revenue Royalty: [13% of 90% of retail]: $ 351,000 Less advance: $ 250,000 Producer’s points: [3% less $50,000 advance]: $ 40,000 Promotional budget: $ 25,000 Recoupable buyout from previous label: $ 50,000 Net royalty: $ -14,000 Record company income: Record wholesale price: $6.50 x 250,000 = $1,625,000 gross income Artist Royalties: $ 351,000 Deficit from royalties: $ 14,000 Manufacturing, packaging and distribution: @ $2.20 per record: $ 550,000 Gross profit: $ 710,000 The Balance Sheet: This is how much each player got paid at the end of the game. Record company: $ 710,000 Producer: $ 90,000 Manager: $ 51,000 Studio: $ 52,500 Previous label: $ 50,000 Agent: $ 7,500 Lawyer: $ 12,000 Band member net income each: $ 4,031.25 The band is now 1/4 of the way through its contract, has made the music industry more than 3 million dollars richer, but is in the hole $14,000 on royalties. The band members have each earned about 1/3 as much as they would working at a 7-11, but they got to ride in a tour bus for a month. The next album will be about the same, except that the record company will insist they spend more time and money on it. Since the previous one never “recouped,” the band will have no leverage, and will oblige. The next tour will be about the same, except the merchandising advance will have already been paid, and the band, strangely enough, won’t have earned any royalties from their T-shirts yet. Maybe the T-shirt guys have figured out how to count money like record company guys. Some of your friends are probably already this fucked. Steve Albini is an independent and corporate rock record producer most widely known for having produced Nirvana’s “In Utero”. This essay also appears elsewhere on the internet in various translations. Here are a few of them: German, translated by M.Dmitrieva Belorussian – this translation seems to have disappeared. Let us know if you find it. French, translated by Kate Bondareva
  14. 1 point

    Wildflowers (all the rest) tracks?

    Indeed. Or even.. in line with Tom still planning to go ahead with the Wildflower project right away after the tour, he may have figured, why not use the tour to pave the way some.. like a mini promotion of what is to come. In other words, it's not instead of, it's because of. I like to think there would be a logic to that as well. Right.. but anniversaries rarely was how they rolled, though, was it. Seeing how they celebrated their 41st in 2017, how DTT was celebrated with a deluxe treatement at 31, how they rode with a Tom solo album for the TPATH 30th Anniv tour, as you mention, how Playback would have been the perfect 20! extravaganza, if it wasn't one year early, and the 20th of Wildflowers is closing in on 30, for all I know. I like to think of all this as mildly confusing but extremely charming. At the very least it speaks to the genuine, less calculated side of their enterprise, and what's not to love about that part! They'd always get to things when and how they liked! It's all just numbers anyway..
  15. 1 point

    Rock N Roll Drive-In

    3/25/19 Rock And Roll - The Early Days Ends at 58:42, nothing to watch after that!
  16. 1 point

    Benmont Shows

    I was there on Wednesday night, and let me just say that the show was tremendous. Benmont gave a soulful, heartfelt, tasteful performance with some really moving moments throughout the night. The venue is tiny and it was really such a treat to be 15 feet away from a legend, almost like he was playing in your living room. Also, I haven't laughed so much at a show in a while, his random thoughts and banter between the songs were gold. The American Girl was a sweet moment (video controversies aside) but the highlight for me might have been his cover of The Grateful Dead's China Doll. I'd strongly suggest taking a listen for those interested. Here's the link: https://www.youtube.com/watch?v=hrvzYF-rIBo
  17. 1 point

    Classic Rock Video of the Day II

    3/22/19 Carl Perkins & Tom Petty & The Heartbreakers.
  18. 1 point

    Benmont Shows

    Night two I thought was even better. I thought Benmont sounded better and I liked the set list more. Plus no hecklers. 😎 He did American Girl again as the last song before the encore. This time before the start of American Girl he asked for the already dim lighting to be turned down some and that people not video. That we have it to ourselves. Earlier Regina Spektor stepped in to sing a song while Benmont played. I overheard some people that must have heard "spector" and thought she was related to Phil Spector. 🙄 I think she has a very beautiful voice. I'd like to see an entire show with her singing American Standards and Benmont playing piano. 🤗 Here's most of it. It's a little shaky at the start but I thought you might enjoy it as is. It really was an intimate evening, just as promised. https://en.wikipedia.org/wiki/Regina_Spektor
  19. 1 point

    Mike Campbell's fav records

    Rag mama rag................ brilliant stuff.
  20. 1 point
    Just why does Coldplay come to my mind?......
  21. 1 point

    Mike Campbell's fav records

    Shelter summed it up. Better songs (than the Mystery Train version from The Last Waltz) to get into The Band might be Up on Cripple Creek, Don't Do It, The Weight and maybe The Night They Drove Old Dixie Down. If you care for a certain type of "Americana" music, it's almost impossible not to like these. And in the rare case you really don't, they are at least interesting signposts in the history of popular music. Although they're definitely much more than just that. Watching The Last Waltz might help understand the importance of The Band. The first song just kills. Having said that, it is, of course, a complicated or even troubled movie, or at least the history of its conception is. Fantastic as an end product nevertheless. And as far as music goes it's probably the single most important document of its time.
  22. 1 point

    Classic Rock Video of the Day II

    3/19/19 Dick Dale
  23. 1 point
    I love Joe Ely and James McMurty. Joe opened for Tom one tour but I didn't get to see him as an opener out my way. Just saw James live a few weeks back and it was a great show. He has a new record deal so he should be coming out with a new album sometime soon.
  24. 1 point

    Classic Rock Video of the Day II

    3/15/19 Hal Blaine playing drums.
  25. 1 point

    So Mike is in Fleetwood Mac ?

    I get what they are trying to do and the sentiment behind it, but maybe it's too soon or they should choose a different song. That heavy sigh from Mike in Tulsa was tough to watch. In the Go Your Own Way clip, did anyone else notice when Neil is on the drum riser he kicks a water bottle and it hits Stevie's leg?