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Showing content with the highest reputation since 09/17/2019 in all areas

  1. 3 points
    The Campbells visit the Land Of The Long White Cloud (Kiwiland) Rubbing noses !!!!
  2. 2 points
    I think it works extremely well in songwriting. It underlines the notion that he's actually only dreaming about being at the top, because kings and queens always evoke fairy tale imagery. In my mind at least. Though for me it's not necessarily being at the top or being rich but more about not having to report to anyone. There's a feeling of loneliness in the song as well, maybe because of the music (like Van Morrison sang, it's lonely at the top!). And to me it's also an ambiguous kind of kingdom the character in the song dreams about or retreads to: "A sweet little queen who can't run away"... not the nicest of implications (lock her up in some tower or something). It's a great, bittersweet song. I think the character is at a real low in his life, so maybe it's about resignation: "Excuse me if I have a place in my mind where I go time to time". Because, that's what the music tells us, the real world is too sad for him to take. At least sometimes.
  3. 2 points
    I hadn't really noticed that, but you are probably right. I did notice that at the July 4, 1986 show with Bob Dylan, TP's bass playing on Rainy Day Women 12 & 35 (aka "everyone must get stoned") is quite prominent, more so than when Howie had been playing during the TPATH set just prior to it. But I figured that was just the way they did that song. It's interesting that TP was a bass player for quite some time, though he also played guitar (including at times I think in the original run of Mudcrutch). The first two singles, "Breakdown" and "American Girl" both rely heavily on the bass, especially Breakdown. I've always wondered if that was because TP as a songwriter was still thinking a lot about the bass part, or if it just turned out that way due to Ron's contribution on bass. BTW if anyone listened to that interview with Ron, at the end he's playing Mike's "Boys of Summer". Which is interesting since that was never played by TPATH as a band, and it was written after Ron had left the band. We'll always wonder what TP might have done with that music, though certainly Don Henley did it justice.
  4. 2 points
    So, what do we want? A public apology from some people for messing everyone else around. No more milking of any metaphorical cows. Let the cows run free. A ban on Eddie Vedder, specifically whenever the original singer is available (just for you, SameOldDrew). Tom to be back, playing rhythm guitar & singing with The Heartbreakers. Some more music, if it's available, please. All of the above.
  5. 2 points
    This is great...….
  6. 2 points
    RedfordCowboy

    Tom Petty called...

    Tom Petty called...again...This time it's Dylan LeBlanc. Check out his new album RENEGADE. It's amazing!!! Here's the title track (warning: contains language). You don't have to live like a Refugee, but you might have to be a Renegade.....
  7. 1 point
    Well.. maybe. Hard for me to tell the hows and whys of where this issue went. I can just speak for myself. And maybe I started it all, when I agreed with the expressed view that Tom always offered a certain variation within his albums (and over time too). Perhaps I should've just posted "D'uh!", but that wouldn' have been as fun. Then again, I did also suggest that this variation of the albums never made him thst unique really. (I should've known, that could've been perceived as provocative.) Most great albums and legendary acts have dynamics and variation, is my experience. In one way or the other. Few really interesting longevity acts are one trick ponys. I know what Tom did. I described it in posts here recently. It was a lot. But I don't think he took variation (in style, temper, pace, time-signature, wit, drawl, genre even) that much further that anybody else with any degree of genius, certainly not to the extent that it would define him, or be worth pointing out as his special feature, how fantastically varied his albums were. But I can respect and appreciate if someone thinks so, of course. We all have different points of reference. Of course - if I really need to be that obvoius - none of this means his albums were less varied than most either. They were certainly, again, more varied than many. As always.. definitions may have stopped you guys from falling down this particular pit of imagined animosity - and me from being pulled back in . (I don't know. I mean, "varied" compared to whom? To what? When? Genres is a b#%*h that I rather not devote myself to, admittedly, but over my two or three actual posts on this subject here, I made many decent points that will further explain what I think, I'm sure - complete with some wicked examples and explanatory sidenotes to broaden the sense of where I'm at on this issue (yes I even already covered disco, and Stones too, sure, although it's really not key to my understanding of anything) - if you really read them carefully. Which maybe you did, since you went back for some little bit of it in that quite just now. Thanks, man!) I appreciate reading opinionated and well informed discussions and as far as I'm concerned were all good. As for the rest of it, I'm not sure I even understand and follow all the angles and aspects brought into this, what with pioneering this or that.. Other discussion than that on variation, as I see it. All I ever wanted was to say that sure Tom went places. Like all great artists do. Of course he made "varied" albums. I was trying to say that you guys stated the obvious... Yet here we are..
  8. 1 point
    nurktwin

    Classic Rock Video of the Day II

    9/22/19 TPATH
  9. 1 point
    Well I'm no expert on jazz, but those songs sound like what I would term "nightclub jazz". Probably the best known example would be Dave Brubeck's "Take Five", used in numerous soundtracks.
  10. 1 point
    I concur. Just because they played and created some work that varied in styles and genres does not mean it's a key part of their core sound identity. Edit: Happy 1500th post to me lol
  11. 1 point
  12. 1 point
  13. 1 point
    That's pretty much how I took it to, and figured that was the common perception of the song, it's not about literal royalty. And the music fits the lyrics wistful longing. cheers
  14. 1 point
    As an american born and raised in New England (ironic the name of my region) I generally think of term king not so much in terms of British rule but as the "top dog" in an area sort of "we would live like kings if we hit the lottery." so when I hear Tom singing about "It's good to be king, if just for a while, To be there in velvet, yeah, to give 'em a smile" I think more along the lines of Mel Brooks or some rich dude. AND HOLY CRAP I just discovered a misheard lyric by me. All these years I thought he was saying 'to be there with Elvis, yeah give him a smile" !!!!!! I think the video had an Elvis impersonator around the time he sings that so...... mind blown! 😂
  15. 1 point
    Just to be clear, I meant the song "King's Highway" which opens that concert. That's where Scott Thurston is playing bass. For other parts of that concert, Howie does play some bass, as does Scott at times. Also to be clear, I thought Ron was terrific on bass 1976-81. Not just pretty good, but terrific. But to me Howie's bass sounded even a little better in 1982-83 than Ron had sounded, somehow more musical, really a perfect fit with the band. So that's another thing that helped make 1982-83 a "peak period" for me. But only by a small amount, compared with the rest of the Stan years. As to Ron on bass when he returned to the band, he sounded good but didn't stand out to me as great the way he did in the early days. Possibly because he was playing off Steve, and I think Steve's on-beat drumming and emphasis on the bass drum crowded out some of Ron's bass playing. Though to get technical, there is a YouTube interview with Ron, from a couple years ago, where Ron talks about playing off of Steve trying to find a place to fit in the bass line, not exactly on the beat and not exactly in line with the guitars. It's also kind of frustrating to hear him say that he played "American Girl" with an interesting bass part that he doesn't use live (why not Ron?). Also interesting to hear him end the interview by playing part of a familiar song - hint, it's music written by Mike Campbell.
  16. 1 point
    martin03345

    Changing Mojo's track listing

    Great sequence Shelter. However, I'll forever love "US 41" and "Lover's Touch" even if they are total filler fluff.
  17. 1 point
    You dropped 4 of the best songs from that album?!? You and MJLD are truly something when it comes to album sequencing. "One More Night" is a great album closer with one of Mike's greatest solos at the end. The album isn't meant to be happy. Are you gonna go back and try to make Blood on the Tracks upbeat? The title song is also a nice song as is and so is "Lonesome Sundown". I get that this is a what if thought experiment, but some things just need not to be explored. As MJLD said, "Even the uptempo songs are dower". So leave well enough alone lol. Now I get that the album is a tad bloated but that just means trim the filler like "No More" and "Accused of Love" and slap "Sweet William" in.
  18. 1 point
    Shelter

    Changing Mojo's track listing

    So. This is the thread where I had Muppets in one of my post. Nothing wrong with that. Ok then. Since I made a home cook edit of Echo recently - that being one of the potential masterpieces that ended up a bit of a mess - I thought I'd revisit my attempts at getting my Mojo to work. To the dismay of some, I'm sure. After all, Mojo in my book (as previoysly this thread has testified) is the biggest mess of them all, despite several personal favorite songs on there. I was quite happy with my earlier version, but somehow being reminded of their recording of the Williamson tune Help Me, made me realize that what Mojo needs, to me, is not a "blues" detox. It's letting the real blues flag fly, to let loose the real blues vibes of the sessions as some sort of glue to the pack. That and the obvious, some trimming, and some focus. Still I have no vinyl pressing plant, regretably, but the CD edition I now usually play runs like this: RE:MOJO A1. Mystery Of Love A2. Running Man's Bible A3. Something Good Coming A4. I Should Have Known It A5. First Flash of Freedom B1. Help Me B2. The Trip To Pirate's Cove B3. High in The Morning B4. No Reason To Cry B5. Good Enough Basically, with this much less "blues" on there, it's so much more blues to me. In this shape (perhaps with High In The Morning being a bit of a weak spot) I'd put this album in my top five TPATH most any day of the week. Very lean and mean. A gravity, sharpness and integrity that the various little side shows of the real Mojo somehow robbed it of along the way. I guess I just don't think that most of the stuff that Tom himself penned as the "blues core" of Mojo holds up. Taking My Time, Lover's Touch, Jefferson Jericho, US41 just feel like blues camp workshop stuff to me, musically. Hearing how they absolutely rip it on their cover of Help Me was key to me, in coming to terms with the blues DNA of this reecord. I know I said itelsewhere, how despite all Tom's genuine intentions at "the Blues" with his Mojo era songwriting, the most successful attempts of his own at getting in deep with that style, without it becoming a pose (a mightly well played pose, though, mind you), ended up off the album. (Another was cut shortly thereafter as one of the first for what was to become Hypnotic Eye.) With these things in mind, to me, this rolling of Mojo feels a lot more fit.
  19. 1 point
    It likely would've, yes. Last thing I heard, though, the little queens work full time fondling tiny dogs and weighing huge tantrums. It all reminds me a bit of Alice In Wonderland, come to think of it.
  20. 1 point
    nurktwin

    Sad News

    ^ Good idea, I never considered Uber or any of those services. I do thank God that this is not happening in the winter, about 10 miles north of me is the snow belt and it's not a pretty sight during winter. I'm feeling really great now, but Dr's say I'll start feeling the effects of chemo and radiation about 2-3 weeks into treatments. We'll see, week 2 starts Monday. I'll be fine, see ya later...........Benny or is that Nurk?
  21. 1 point
    nurktwin

    Sad News

    Home for the weekend. Got home yesterday (Friday) and will be here until sometime Sunday. Still looking for a ride back to Cleveland!!!!!! That's the part that sucks, I hate bothering people for a ride back and forth, but I do want to come home for a couple days on weekends. I spent the morning picking tomatoes and hot peppers in the garden and making a big 8 pound beef roast in the oven. Beef is 1/2 done and I sliced it thin for dinner or sandwiches. Beef is covered with broth and ready to go back in oven to finish cooking, along with quartered potatoes. That should take about 1 to 1 1/2 hours, then it's time to eat (what I can)!!! I'll be hanging around for another 24 hours or so, so I'll see ya soon. Take care.......Nurk. BTW...............8 pounds of beef plus potatoes, salad, hot peppers, dinner rolls and more and family can't make it for dinner!!!!! They aren't feeling well. If you are in the neighborhood, stop by!
  22. 1 point
    I am missing Tom today...
  23. 1 point
    Hey Under-them-skies, Just paste the link and hit return or enter and it should embed and will offer the option of just displaying it as a link on the bottom of your post. cheers
  24. 1 point
    Big Blue Sky

    F Mac in Austealia & NZ 2019

    Mike, Neil Finn, JohnMcVie played Man Of The World from Peter Green era of Fleetwood Mac. You can hear a man in the audience near the person who's recording this say "1966". Only added it to setlist since they came to Australia. This is from another night. But it was equally marvellous when they played it for us.
  25. 1 point
    Has this been posted here before? Seems like it must've been. Here it is anyway!
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