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  1. 2 points
    Cool article, thanks. I don't remember reading that. This line was interesting. I wonder who he was referring to?
  2. 2 points
    Hoodoo Man

    Lost Universal Master Tapes

    I know right? I've heard the tompetty store is getting really bad about shipping orders....
  3. 1 point
  4. 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?
  5. 1 point
    I'm not asking you to think someone drawing a connection between race and Rebels is valid, all I'm saying is can't you see why they could when nearly an entire verse is dedicated to "burning cornfields" etc. You said it yourself, the self-proclaimed "rebel" is blaming it on the war...which is about race! Doesn't mean you have to view the song that way and obviously you don't but I just don't understand why you can't see how others could interpret it that way. But hey, this ain't a purity test! If you can't, you can't, I won't push on this anymore. I can appreciate that. It certainly sounded like it as well so I'm glad you said so, I don't think it's patting yourself on the back at all and I respect where you're coming from on the topic. cheers
  6. 1 point
    Does anyone know where the painted girl "might" be? Yup. Becomming a quest. Been looking for 20 years. Feeling a little defeated. Appreciate all you wonderful TP fans. Each and every one of you are awesome!
  7. 1 point
    Tom always said it like he saw it. I think he may have meant kooks. It's his attitude toward his calling that made him the ultimate professional he became. He just did what he did. Always had a plan for how. Never forgot who he was. To me that defines success in anything. I'll bet he's still writing.
  8. 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
  9. 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.
  10. 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.
  11. 1 point
    Marion

    Sad News

    Thinking of you Nurk. I hope to see you check in soon. 🥺
  12. 1 point
    Hoodoo Man

    Sad News

    hope all went well Nurk! Been thinking of you and hoping for good news!
  13. 1 point
    WildflowerNJ

    Sad News

    I am still praying, Nurk....
  14. 1 point
    Marion

    Sad News

    You were on my mind all day today, Nurk. I’ve been praying and I wish you all the best!
  15. 1 point
    Big Blue Sky

    Sad News

    Sure hope things are going well during surgery & recuperation. 💕
  16. 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!
  17. 1 point
    Wildflower

    Sad News

    Good Luck!
  18. 1 point
    TomFest

    Sad News

    We'll say a prayer for you tonight, Benny. You got this.
  19. 1 point
    I only have the "Dusty in Memphis" book, which I got because it was written by Warren Zanes. I saw the "Southern Accents" one on the shelf at a record store recently along with several others in the series. I'm skipping it just based on some reviews and I'm not really too interested in reading about the Rebel flag controversy again. Tom excised that little mistake and rightfully so. As far as I'm concerned that flag needs to be put away for good. By everyone. As to the "Southern Accents" album, it's never been a favorite of mine. In fact, I never owned it until about 20 years after it came out. I like a couple of the songs a lot, but there are a number that I don't really care for. I don't rate this album high in Tom's catalog.
  20. 1 point
    WildflowerNJ

    Sad News

    Nurk, will be thinking and praying for you.....everything will be okay.
  21. 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
  22. 1 point
  23. 1 point
    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!
  24. 1 point
  25. 1 point
    I like to regard myself as a bit of a "setlist casualty" actually, now when you're mentioning it.....
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