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  1. 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).
  2. 3 points
    mikemono

    New TPATH Releases

    I think all parties are aware of the importance of the Wildflowers project to Tom's musical legacy, as it's been brought up by Mike and Adria in various interviews since Tom's passing. In the Facebook live video before The Best of Everything's release, Adria didn't mention Wildflowers in particular, but she did say she wanted to give both An American Treasure and The Best of Everything time to breathe before new material was going to be released. In the last hour, Annakim posted on Instagram that "We don't sell out," which may be a message to Dana. Given that this TMZ article frames Dana -- and not Adria and/or Annakim -- as the person who wants access to the Wildflowers material for a twenty-fifth anniversary edition, it seems that she wants the music within a certain time frame; it doesn't necessarily imply that anyone is opposed to the eventual release of the material. So, in addition to potentially figuring out who (individually) should execute Tom's wishes and run his estate, it seems that the timing of releases -- when as opposed to what stuff is going to be released -- is a central issue for all party's involved.
  3. 2 points
    Benmont plays on the Jenny Lewis album that came out last week. This track also features Ringo and Don Was:
  4. 2 points
    nurktwin

    Classic Rock Video of the Day II

    3/24/19 The Rolling Stones
  5. 1 point
    For some reason, I'm continually mishearing the one line in "A Thing About You" that goes "Lovers hold each other tight." Thus brings today's subject: Mondegreens. What lyrics have you misheard? A few of my own: American Girl Misheard Lyric: Microwaves crashing on the beach. (This one was obvious. The sheer absurdity of flaming microwave ovens crashing down like meteors made that obvious.) You Wreck Me Misheard Lyric: Erect me, baby! (Another rather obvious one...) A One Story Town Misheard Lyric: The spaceship comes down. (Well, it's slightly less absurd than microwave showers?) Stop Draggin' My Heart Around Misheard Lyric: You could never lick me in the eye. (Whoa! What do you get up to in your free time?) I'll post more later. Hand acting up.
  6. 1 point
    RedfordCowboy

    Songs not on Normal Albums

    Whoa. You almost forget that TP was signed as a solo act for a brief moment with Shelter Records, circa 1975. Mudcrutch is signed in 1974. Record never happens. ------ What if the world saw a Tom Petty solo album in 1975? What would that record look like? I say we'd get to hear the studio recording of Dog on the Run. The whole album has gotta have that bridge feel - somewhere between a Mudcrutch/TPATH sonic thing. Struggling to be cohesive, a hybrid of all the influences and instincts built into an ambitious 25 year old TP thus far. Going off of the above track list, and Mudcrutch set lists for clues, I imagine something like this....(see attached). Unhappy with being a "solo artist", and Tom being the stubborn guy he is, goes back to the label (who is starting to have their doubts about him), and tells them his next effort HAS TO BE A BAND EFFORT. ------ Tom Petty and the Heartbreakers first LP is released in 1976.
  7. 1 point
    Eddie_Rebel19

    Songs not on Normal Albums

    Hey all. This is my first post on the forum. I've been looking through the forum and have been looking for a definitive, close-to exhaustive list of Petty originals that don't appear on the normal albums. I threw this one together, which has the name of the song, as well as the album I believe the song was initially recorded for (songs that are unclear or without a specific corresponding album recording session). Please let me know with any additions or critiques so I can add them to this list. Hopefully it will help fans enjoy rarer, more obscure music from throughout his career. (All due credit to the list I found on Reddit's Tom Petty subreddit, the format and information for which I used in part for this list). Links coming soon! Surrender - Tom Petty and the Heartbreakers I Don't Know What to Say to You - You're Gonna Get It! Casa Dega - Damn the Torpedoes It's Rainin' Again - Damn the Torpedoes Nowhere - Damn the Torpedoes Gator on the Lawn - Hard Promises Heartbreakers Beach Party - Long After Dark Keep a Little Soul - Long After Dark Keeping Me Alive - Long After Dark Turning Point - Long After Dark Trailer - Southern Accents Walkin' From the Fire - Southern Accents Make That Connection - Let Me Up (I've Had Enough) Waiting For Tonight - Let Me Up (I've Had Enough) Down the Line - Full Moon Fever Don't Treat Me Like a Stranger - Full Moon Fever Peace in LA - Into the Great Wide Open Lonesome Dave - Wildflowers Girl on LSD - Wildflowers Somewhere Under Heaven - Wildflowers Sweet William - Echo Gainesville - Echo I Don't Belong - Echo The Woods - Highway Companion Home - Highway Companion Around the Roses - Highway Companion Mystery of Love - Mojo Little Girl Blues - Mojo Playing Dumb - Hypnotic Eye Bus to Tampa Bay - Hypnotic Eye Two Men Talking - Hypnotic Eye Songs not recorded for an album Lookin' For Daddy For Real Travelin' Christmas All Over Again Can't Get Her Out Moon Pie Got My Mind Made Up Come on Down to My House God's Gift to Man You Come Through Songs only played live Dog on the Run (live only) Drivin' Down to Georgia (live only) Black Leather Woman (live only) Melinda (live only) Songs that still remain unreleased (and unheard!) Confusion Wheel - Widflowers Something Could Happen - Wildflowers My New Guitar Next Time You See Memphis Reptiles
  8. 1 point
    Hoodoo Man

    Random Thoughts Thread

    Double twist, one of the participants in the polyamorus relationship is the ghost of a pirate... Congratulations TomFest! 35 is a great run in the days of 50% divorce rates.
  9. 1 point
    Shelter

    Songs not on Normal Albums

    Why yes there is. You will find all the 2003 songs premiering in Chicago in this recent post, compiled by atse:
  10. 1 point
  11. 1 point
  12. 1 point
    Shelter

    New TPATH Releases

    1. Wildflowers - All The Rest 2. Southern Accents - "All The Nudes"
  13. 1 point
    Gregory18

    New TPATH Releases

    I'd love to have an official release of the True Confessions Tour with Bob Dylan. Maybe one day in Dylan's Bootleg Series...
  14. 1 point
    But here are some free audience recordings from the Mojo tour. Other tours on the site as well: https://livepetty.com/2010-2/ cheers
  15. 1 point
    I think this is one of the best songs from Mojo, I really enjoy the dream like and soothing quality of the music.
  16. 1 point
    RedfordCowboy

    Greatest Hits Vol. 2

    I must say, Big Blue Sky, that's an awesome list you have there. And I like your idea of choosing only ONE song off each album, hard as that may be. I enjoyed your exercise to much that I'll follow suit. BUT, I'll include a song from Wildflowers. That being said, any song off WF can be and deserves to be on a Greatest Hits compilation, so it doesn't really matter which song you pick in my opinion. All are deserving. WF would easily weigh down any GH2 album. In my teens, It's Good to be King was my favorite track. In my early 20's, it was Time to Move On. In my later 20's, it became Hard On Me. In my 30's, it was Crawling Back to You, tied with Wake Up Time. Now, at this season in life, it's gotta be To Find a Friend. But that song would be too slow to kick off a GH2 album, so I'm choosing to go with an upbeat & optimistic selection. Here goes: 1. A Higher Place 2. Walls 3. Sea of Heartbreak 4. Counting on You 5. Have Love Will Travel 6. Big Weekend 7. Scare Easy 8. It's Good to Be King (live) 9. I Should Have Known It 10. Fault Lines 11. Dreams of Flying 12. Lonesome Dave 13. For Real
  17. 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
  18. 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
  19. 1 point
    Shelter

    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..
  20. 1 point
    nurktwin

    Classic Rock Video of the Day II

    3/25/19 The Who Isle Of Wight Festival 1970
  21. 1 point
    Big Blue Sky

    Darkhorse Radio

    Hi Franferparraga! Oh, what is a fabulous photo of George Harrison (that you're using for your contact image icon). Good choice!!
  22. 1 point
    chimera

    So Mike is in Fleetwood Mac ?

    Okay, one of the things I have thought about is: do I think someone should be out there with some songs and a slideshow and offering us all a moment of: Hey, this was one of the greatest American rock bands ever and let's celebrate their legacy and the man who was their creative fire and their biggest fan...? Absolutely. But do I think it should be Fleetwood Mac? Not necessarily.
  23. 1 point
    here's my 20 live "things..." Too Good To Be True, Luna, You And I Will Meet Again, Finding Out, You Tell Me, Trip To Pirate's Cove, Mystery Of Love, A Thing About You, Surrender, Have Love Will Travel, The Wild One Forever, Echo, Deliver Me, Ankle Deep, Dreamville, Making Some Noise, Think About Me, Restless, Waiting for Tonight, Sins of My Youth Mind you, Something Big was on this list too, as was When The Time Comes... and they DID happen, so.. miracles sometimes.... well..
  24. 1 point
    campbellfan1

    wildfowers deluxe album???

    Pretty sure Leave Virginia Alone will be on the album. Lonesome Dave and Harry Green are up in the air....
  25. 1 point
    ^for us speaking English, here is a translation form Google... TOM PETTY & THE HEARTBREAKERS MOJO - Tour Edition (2 CD set) "With this album I want to show people how the band sounds like when they play for themselves," said Tom Petty declared the album Mojo, the bedrock of the American Rocks Road after his revitalizing affair with Mudcrutch in 2010 brought back together with his Heartbreakers. The result was a typical Tom Petty & The Heartbreakers album, which ranges from rock & roll to country and electrified like acoustic blues, ballads to fast numbers - all recorded while you were standing together in a room, make eye contact and held fun had together. One could also say that under live conditions, because like no other band succeed Tom Petty & The Heartbreakers, to create at their concerts even before a large audience with a familiar and cozy atmosphere that makes the concert-goers to a member of the Heartbreakers-family . In June we will have the rare good fortune too, Tom Petty & The Heartbreakers experience for us to live again when the band will visit on their European tour in some German cities. For this reason, the album Mojo in a Tour Edition, which contains the complete studio recording 12 live recordings that were recorded up to an exception during the U.S. tour in 2010. Most of the songs are from the album Mojo, about Jefferson Jericho Blues, First Flash Of Freedom, The Running Man's Bible, and Goodenough, but there are also classics such as I Will not Back Down, American Girl and Refugee in brilliant live versions of . hear A real treat for Tom Petty fans.
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