NightDriver

A great rock track, very much Zep in there. Again, Mike and his guitar are the protagonists on this one. Tom's vocals are just perfect. The breaks and the change in tempo near the end are making this a very entertaining piece of music. If I remember correctly, this one and "Good Enough" were recorded very late in the process of making Mojo. Maybe the record company demanded a real rocker to have a radio single?

I think he should have said "puffy nips" rather than "honey lips"...LOL! Enough of that. I love Mike's lap steel work, but this is lyric-wise the weakest song on the album. Like Marion said before, I don't buy it.

Pretty groovy and a time machine really. This song takes me to a late 1950s rural America when Cadillac Eldorados were on the street, "Coke" was still "Coca Cola" and you didn't drink your beverage from fancy glassware or a plastic cup but a mere fruit jar, while sitting on your front porch looking out on the dusty road... I feel comfortable in this song!

^Absolutely and very well put. I always stumble across the drug reference in this song (suits the Doors-y style, too): - We were flying close to heaven, Everything was starting to glow - Rollin’ cause we had to roll - I got a friend in Mendocino and it’s gettin’ close to harvest time That probably explains why this road trip is unclear, uncomfortable and dis"joint"ed...

I absolutely love this one, it reminds me very much of "Night Driver" on Highway Companion - musically and lyric-wise. There are some overdubs on that song, and they fit very well. I just love the echo that's repeating Tom's words during the verses.

This was the only tour I was able to catch - and their last European tour, too. I was mildly irritated when the psychedelic dragon came around in Frankfurt, but it was one great moment when Tom opened the treasure chest, the gleaming light came out and he put on the top hat for "Don't Come Around Here No More". The irritation came back around the end of the song, though, when the rubber-masked nerds in suits were all over the stage...wonder who these people were - probably the road crew?

I'm So Lonesome I Could Cry - Hank Williams

Great job, Marcia! The hands are very impressive again, like in the Dylan-harp-player painting.

This one took me some time to really get into it. When I first heard it on the Buried Treasure show, I wasn't too euphoric, but it has grown on me. I like the groove, the lyrics are perfect and the sound of the lead vocal (was it taped with a different mic or did it go through a voice processor?) fits perfectly - clean and dry. Favorite line: And I see with the eyes of somethin’ wounded Somethin’ still standing after the storm

Cry To Be Found - Del Amitri

An absolutely great track - very rich in variety. Allmann Brothers meet the Doors. It feels good to listen to it. First time I heard it was on my futuristic walkman (they call it mp3 player these days...), I was walking down the street, it was warm, the sun was shining. I'll never forget that feeling. "Smoke 'em if you got 'em!"

Kewl!

Jealousy Unleashes Mildly Painful Stomachache TULIP

homework

- mow the lawn - drink a beer to recompense myself for mowing the lawn - watch the first FIFA World Cup semi final

eruption

I agree, in the stereo mix, the harmonica tends to be annoying...but when you listen to the 5.1 Mix, the harmonica isn't that loud anymore. I also think it's a really good opener. The lyrics are intriguing indeed. Maybe the relationship between black and white Tom sings about is just a metaphor for what's going on this album - a well-to-do white man playing the poor man's music. On the other hand...maybe it's just a song about TJ and his love life...

Little Girl Blues - TPATH

Don't You Want Me - Human League

Sorry I missed this! Happy belated birthday, dreamgirl!

Have a good one, nurk! Here's to you!

That's what I thought when I read it... Maybe she just felt that ist was misplaced on the album - position-wise....I still think it isn't a last song, should have bee placed in the first half of the album, probably after "Candy"...

Walk Away Renée - The Four Tops

By Lynne Margolis on June 23rd, 2010 TOM PETTY AND THE HEARTBREAKERS Mojo (REPRISE) Rating: **** When Tom Petty & the Heartbreakers made The Last DJ, their last “official” Heartbreakers album, in 2002, Petty was mad: the state of the music industry—and plenty of other issues—had him downright pissed off. But on Mojo, he’s not out to wag a sharply accusing finger or make biting political statements (aside from the obligatory “legalize it” message of the reggae-fied “Don’t Pull Me Over”). This time, it’s about reconnecting with, well, the mojo—the thing that made this band such a joy in the first place. It’s about playing great music. Specifically, great jazz-blues music. Petty said when he was recording the album that it had a very Allmans-y sound, and he wasn’t kidding. It’s full of the gliding chords that drove those early-era Allman Brothers Band jams, when Duane and Gregg would hit their Les Paul-and-Hammond sweet spots and the rest of the band would fall right in. In fact, we could re-label the Heartbreakers the Tom Petty Blues Band and not be out of line. We could also re-label them the Mike Campbell Blues Band; Mojo owes as much to Campbell’s brilliance as his boss’s. Though Petty plays lead on one of the most obviously Allmans-influenced tunes, “Running Man’s Bible,” Campbell’s lovely glissandos rule the equally Allmans-ish “First Flash of Freedom,” and much of the rest of the album. His Rickenbacker lap steel work on the ballad “No Reason to Cry” is simply gorgeous. Of course, Benmont Tench contributes his share on keyboards, providing occasional Steely Dan inflections to the proceedings. It’s hard to pick a better pair of ‘70s influences than that Georgia outfit and those Bard College alums, especially if your intent is to step out of your roots-rock/pop comfort zone and back into the sauntering instrumental interludes that gave “Breakdown” its charm. Petty and his pals come out cookin’ on the very first track, “Jefferson Jericho Blues,” which nails our third president for consorting with his slaves. Scott Thurston’s harmonica applies additional heat under the burner. Petty tosses off some brilliant turns of phrase in the slightly sinister “Running Man’s Bible,” which seems to address his nasty relationship with his late father. “I’ve been next in line/I’ve been next to nuthin,” he sings unapologetically. “I took on my father and I’m still walkin’. … I see you with the eyes of somethin’ wounded/Something still standin’ after the storm.” Strong confessions made by someone who survived the pain and fear, but hasn’t quite worked his way through it. The songs that sound most typically Petty-like are “High in the Morning,” featuring another soaring Campbell solo, and “I Should Have Known It,” which spews a little venom and a lot of grit amid Ron Blair’s deep bass notes. “Candy” is a classically structured blues rocker, complete with some chicken pickin’; “Takin’ My Time” harks back to Muddy Waters; and “U.S. 41” makes you wanna stomp your boot heel on the back porch planks to keep time with the harp and slide guitar. “Lover’s Touch” is sexy and slinky, with bayou moss hanging all over it. There’s something enticing about it, like most of this album. The only questionable track is the last one, “Good Enough,” which is a big song, with a bombastic stadium-rock guitar solo and a bloated feel that just seems unnecessary, especially in this context. This band has been there, done that. The direction they’ve taken on the rest of the album is so cool, there’s no reason to toss another bone to arena fans. They can pull out those great blasts from their very fine past when they step onstage; they don’t need to clutter an album with new attempts to swing for the back seats. Any true Petty fan would get the mojo behind Mojo immediately, anyway. And love this band even more for finding such a sweet new groove. Source: http://www.americansongwriter.com/2010/06/tom-petty-and-the-heartbreakers-mojo/

Got My Mind Set On You - George Harrison