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Shelter

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Shelter last won the day on January 29

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  1. You Wreck Me, was it a hit? And other questions.

    ^ Great post! Good thinking, good writing.
  2. You Wreck Me, was it a hit? And other questions.

    ^ Yes, really. Again. They live played it into being a full blown classic.
  3. Perhaps a strange question, but suddenly I need to know (pun).. Most parts of the Tom and The Heartbreakers' map are familiar at this point. But sometimes there are uncertainties. Like, was there ever a promo video made for Even The Losers. Older fans may recall how such a video was hinted at, listed but mock-withdrawn (good word, that) or whatever in the video collection A Bunch of Videos and Some Other Stuff. Now, given that the song in itself definitely is/was a borderline big hit, even made a single in some countries, I suppose that at least an after-the-fact type video ( like say American Girl) is imaginable. It just hit me that I think I've seen it all, and yet I have never seen a video for this song. Or have I?
  4. Neil Young FREE recordings

    And now the vaults are open... dare I say.. goldmine!! Fantastic stuff, sounds fantastic! https://www.neilyoungarchives.com/?eml=2018February21/4257682/6010961&etsubid=34067065#/?_k=ox4zci
  5. You Wreck Me, was it a hit? And other questions.

    It's "Wreck", plain and simple. Moreover. If no other lyrics were changed, it's extremely obvious to me how much better the words "you wreck me", works with the counter line "you break me..." , that I even find it utterly hard to believe that Tom ever wrote "you rock me". It's simply suppar, given the context. Oh, well, I suppose we can all have bad days, but if that is actually what he originally wrote, I am glad that it was put straight. Like mentioned, minor detail, huge difference. On the other hand - and here I really speculate - with regards to recording the song, I suppose such a phonetic difference as "ock" vs "eck" can perhaps be tweaked in mixing. But again, I really think though, that the simplest and least exciting explanation - as always - is likely what happened in this case. That is, Tom brought the song in an consensus had it that it was a good song, but that it had to be "Wreck", so that's then how it was finally cut. Everything else feels like elements of myth, to me.
  6. Yeah, surely intimidating to have your words tested on the eyes and ears of one of the giants. Simon definitely made some of the important tunes to the soundtrack of my life. (Or to quote TomFest in a neighboring thread, "I am totally smitten with the little man.") That said, I can't think of when he penned a great one, last, himself...? 1986, was it.. or to be really hard on him.. 1975? Nevertheless.. Paul Simon is Paul Simon.
  7. A new family member

    Congrats!
  8. New Tom Petty book

    Me too. This type of book is rarely a great read in terms of literature. (There's a reason plumbers do plumbing and writers do writing, so to speak... Not all lines of work is for anyone. Literature perhaps least of all actually. But part of what makes books - and art in general, much unlike plumbing, one might say - really good and functional, is the experiences and stories of its' maker.) That is, the facts and information shared can be interesting enough to carry a book nicely. That said, no one heard of Shakespeare either, before he wrote his books... and I guess in spite of some odds... I'd give this guy the benefit of a doubt, for now.
  9. ^ Ok, now I'm curious...
  10. Chris Hillman Album (Produced by TP)

    Bringing this thread back, briefly. To say that this album have kept growing on me. Really fantastic stuff, sounds so good! Here's a recently published live clip: http://www.uncut.co.uk/news/watch-chris-hillman-perform-tom-pettys-wildflowers-103426
  11. Random Thoughts Thread

    Why does a 19 year old buy a gun? Is it because he is not old enough to buy a beer?
  12. You Wreck Me, was it a hit? And other questions.

    ^ Good point. Same here. Nevertheless, I for one find a song's general popularity (or unpopularity) interesting. Certainly the dimension of how a song can gain (or miss out on) classic status from the amount of live play it gets.
  13. You Wreck Me, was it a hit? And other questions.

    Interesting. I did not remember this. It's settled then.
  14. ^ Now when all is said, or at least done, I suppose that tour stands out like the very special one for me as well. Not only cause it was the first, but cause after many others and plenty of reference, it seem like one of the best and most special in many way. It was at that very special point in life when their career were commercially and artistically peaking and they were "experienced but still hungry" in terms of age. Golden years in many ways. Short of the silly dream to have been old enough and able to be there and see them back around 76 or 77 or at the early days of real stardom in 82 (when they really kicked *ss, in my book), the Great Wide Open Tour must have been the best and ultimate time to see them, as far as the first few decades go. For sure. In some ways that really was the top of the mountain. Although, in terms of sound, probably as much due to tech development as to performance perfection and a more mature.. temper.. I still think they never sounded better, grittier, heavier, more dynamic and crips than they did in the last few tours. Especially the 2013-2014 tours stands out, but really ever since Mojo days, they hit a new level of live perfection in the sound balance, to me. On the good side, the recidencies at Fonda and Beacon falls within that frame neatly! On the less good side, the rest of the set approach in this period was for the most part less impressive. So much of what had been played in the past, and even more of what had never had been played ever, really, really deserved a touch of that genius mature sound that they had in the last years of playing live. Too bad, I say. But it is what it is now.
  15. You Wreck Me, was it a hit? And other questions.

    Ok, I bite. Somewhat tricky questions, but I pitch in. First. YWM was the 2nd single off Wildflowers (itself very much an album-album). As far as I can remember, it got at least some moderate attention. So, I suppose it was a hit of sorts, right there. Perhaps not as big as it "should" have been, if you ask me (and you kinda did). At least over here, it seems a nobrainer that this is the radio friendly driving song that could've and would've filled the gap between Mary Jane's Last Dance and Walls, in those early dying days of the physical single. But instead - voila - You Don't Know How It Feels called shutgun and put YWM in the back. Even the title track - Wildflowers - that wasn't even a single, seemed to get more attention early on. (But this may have been imagination on my part - I seem to recall that YWM did alright over the radio over in UK at least.) Second. All of the above may seem weird. At least to me it really seem like YWM should have been the first single and really is the certified hit from the era. But, I think the slight mind game at work here is how Tom himself (and by all means, his audience) quickly realised that YWM, in his own mind, was a hit and within a few tours he made it his mission to make it so. Simply put: it worked. And we all know what that meant to Tom. (Note: YWM was actually one of the last songs to make it into the fixated core of Tom's display cabinet. Later career "hits" - Walls, Room At The Top, The Last DJ, Saving Grave - have come and went over decades, tours and shows, but not until Mojo's I Should've Known It was there another one that was made more or less permanent. I think that's important. Many of the other songs mentioned, and then some, would probably have felt like bigger or more succesful singles, had they been worn out in the live set the same way YWM has.) Somewhat simplified, perhaps, but I think this helps to explain why it feels like such a hit today, despite the fact that singles sales, radio play or popularity outside of the TPATH fanbase, back in the day may be less than spectacular. Fact it: it was a single and it was made a huge live staple. YDKHIF was arguebly the bigger hit back then (althought to me that song basically is just one big middle finger in the direction of Stan Lynch), both of them were played frequently for the longest time and were taken to heart by the audience. But I would say that YWM, probably wins the long haul - it seems real big from here and now - due to extra persitense in sheer amount of performances (I suppose both YDKHIF and YWM is in that rigid top twelve of most ever played songs - with quite a huge gap down to nr 13 - but that YWM is the most played by far. All of the other songs up there are huge single and radio hits, btw). The song also shows some nice punch and energy, like you noted, in the song structure. It's a fun song that can be hard to ignore the first few hundred times you hear it. This "live classic" aspect of the song may also go to show why, in my mind, YWM seem to be at the end of the album, the way it so often been at the end of the show, while in reality, it's really in the begninning of the disc. Either way, I have had a tendency to think the song somewhat overrated. I loved it when it was fresh out of the sleeve. I also love those first live takes of it. Then, while the song got cemented in the shallow end easy pleasers, so to speak, I kinda lost interest and thought it didn't quite amounted to much special for many years. Until last year - you are right - to me, last year's version is arguebly very good, not only is it perhaps the best "reading" of the song that we got, it also was one of the best, sharpest and interesting moments in last year's set.
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