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Shelter

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Shelter last won the day on April 19

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    "It's still holy to me"

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  1. Shelter

    She's The One: a forgotten classic

    Again, we derailed a perfectly good topic. At least a little.. And while we're at it, speaking of Highway Companion being so "low key", it's sound not "contemporary". When I think some more about that, track by track faced with Full Moon Fever, I find it deeply fascinating how just two or three less upbeat songs (mellower in tone and lyrics) makes such a huge impact on the vibe. Each album has a Yer So Bad, an Alright For Now and a Face in The Crowd. Perhaps each can be said to have a Flirting With Time and a Saving Grace too. Sure enough, FMF doesnt have anything much as depressing as Damaged by Love, and HC never comes close to rocking out a la Runnin' Down a Dream. And I guess that is where it's at. Still.. there is more similarities than one may think. Yet such totally different albums. Of course.
  2. Shelter

    She's The One: a forgotten classic

    I dabble in certainties. Question is, would it go in the Tom, the Neil or the Madonna encyclopedia, though? Or in the "Growing old for dummies" I thought you may say that... I was, however, aiming for a broader, less specific picture. I didn't want to imply that Tom went back for his 1989 air, after what may have been precieved as the failure of a rock opera. (Weird, considering that it wasn't really neither a failure or a rock opera.) I merely meant that he didn't seem sufficiently pleased with the gains - commercially and mentally - of "troubled" and "topical" releases like Echo and Last DJ, for him to keep digging deeper, initiating more daring and artistic statements and side projects ahead. He may not have been as eager to a mild chaos, as seem Neil to be, I suspect. Addiction, divorce, turmoil, odd soundtrack, abuse, facing off with the moral decay of this world - it was all a plunge as I see it, a plunge that some artists would use to catalyse their best work - but for most parts Tom didn't particularly like them waters. But I'm not saying he went back to a sunny personality. Or that his personality ever was that sunny to begin with. And I'm not suggesting that he was about to motivate his doings commercially. He was certainly not about trying to maintain or reconstruct anything that would restore any hype of the past. He never worked that way, so why start now. But he wasn't, on the other hand, about to give his mainstream audience too much of a let down either, the way Neil (and guys like Bob) sometimes does. All in all, once he was over that "middle age bump" or whatever we want to call the post Wide Open era of 89-95, he was gonna be quite busy, quite adroit, true to his muse and his legacy alike. He seemed to have had some of his ya-yas out, going a little "crazy" marketwise, with the Mudcrutch project, but in terms wider scope, within the frames of TPATH he didn't try anything as bold as STO, Echo or LDJ ever again. On the contrary, from then on every album always seemed to look back at something, marketed with a rearview mirror hype tag on them, legacy suddenly as important as the here and now and moving on. And live. TPATH slowly made sure that what mattered was the monoliths, rather than anything that could confuse or irritate anyone: Anything that could generate an image too complex and to changing to keep in focus, anything that may imply work in progess really had to go. That is Tom. That is not Neil. In short, I think the deep personal troubles of the late 90s, with the bad reviews and reactions to his new baby DJ on top, could all be quite discomforting for someone more used to being a successful, easy going rock legend, with a good smile and a saving grace, than a troubled, problematic, let alone ageing, artist with a mission, or a spirit free enough to scare off the buying power. A certain amount of comfort, mentally, may sit well with a desire for perfection, who knows? I just think Tom may have found a good middle road mojo in his life in the mid 2000s, a flow that were essentially his, that suited him better than a gamble on either slowly becoming a praised maverick genius OR an all forgotten man, ever would. His version of growing old with dignity was an arguably more mellow and safe, than Neil's, is all I'm saying. Basically, unlike Neil, I think Tom always kept an eye on the radar, to make sure that he didn't fall off, to make sure that he was giving people at least a fair amount of the Tom Petty they wanted. Neil, on the other hand, to a large extent, stayed on the radar simply BECAUSE he didn't care, by just pushing on, relentlessly. So it goes, there may be similarities, but I felt the urge here to stress some of the aspect that makes comparison difficult, is all.
  3. There are quite a few. I almost lost a wheel not far from Santa Cruz once. Even if it got fixed before it all turned into a "trip", I suppose that counts.
  4. Shelter

    She's The One: a forgotten classic

    Very true! Like has been suggested, if it wasn't for the minor instrumentals and the double takes of Angel Dream and Walls (also perhaps the somewhat unusual presence of no less than two covers... and of course the sleeve), not much would suggest that this isn't just another stellar studio album by TPATH. In fact, if you cut the double takes and the instrumentals out, STO still runs like a perfectly normal and really great album of 11 songs. All the parts are in there. And for once with these overloaded albums - the plentiful existence of filler can be explained. Yes! Interesting dimension, this. At least it can be argued that Tom was on his way of becoming a Neil, there for awhile. It could also be argued that he couldn't quite take the heat, though, of all that being a obnoxious loner with ideas really implies. Before his toes barely hit the water of doing things fully his own way, he was going back to Jeff Lynne, going for straighter, slicker productions, playing safer and safer live sets to focus his performances on taking really good care of his casual main stream mass audience, in a way Neil would never have given a flying *&% to do, ever. I mean, comparison is really difficult and complex and bound to be unfair to both of them. Neil always was more prolific. And, a lot less of a perfectionist, Neil is too! and perhaps also more "difficult" than Tom ever was. Though Tom was known to be "difficult" too and fought some heroic moral struggles early on, with age a lot of all that became more about words. Tom was a super great, loveable and cool guy, playing the game as it is, for most parts, whereas Neil always been more wayward, willful, positively a jerk at times, acting rather than talking his version of morals, inside a million projects. In many ways Tom became a Neil Light, sure, and in some ways he was also more professional and he sure produced a lot less clunkers too. But in terms of mellowing out from the pop chart hype and mainstream success that they both had for periods of time, into older more mature men with less of a hit focus (at least to their records).. more craftsmen and artists that is, than products played by labels, trying to stay new and fresh.... sure, that's the route most longevity stars - save perhaps Madonna - take when they get older. There's few things more pathetic then 50+ yo acts pretending they are 19, trying to appeal to the kids. Either way, I always thought of Greendale as being the The Last DJ of the Neil universe. One of the most underrated albums of all time, that. And quite a charming film too. As it came out in 2003, it's not impossible that Neil found some inspiration from Tom on that one.
  5. Shelter

    MIKE CAMPBELL

    Right! I wonder if Snoop ever called? 🐶
  6. Shelter

    Five Lettered Word Game

    Destination reveals itself, poor suckers. SPIKE
  7. Shelter

    Fooled Again

    You're not??
  8. Shelter

    TomPetty.com on the Wayback Machine (image-heavy!)

    Nah, they just went for two Toms. Understandable since two is twice as fun as one.
  9. Shelter

    TomPetty.com on the Wayback Machine (image-heavy!)

    Ah, the Vox lounge...! Those really were the days. Thanks for that trip down memory lane!
  10. Shelter

    Random Thoughts Thread

    B double-E double-R U N
  11. Shelter

    Words on Damn the Torpedoes

    I'm not sure 'weakest' is the right word for it. Try 'masterpiece'!
  12. Shelter

    She's The One: a forgotten classic

    Zero.. The ultimate bluegrass tune.
  13. Ok, so.. I've had enough.. Moving on! Back to topic! Over a dozen Let My Up related posts later, that discussion was redirected to a better suited thread (see former post). And I just realized I haven't even contributed a full list to this thread yet. Partly because I find the task impossible and somewhat silly, surely. But also partly because I done it a long time ago. Turned out I didn't. And why not give it a go? Right. Leaving Mudcrutch, Wilburys and live albums out, here goes: No.. I can't do it. How about this, grading.. where 10 is best possible grade? 10: Long After Dark, Hard Promises, You're Gonna Get It 9: TPATH, Wildflowers, Into The Great Wide Open, Full Moon Fever, Highway Companion 8. Damn The Torpedoes 7: She's The One, Hypnotic Eye, The Last DJ 6. Southern Accents, Let Me Up (I've Had Enough) 5. Echo, Mojo In other words, not a really bad apple in the basket. I used to grade some of the albums differently, but these things change over time. I suppose what has come with age, in my case, is listening to the small things differntly, paying a bit more attention to production details, also appreciating some of the writing aspects differently, as in appreciating songs not only for what they are, but for they may have been, and how they work in context. Things like that. Not that I was ever a sloppy listener, but still.. Of course it's also a matter of slowly getting a better understanding of each albums context. And how stuff age, how sometimes new things reveal themselves after a hundred spins, while other times not. That type of "potential", shall we say, also inform my grading more these days, than they did five or ten or 20 years ago. IOW, it's really hard to rank these albums for me, as I generally love this band and what they bring, individually and as a group, with their incredible skills and vibes. But I'd say that there is two main perks or problems at play for me: It's the production aspect and it's the amount of what I find to be filler. In short, too much production issues will make a grade 10 or 9 impossible. Just as too much filler will sink an otherwise great sounding album, of course. And, just for fun I'll grade the sleeves and packaging too: 10: Wildflowers, Into The Great Wide Open, Southern Accents, You're Gonna Get It 8. Full Moon Fever, TPATH, Damn The Torpedoes, The Last DJ, Hard Promises 5: Hard Promises (UK), Long After Dark, Echo, Mojo 3: Let Me Up (I've Had Enough), She's The One, Hypnotic Eye 1: Highway Companion
  14. Shelter

    Fooled Again

    Yep, I agree. Love it! Also, very good and intense live song.
  15. Shelter

    Random Thoughts Thread

    That.. makes it difficult, no doubt.. Right. Just that these two are from roughly the same period too. Still, they are not identical, mind you. Just strangely similar.
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