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Everything posted by Shelter

  1. Haha.. right. I was thinking along similar lines myself about some of that "reporting". Still, though.. in all fairness, you really think anyone could do better than DT himself in laying bare his bottomless unfitness? I mean, all things Trump himself claims to be a master genius at put aside, when it just comes to openly, even proudly, being dangerously immature and incompetent, he's in a league of his very stable own. No one could ever touch those embarrassing hights of documented silly, and likely no one ever will.. Once he's trampled all rules and moral standards and officially made himself emperor-in-the-nude, he sure 'won't back down'. So, at least for once, I guess I see his rationale in this here issue. But, that stupid "article" aside.. I come to realize that the TP estate's own press release, as I understand it, was being quite outspoken in their judgement, even without any alledged "Marxist" evil journalist to put words in their mouths. I think, for the first time in quite a while, the estate did alright on this one. (Maybe they figured that being lumped in with "Marxists" - no matter how misleading and absurd an invective in this case - is at least better than the raging mad alternative on the podium. Kinda like when "bad" in certain contexts means "good". )
  2. I'm sure you're right. As for early days, there is this fantastic recording of Babe I'm Gonna Leave You from Danish Radio (television?) '69. Later masterpiece.. hm.. Kashmir, Knebworth '79. Somewhere in between those I really have a soft spot for Going to California, circa 1975... Earls Court version? These can all be found on the u-toob for your viewing and listening pleasure, I believe.
  3. Exactly. Still, it is a bit interesting how Mike labels it DK. Even insists on as much when interviewed - despite their conspicous absence on the track. (Supposedly they would all have played on it if it wasn't for corona? But then again....) There is something heartwarming about it. Reminicent of FMF days, and how certain Heartbreakers felt left out then - how that record was destined to be credited sans Heartbreakers - despite the scattered presence of most Heartbreakers, FMF wasn't really a Heartbreakers record, admitedly, but still - it's at least mildly amusing to me that MC now take the complete oposite route by releasing a DK title where he plays everything himself. Did the others even have a say..
  4. Haha! Ok guys.. sorry bout the "won't play" issue. And, despite the "again" part, also for the rehash. All in all, this thread already starts to feel like another attempt in vain, doesn't it.
  5. Very true! Let's hope they will eventually. The narrower, the better, I always say. It's interesting though, that they went with a '14 show, rather than '17.. Supposedly '14 is still contemporary enough not to be vintage, yet a little bit different from the "final tour" that's been the most recent focus with fans. In other words, maybe they tried to offer something not totally obvious with this one, without making it extremely "archival", so to speak.
  6. A great find. Welcome to the Farm! A bit sleepy around here these days - could be a misinterpretation of social distancing, who knows - but a great resource for all things TPATH I hope you will find it.
  7. Another great what-if post, from the mind that brought you the infamous Mindbender. And hey.. that is great thinking! (Hello..? Can I open my eyes now..?) Although TPATH did at least a little bit of leaning that way (with Bridge School, obviously - '88 and '94 most notably - for example) I often thought how nice if Tom did more of the kind on his own, from his own heart and on record. An album like the one you imagine would have been great. It's easy taking the que for such album when hearing that solo Yer So Bad, isn't it. To be fair, though, "American Recordings" even initially - that is before it developed into an arguebly more calculated enterprise and a formula (in part thanks for TPATH, by the way) - was of even looser shape than what you seem to suggest. This can be heard on that first album in the series, and is noticeble from the song selection. That is "play whatever you want" is to be taken quite literally as WHATEVER you want - not only your own songs. Sing us some favorites, please. (Personally I would've dreamed of one or two less obvious songs for acoustic treatment as far as including originals go.. songs I hadn't already heard stripped down to the bones, but that's me, and it's no more anyway.. sadly.) And yeah.. These things ain't certainly something that just happens - let alone ends up on an album. May not be quite as casual as they want us to think. They do involve some script work, some planning, mulitple takes, and such, I'm sure. Even so - a project like "American Recordings", in the hands and voice of TP would have been extremely cool and interesting thing, to me. Glad you pointed at this "place in your mind". Great stuff. Great thinking. Agreed.
  8. Ok, great. I know. How ironic.. Sorry for posting it again then, people. Kinda. Not sure what the quality of saturday's stream will be. They boost it in various places as an "unreleased show", which just made me think it was pro shot. But it definitely may proove to be the same film (+ the charity option). I have no idea. A great show, either way.
  9. https://fans.com/livestream/20200516-tom-petty-and-the-heartbreakers/
  10. Let's try this one again. Amazing quality, sound and vision. Any interest at all?
  11. Yeah, that was something! Sorry I posted it in the wrong thread the other day. Happens.
  12. A great and interesting listen right here, and a good cause in there too. (And finally I got to hear his take on Love Will Tear Us Apart! Man.. how.. Cohen:esque is that.. wonderful.)
  13. You took all that from my comment there? Not bad.. Always glad to see some reading and reflecting going on around here. Most interesting. Something In The Air, you say.. Although I know what I myself meant by "air" and in what context I meant it - something about "air" as a sort of "nothing" seeping in, making things seem more alive and real somehow.. it was all very ethereal, I'm sure - I'm not quite sure I understand where you go with it. So let's see.. At first, I was gonna ask, are you sure you just haven't listened too much to compressed 90s CDs.. haha.. They really suck the "air" out of things sometimes. Then you seem to touch upon that other dimension - what some of us see as two different eras of rhythm section approach. (And I can see how some of that actually does relate to this "air" thing.. possibly.. Since the rhythm section kinda stipulates whatever room and options there is for dynamics in the overall sound, what approach there might be in terms of "air" between the instrument... and maybe this is where your somewhat vague -at least to me, that is- connection to LZ happens? I can feel something here, but I'm not sure what..) Then, finally you mention the live shows. (Implying that this "air" thing is still there on stage specifically on all those older songs - no matter how the songs are played, then supposedly, who plays drums and so on - that it may not be about the sound at all?) So.. I'm a little confused, I must admit. I might need to hear some more thoughts on this, from yourself and others. I'm left with a feeling that you are after something in the songs themselves? As whithin the composition, something written into those early songs but not in the later ones? As of right now, just remember to keep at least a few feet of air between yourself and others.
  14. That is great, thanks for posting!
  15. Well. Change is always difficult. And surely, another way at looking at it would - like you say - be that it was "odd" for him with the new approach, making the return more difficult. But for one thing I really just meant "help" during the initial getting-back-in-the-saddle phase, learning-the-new-stuff phase. He seems to have kept it rather simple to begin with. At least that's how I hear most of it. (It may be imagination.) For another thing, he had been gone a loong time from this gig, and while I don't know this for certain I don't think he played that much professional bass during his absence either. In other words, I think his return was a restart in most ways - it's not that he had to change his ways and find a new approach more or less midstream the way Howie did, (and being part of the process, of course, also has pros and cons.) In more ways than one Ron was starting over, was the perhaps overly obvious point I wanted to make. But yeah.. I am fairly certain that Ron knows these things better than most.. haha.. so.. yeah.. I didn't mean to suggest otherwise. I've seen that interview and I love to hear him (all of them) talk about the music, obviously. But while it's always interesting, they don't always address all the aspect you'd love to hear more about, do they.. they leave some room for speculation, which is fun too.
  16. All the right junk in all the right places! Yeah, there is something to that, I think. I really like the mysterious "air" that seem to loom in those sounds. Of course I love the Iovine era TPATH, but I think perhaps that what most people find to be the big moment, where they really hit it off with the sound on DTT, feels a wee bit.. crammed?.. for my taste sometimes. Although there are many great moments. Don't get me wrong, it's amazing stuff.. just disecting ants here.. To me, I feel a bit more stuff happening in my ears on HP, they seem to have relaxed a little bit and taken the "million-miles-away" method to a slightly more productive and interesting place. These things are obviously complex and hard to pin down, but maybe part of it was that by then they - perhaps especially Stan - had found a better level to work with Iovine, than the catharsis type experience that was DTT sessions, the hundred takes of Refugee and all that. Then, even the much underrated (among the general public) LAD, with it's somewhat darker and at times almost menacing sound, amounts to a type claustrophopia of sorts (I think I mentioned elsewhere), that really ties in well with the material and elevates the whole experience that little extra notch. Not that Ron was ever anything but great through all of it, but it strikes me that perhaps Howie, just entering, happened to have this natural understanding, both for Stan and for what Jimmy wanted. He seems to hit the ground flying.. so to speak. Yeah, very good point with regards to these things! Very good and interesting example of the early interplay. They kinda flounder and pull the thing, in what may seem like opposite directions and, as if by accident (surely not) they land it just perfectly, with that weird feverish energy and that sweet little echo on the vocals. And.. it's not even a good song. Yet it's perfect. What an interesting way to launch a 40 years recording career, really.
  17. ^ Thank you for expanding a bit on all that. Good insight, I think. Since the bass-drum relation is so integral to the groove and overall sound, I'm glad you saw what my post was aimed at. As you probably know, I do agree with your general take on the "drum issue", and to me the bass aspect really goes with it. To an extent I would even suggest that the groove, stemming from a change in drummers - especially a shift of the magnitude that happened here - is even more accentuated in the bass. It's where the tail end of the swagger is destined to live, so to speak. The heart in heartbeat. Interesting observation. And I much agree. Given how much Ron had to learn and re-learn upon his return - new material, new drummer, new arrangements, new Scott too and the new approach to the rhythm section in general - it's no big surprise that he comes across quite differently the second time around. The contrast between what he left and what he came back to, must have been very stark. In all kinds of ways. Still, to live through it, the way Howie did, he didn't have to deal with. In fact, if I may take a wild guess here, maybe the straighter, boom-smack backdrop approach (as I've once called it) was a bit of help for him coming right back into the action, the way he was, even if it may sound slightly less dynamic and interesting in some ways. Either way.. I agree, Ron found (was given?) a bit more room sonically, towards the latter years*. This, in combination with slightly fuller and grittier guitar sounds (and perhaps better sound systems?) made for much heavier and more dynamic live sound in the last few tours, as I view it. To an extent this is all in the fine print, so to speak, but with strenghtened dynamics, some of the real "roll" was certainly back in place towards the end, if in a totally other way than in the Stan and/or Howie era, certainly. I like to think so, yes. Howie was the perfect musical match for TP, as I see it. Not only did their voices blend in a rarely heard fashion of perfect, his very groove seemed to be very much tailor made to fit with TP. Almost uncanny at times, the way he built TP up. Him folding or him being essentially squeezed and shrinked, musically, under the new "regime", is the ultimate chicken or egg, isn't it? I vote egg. I would suggest Howie kept on delivering on a level he felt he was asked to, straight to the end. How much he thrived from it, though, may be another matter entirely. ----- * It should perhaps be said, though, that some of the most interesting and prominent bass work on HE, for example, is really TP. Showing - much like he was with the Re-Mudcrutch - that either Tom didn't quite practiced what he preached with respect to his post-Lynne rhythm ideas, or he just couldn't help himself.. He did deliver some typically mean, lose-yet-driving and ultra cool bass himself, all the way to the end. --> And here, at the very end.. voila.. Yet another door opens: TP's bass in Mudcrutch 2.0.. doesn't it, at least a little bit, contradict the common knowledge we all share about how he tried to get Randall to "heel" his drums, to speak dog (like we tend to do at times around here). What's that all about..? Maybe the two don't go quite hand in hand all the time after all..
  18. Since this thread is, or at least was, about groove, taking its main cue from one of the key players of the rhythm section, namely the drummer, wouldn't it be interesting to ponder another key, namely the bass. You know, it's all about the bass.. (no treble.) This has been touched upon before, in various other discussions. But still there are unexplored aspects in it, I'd say. So, given the rather big shift in the drumming department, and the quite different drum ideals TP implemented gradually, from the Lynne era on*, what do people here make of what all that meant for the bass inside the TPATH sound? How do you all see that side of the rhythm section changing with Steve entering the stage? What do you figure the new approach meant for Howie, how he played and how he came out, musically, before and after? And the Ron 1.0 vs Ron 2.0? Ron did give some clues to some of this in interviews, but what's the insight among Farmers? And Tom himself originally a bass player - and one with very special style and swagger, may I add - what do you make of his early playing with Mudcrutch vs how he played during the reunion years? Just opening some doors here.. Feel free to throw in some stuff. Rumble on! ----- *That I think many of us agree on (if not always on the nature or scope of the effects it supposedly had on various aspects of the TPATH enterprise.)
  19. "Tell them I sent you!" :D Thanks for posting! Don't think I ever seen this before.
  20. You've got a lot of nerve.. like Bob would say. But yeah.. while I too agree with you that this is not exactly rocket science, I appreciate you taking the time and effort with that nice write-up. It really all is DNA, isn't it. In music it's shared by all and channeled by most - and embraced a lot by TP. Simple as that, I suppose. Nothing overly abnormal about it, is there. Well put, thanks.
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