Shelter

Since I've been revisiting, and reevaluating, Highway Companion a bit lately - this happens every now and then with me, and for most albums - and since I just yesterday read some insightful remarks over at the "best lyric" thread, about HC being a goldmine of great lyrics, I realized a resurrection of this old thread may be in place. I've come to appreciate HC quite a lot. In a few more ways and places than I used to, that is. Some of my demur in this thread, from a few years back, still stands. Sure. That is, I still don't think Jeff and Tom gave the material the quite optimal treatment for it to really shine in full, to come alive dynamically, organically and so on. I still would have loved to hear some of those songs recorded more "live", perhaps some crunchy guitar more, some Ben magic added, a lot more high harmonies, too. Part of which, of course - and this may go just a bit beyond my personal belief - has to do with Jeff's production style. (To further delve in that discussion, see above). I also still find Saving Grace to be a somewhat strange leading off number, considering the overall context of HC, but I guess I've gotten used to it. I still haven't gotten used to Jack, though. I still think he's a little stinker, who's presence on HC, while the likes of Home was sitting on the shelf, is rather weird.* Other than that, I think that somehow I've started to find more and more amazing details in the album. Not primarily lyrically - since I've known all along what great stories Tom tells on this album, or rather what poetic imagery and moods he creates. It really is smacked full of his best way with words. And "every punchline has your name" too.. Probably one of his best albums that way. Perhaps the best. He's on fire with some of those funny and artful wordings. As for the sound, though, I'm not sure what may be due to remastering (or perhaps even some remixing, that hasn't been made official, though, but I doubt it) but, just as I have commented on with regards to Echo, I seem to hear a few more things in the mix these days. There are somehow "new" qualities to the sound itself. Not that I'm as thrilled over the production as I am over the lyrics or some of the compositions, but the whole audio experience actually HAS come a bit to life for me, it HAS become a tad bit less flat, claustrophobic, thick.. or whatever the word might be - which goes some ways to balance some of my previous "sonic critique" of this album. For example, what really stands out for me these days, is the tasteful, yet extremely intense little guitar solo in Down South (starting at about 1.55 min, I never quite appreicated that sound enough, if I even heard it properly.. even if this song has been one of my all-time favorites since day one.) Also, the harmonies on the Big Weekend chorus.. Have they really sounded that full and awesome, all the time? I guess I owe Jeff one, for that. Also, not news exactly, but worth mentioning, is that while I have my doubts about how the album is being kicked off, it really ends on a high note. The Ankle Deep/Golden Rose back to back ending, is really among the best ever in the history of Tom Petty albums. Not only are they really good compositions, with such a wealth of evocative lyrics and soaked in these very intense stories and atmosphere.. perfect to sail out on - my only sorrow being how Golden Rose is faded out at the 4.30 min mark, instead of just going on.. for at least some two or three more minutes - there is something almost spooky in the sound here too, something that has been intensified with me lately - as if they worked a little extra to make the Golden Rose soundscape extra full and dynamic, at the same time as the slightly claustrophobic-yet-grandious Jeff qualities of it all is exactly what strenghten the thrill even more. There's a rift there somewhere, and it may be among the best stuff Jeff ever did. It's as if the whole experience enters dream mode, the driver finally falling asleep behind the wheel and in the split second before he drives over a cliff, or crashes into oblivion... these mad dreams play out in his head.. It's just fantastic! Sidenote: I wonder if the thought ever occured to.. well.. anyone... that Flirting With Time would be the perfect Roger McGuinn single. Right? Right!! Still could be. To me, there's something about that whole song that is very Back From Rio in quality and atmosphere. There's even that famous McGuinn RIC sounding guitar there (at about 1:42 min) to prove my point. FWT is not even among my favorites of Tom's, mind you, or even of this album. The verse is fantastic, by all means, but the chorus, somehow, being it vibe or structure I don't quite know, isn't the best match for Tom, as I see it, it losing in gravity somehow. It got some Wilbury element to it as well.. but I guess that is just what we can call the "Jeff-chakra" shining through, the way it so often does. But still.. it was enough to make me realize who could take this song some place... Roger! Roger that. ----- *To put Home in Jack's place would - as I see it - have been a clever move in many dimensions. One, it's a better song, both in terms of composition and in terms of the production dynamics. Two, it would help increase the energy level of the album a little. Three, the energy balance of the album would be better, in that Home would indirectly make Saving Grace a lot better opening song, the flow and dynamic of the album a lot more in line with the ride that SG seem to promise the listener.

I like how he spends these clips dropping more or less obvious TPATH references and shamelessly promoting the Knobs, instead of even a single mention of the Mac.. I guess he knows his audience well! 😄

Do I sense a big rock candy mountain coming..?

Why can't it be a dessert island... I'm hungry...

Very true! And I agree to most other things said too..

just ran across this old classic:

And this again.. just HAS to be up and running. Legend!

Some of these links are dying.. Here's another sample from 2000. Awesome, right?!

"Sailed a dry river over the falls"

Good for you, man. I usually have an ear for what's 12-string and what's 6, in music, but in this case I do neither hear it nor see the need for a 12 in this song, but I guess they fooled me on this one. (What do I know anyway, right). That's part the reason I asked..since I know Roger's is a 12string.. and I thought this looked the same, but I was thinking "why".. The difference between 370 and 360 I was not aware of though, must say, so thanks you guys for info! My own handful guitars, are so few and humble in comparison, they are mostly kindling with strings really.. and they haven't come with much statistic, historic or technical know how.. or playing skills But I won't complain, I manage.. Again, thanks Nurk, Tomfest, for always sharing good stuff on guitars! An inspiration.

Ok, thanks! I couldn't quite make it out from the blur.. I thought indeed it looked like a Ric 360 (I have one myself, if Fireglow), but for some reason I thought it looked like a 12 string there somehow.. although I don't know why he would use one for this song.. Thanks for insight!

Interesting dimension.. this is what I'm talking about! And speaking of those perhaps less obvious characters, the supporting actors, as it were, in these little scenarios we all love to get ourselves lost in from time to time, who is that friend in Mendocino (Trip to Pirate's Cove) and what harvest are we talking about... Is there some manual labor in sight, or is it a trip inside a trip, so to speak.. new adventures, so far unspoken..

I'm not sure what "lot of these threads" that may be, exactly. I too do find certain foul language and offensive personal attacks to be uncalled for, though, when discussing various aspects of our passions in music. I don't see how much can come from such, or how it helps a creative and fun environment. So, let's behave and be respectful. That said, if "Hallelujah!" is the only allowed attitude, only affirmation is acceptable, there's nothing much to discuss anymore, anyway, so.. And once the discussion stops, out I go...

Something for all you Grace junkies out there... (btw is that the McGuinn edition Ric that he is strumming there?)

What about those "friends".. living in "a brick house, painted white and brown.." Is that gonna be sufficient description to find the place.. to "track em down"? And who are these people? What town are we in, anyway.. what will the weekend bring? Just me who smell more than a joyful bar run with some old friends here..?

Great, thank you!

All these characters, so fascinating to me. The wealth of enigma, the layers and dimensions of story telling in those songs. What's told and what is merely hinted at.. I guess there are too many to mention, but a few that always really struck a deep chord with me.. sent me on wild inner journeys, are Maggie (how's that tornado shaping up, Maggie?) and Lazy Jim (where's he headed, other than just away, and what's in that bottle.. in that note he tried to write..?) Then of course there's Speedball (wonder whatever Big he's working on and where he's at now, unless in a ditch somewhere?) and the mysterious Melinda (is she really the same woman that keeps a 3D Jesus in a picture frame? Isn't the Red River a wonderful way to get out of Clay County, or have I read too much Mark Twain again..?) Now, what are some of your favourite characters from all the stories Tom gave us?

^ Funny. Still not making me happy, though. Some bands, just regardless of how good some of their songs might be, does not know zip about a concept like karma. Or integrity. But at the end, it reminds me of what Tom used to say about it being what we, the audience, put up with, what we accept, that sets the standard... Very true. That is part of the circle, for sure. Then it just takes some real authentic bastards to set out and find just where the limits are and how much they can get away with. A dimension not to be forgotten. Ironically, it's simultaneuosly the desperate, obsessed, passionate and often dirt poor collector fans (Kiss) and the apathetic, lethargic, or perhaps just nostalgic, often rich enough suits (Eagles, Fleetwood.. sorry) that drive some acts into pure cynical factories.

WHAT??!! ok then

Sounds kinda like a lost last verse to Trip To Pirate's Cove.. what a trip that was.. I'd go (or stay) with Straight Into Darkness, though

Haha.. yeah.. wow. Something like that, yeah. I had my first lap top, big as a suitcase.. and listening to STO more or less daily.. However, at the time I was still ordering my rare records and live tapes from analogue printed/xeroxed paper record lists that was sent to me from collectors in the UK.

..ruled?

Ouch. Despite not really being news in any deeper sense, I am still kinda surprised by this. Or rather, I'm surprised to find, in what surely is the same old devious bucket of.. obsequiousness (w?) with FM, that Lindsey's case probably has some merit. That is, I think he might be "right". That's the feeling I get. What's sad with this - other than making dear old Stevie look every bit the evil caricature, that some long since made her - is that Mike is now caught up in this mess too. I wonder how his contract looks, if he is free to leave after the tour, or if Stevie/FM now own his *ss? I wonder if he entered this enterprise on his own whim and from Stevie's persuation campaign only, or if he consulted Tony or someone with regards to the fine prints. Yeah, you know,I really feel bad for this generation of ageing old rock stars, must say. In these modern times, when record deals and sales hardly pay their rent no more, and they only earn "US$12 million to $14 million" per tour. What an outrage. Is that all we can do for these wonderful people to be able to live off their art? Really? No wonder they are forced to work so hard and tour so much. Sucks to be them. We should all be asamed of ourselves for allowing this to happen.

😁 I see where you're going with that.. 30 years ago was 1988.. And I obviously meant 20 years ago.. or to be exact 22.. 1996 it was, when I started haunting TP fans online.. Not that it matter much, but a guy with my math skills was not aware of ICR in 1988, let alone taking part in it.. Thanks for putting that straight.

Nice, thanks for sharing! As always.. Ben is the man! And, somewhat more surprisingly! 30 years after I first tracked down an online community - through winding roads of nameless forums and crummy looking chat rooms, the Vox Lounge, the official bbs, the HCC and this pretty place - in search of an answer as to why TPATH never toured Europe no more, here comes the answer, just like that: It was Elvis' fault! Elvis, goddamit! Of all the more or less insane explanations I was fed by people back then, in all those twilight years, before I had to move to CA myself for my TP fix, Elvis was never mentioned! No one ever thought of the King! Maybe because to most of us, maybe Elvis was King, but Petty ruled?