Shelter

Good questions. I do suppose the "screen full of images" doesn't quite help my perspective, does it... As for your items, I'd say that given the right arrangement and enough work, FM could make anything sound good. Please note that I am not one to tell them what to play. That would do as much harm to the idea of them making something fully their own, as does picking Free Fallin' as a steady tour set piece (if that's what they've done). Now, I am sure that they c-o-u-l-d play an ok Free Fallin', even if they didn't this time. What I'm questioning is well beyond that. I don't care what they play. It's why and how they do it, it's about their approach. If they really thought long and hard enough on what may be the the best fit, the most tasteful choice and the best way to go with the fact that Mike is now in the band and that his and Stevie's dear Tom is now gone. Are they sure they didn't just go for the quickest, simplest and most spectacluar drama fix - the standard format of our times, designed to satisfy the apathetic, with screens and all, subtleties not being an issue - that they could think of. I don't know the answer, mind you. It just really rubs me the wrong way and makes me feel very unconfortable seeing and hearing this. And I am really sorry, should someone take offense from me saying so. Seeing Stevie's face there, at the end of the song, facing what I believe is Mike, is what's offensive to me. I always loved her so much, and I know her devotion to Tom (and Mike) is genuine and all... but this was just too much. Sorry to not answer your question with a song list. That's not where I'm at right now... Can't Stop The Sun?

I am sorry, Stevie. What were you thinking? That is just horrible. IMO, not only is neither the song nor the performance anywhere a good fit for FM - this is not even a good idea. Yeah, yeah.. I see where the impulse comes from, the heartfelt thought behind it, the paying tribute and all that yadayada, and if Mike says he's really ok with this, I guess respect that. But at least in my own heart I feel very awkward right now. Perhaps if it was a Stevie solo show, with Mike guesting, it would half work, but, really... This is just wrong. Other than that, I can just refer to my September 18 post, above. It's sadly obvious that no one in the FM camp was inclined to a similar line of thinking, nor to consider a bigger yet honorary picture. If some did, I suppose Stevie would have none of it. She wanted her silly monument, the big ultra commercialized drama statement. So, I suppose that's it for their chance to a have a Tom Petty song made their own, incorporated into their legacy. Too bad. There's no way that's gonna happen with this one, that this will go anywhere beyond this somewhat tacky display. Would this even make it through the whole tour? God, I hope not.

Herbs these days. I don't know. It's the best of thyme, the worst of thyme....

perhaps next time, stay away from apple.

https://eu.usatoday.com/story/life/music/reviews/2018/09/29/new-tom-petty-collection-showcases-american-treasure/1450259002/

So I missed 5? (Or 3, since I didn't count bonus tracks or covers.) Still.. I missed Breakdown

I love space. I went there once. For the most parts, it's nothing. Yet it's so full of good points.

16

Jeeze... I'm sure they wanted the damn thing to sell, though.. don't you think. Very kind of you though, to think of my employment status! I'm pretty sure I did not say that.

Towards whom else would you aim four discs of more or less deep matter? Right! The Rolling Stone review (I think it was) makes a very valid point, though, that, once that very rhetorical question is on the table, towards whom, then, are all those album tracks aimed? If anyone already have those and love those, it's gotta be the "geeks", right? So, I'd say it is a paradox. And taken song by song, I will never quite come to terms with the premisis. I don't like buying the same songs again. I don't particularly like mixing studio and live music. But........ What we are taken on here, is something bigger. The Whole justifies the rehash aspect big time, as it turns out. It's a type of honorary journey, isn't it. Like a grand song in itself. Where the full listening experience iof the whole 63 track run, is made simply to paint a larger, more complex picture, than any normal, tightly held together collection could. This is a living monument of sort, from the family/band to us. And as such, a sprinkle of familiar, yet overlooked album songs, to put the unreleased, the work in progress, the alternative and the live stuff into perspective, is not a bad way to go. Personallly, I would perhaps still have prefered a straight collection of the rare stuff, to keep my vaults clean, so to speak.. (speaking of "geek")*, but I can really see what they try to do here, and I love it more and more - that is show this dynamic and very deep and soulful music man, through a fuller and more diverse prism of his work, all that stuff that was the substantial matter surrounding those worn out hit, everybody knows. By lifting those hits away and sampling the other dimensions - including both released and unreleased - makes for a strange and beatiful ride, must say. A very personal and genuine collection is the result. You hear even the familiar through a new and slightly different angle.

Now for another aspect of the box, trying to stick to the chase here. Some comments on the “alternative takes” I put that within brackets. It seems indeed less than clear, exactly what constitutes a take or a version, at this point. Like Mr Timba has been pointing out, there seem to have been a whole lotta editing and remixing going on here. Many of the basic tracks, vocal tracks and so on, indeed seem to be the same as heard on the old albums. A few extended endings, full length versions (unfaded), some cases of speed correction (that seem to have more or less of the official take under the sleeve), a few occasions or typical remixing (where the familiar take has been stripped of over dub:ed elements or balanced differently between channels to highlight this or that). All of which is totally fine, of course, and the result in general both interesting and fun to listen to, but with the aforementioned lack of technical details for each song, it does feel a bit like a mess. Revisionism, cry one of us. Yeah, well.. there something to that line of criticism. I don’t mind it too much, but I mind being lost with regards to what is what not being specified. In my opinion, it would have been a good idea to separate a bit more firmly between what is an alternative “take” and what is merely an “edit” or a “remix”, with some notes added as to who did what and when to the track other than the musician who played on the recording. That said, I think the remastering that has been done to make it all sound top notch, is successful! Also the remixes and edits that have been done highlight interesting aspect to previously familiar songs and versions. Being it cutting out unnecessary over dubs or lifting a guitar or the vocals in the mix. Other than that, it may be worth saying that one reason that so much of these “alternative takes” may sound so eerily identical to the official versions, to anyone but the ultra fans or studio engineers, is the fact that Tom was such an incredible perfectionist. Sure, he/they may have experimented with songs and arrangements to work out what they song was ultimately gonna be, finding the song within, as it were. (Just listen to Sins of My Youth on this box, or consider how some of Mike's original song ideas or riffs may have been taken places, tweaked and bent into amazing Petty/Campbell compositions quite beyond what perhaps was imagined). Still, once they had the general outline down, once they caught that general shape that Tom had in mind, they were focused enough, professional enough and technically skilled enough (surprisingly early on) to drudge it over and over, making very small subtle changes. That’s how it works, really, chasing magic can be very routine, I suppose. Other times, I really suppose they had the basic track they wanted and decided on, but had to retake the vocals several times to get the right vibe, or trying different drum sounds and so on.. So, even as a pretty seasoned Tom Petty fan and listener, I still don’t know with any exact precision, how many actual alternative takes - that is basic tracks that the band lay down from scratch that are different from the ones on the records – are really on here?! I can’t tell, since it all been a bit “scrambled” in the presentation. At least a bulk of these “takes” certainly have different vocals, slightly up:ed or down:ed channels in the mix, corrected speed, or all of the above, but seem otherwise strikingly close to the “original”. What I can and will say is that hearing the actual drums on Rebels is amazing! I can’t even begin to understand what wasn’t good enough with that, in their eyes then. And generally.. perhaps the main feat of this here box – and here it comes in the middle of a paragraph in a long and rambling post that no one will read in detail – is showcasing how at the top of their game they were in the mid 80s, despite personal struggles, strange times and influential friends in high places. I mean, hearing the SA material like that… While I can agree the album version of Best of Everything has a few features to it’s advantage, I still see this one has some merit, and reveal a few new welcome aspects to these sessions. Not to speak of The Damage You’ve Done.. not until right now did I realize it’s a great, great song in there! Something as simle as those harmonies! So, frankly, just try to forget about the sound production aspects and the admittedly strange (in parts) song selection process, where apparently and reportedly several great songs were left, and it’s easy to picture both SA and LMU(IHE) being every way the masterpiece level records they ended up not quite being. Further, I also find the vocal track on Wake up Time here coming across as being a lot better (closer, sharper, intense) than the Wildflowers version. I always found that one to be one of the few occasions where Tom’s voice sounds off. (Out of key? Just strained to a state of “sour”? - If just ever so slightly, it’s off. I know most people never noticed and/or don’t even think so when they try to notice it, so it may be just me.. ) Here, the voice, as well as the phrasing, is absolutely brilliant! As is it on Don’t Fade on Me. Great song! The differences in arrangement is great, if not necessarily preferable – hard to tell – but the vocal delivery again, is something extra. One version that really truly is an “alternative take”, separated by years from it’s official recording, is King Of The Hill. I was very thrilled to finally hear this, since the song is an old favorite. Surprisingly sharp and finished from the start. In some ways the arrangement really feels better and more raw like this. Especially I LOVE Howie’s harmonies here, so little makes the world of a difference at times and that dimension really is missing in the thick, glossy costume the song was dressed in on Back from Rio. However, the leading riff on this early version is a bit understated and vague in shape.. Kinda cool, I suppose.. but, not really there yet? The main difference, that speaks for the final product in the end, to me, is the lead vocals, though. There’s an almost breathtaking suction to those vocals, that really pull you inside the cinematic story. The 1987 version has most of the magic, even some extra strange depths in some instruments, but it’s not quite there with the vocals and phrasing. What am I saying? A straight pure Heartbreakers version with the official vocal tracks on it would have been the best? Yes, that’s it. Thank you, you’re welcome. Finally - the 1976 take of Surrender is a nice surprise (for me). For a song that they have left on the floor so many times, I must say all versions are adroit. This, thanks to the kinda from-the-hip-yet-slightly-desperate vocals, works as one of the better takes I’ve heard. (Still not sure where it would have fitted. I can see how the 1979 version could have fitted on DTT, but I can also, given a bit spookier sound details, hear it in the YGG context. It certainly wouldn’t work too well on the first one though, so even if this was a really cool listen, I can understand why they moved on without it at the time.)

And speaking of overview.. not sure anyone commented on this, but the packaging is really nice for a "compact" box of this type. The old school 78rpm records style envelope album sleeves to hold the disc are very stylish and it's a bonus with lots of great photos throughout. I could wish for a bit more deep discussion/ comment on the songs, technical info like exactly when they origin and what's been done to them. The comments on some songs are really just rather... vague and general praise and a few hums. Nice and all, but I am picky that way. I want details. I am afraid I do not particularly like the Kevin Costner picture on the front either.

How else to treat it? Seriously, though. You're right. The "Lynne-period" is a bit brief. And I guess it can be due to the fact that it was Tom's and Jeff's little buddy project, that didn't fully appreciat, make use of, or even recognize the Heartbreakers dimension in Tom's music. That was sort of the point of it, to start with. (This, of course, been discussed around here to some lenght.) While Mike was certainly involved over his neck, perhaps two other things contribute to the fact that they "skim" the period over a bit here. 1 - it may not be Ben's (or Ryan's, who knows) favorite preiod and - perhaps most importantly 2 - the Lynne era is where all these HUGE hits were, that they decided (wisely) to skip this time around. Three live samples, a demo and one album track is ok, I think, given that viewpoint. Besides, I'm beyond thrilled that - since they choosed the perhaps dubious route of putting a few previously released album cut entries on this box - they went with You And I Will Meet Again, of all songs from this era! Fantasic poignant pick! Among the top five things Jeff ever did, IMO. Generally, it's quite amazing to me how they went about picking those album tracks here! (Just to have that aspect of my reviewiwing this thing, covered.) How they did, I still don't quite now, and I wonder if it's by chance or fluke, but considering how few, hardly none, of my all time favorite "deep cuts" of Tom's they ever touched live or spoke of in other contexts, I was always certain that my taste in these things were very different from theirs. And perhaps it was, from Tom's. But here this box comes out with Ben and Mike behind the wheel and they just line up my top favorite hidden gems! The Wild One Forever, Lousiana Rain, Straight Into Darkness, Deliver Me, You Can Still Change Your Mind, You And I Will Meet Again, on to Grew Up Fast and Down South.. I mean.. they are almost ALL there, most of them is, basically just Luna and Something Big are missing from the old days and then maybe some latter era track. Perhaps the only two album tracks that I wouldn't have picked myself is Accused of Love and Money Becomes King. Still it all makes perfect, beautiful sense. They certainly had their reasons and that is a big part of the great experience listening to this thing. Just saying.. they sure picked my mind for those album tracks, to the point of being spooky...

Ok, let's start somewhere.. The previously unreleased songs. Strikes me as a good place to start, since they're, to me, is where the real excitement was. And is. Walkin' from The Fire --- Marvelous. And sad. If there's just one or two more songs of this gauge in the vaults, left off the Southern Accents project, it's fairly obvious that they were a lot closer to accomplishing this concept masterpiece Tom initially were aiming for, than they seemed to have thought. This proves what a mistake it was in many ways, to get so hooked up with Dave Stewart for additional pop songs and addtional layers of production. These sessions needed not to be buried in 85:ness the way it was, it seems here. It needed to be as naked as possible. Too bad it took all these years to realize that. This type of song, this type of sound - so much more spot on and timeless. This song is really good. (And the "gloss-less" renditions of Rebels and Best of Everything even further hits this point about the SA session home, as I see it.) I just can't wrap my head around how tangled up in confusion they must have been, came time to wrap that beast of an album up. This song.. Already feels like it has been around ever since. Which, of couse, me unbeknownst, it has. The pinacle of the set? Quite possibly. I really love the sound here. The beauty of those long sliding bass harmonies at the beginning - exquisite! Gainesville --- When this one shows up in the box tracklist, it's strikes me as a better song, than I thought when first I heard it. Must be I know it, now. Funny how that happens. Still think the sound and vibe here is great. Some really cool lyrics too. Melody is a bit flat, although there are a few briliant notes in there, some memorable hooks. The "Sandy, loading up the van" part of melody, for one. The first part of the bridge or middle eight (even if all "choruses" in reality feels like some sort of bridges to me) is really where the unmistakingly craftmanship of Tom's shines through in the melody, to me.) I still think the "chorus" - or rather lack of chorus - makes the song a bit unfinished in structure, though. There seem to be something missing. Lonesome Dave --- Perhaps a fun and impressive exercise, rather than great art or great songwriting. From what I heard about how good this song was supposed to be, I must say I did expect something else. Since it's been mentioned among the Wildflowers outtakes, I was not expecting the type of song at all. But from the context of the Gr Hits sessions though, it's a rather typical type, is it not. Sure the sessions produced the killer version of the older original that was to be Mary Jane's Last Dance, that had a very different and uniquely TP style, but for the most part those sessions where reportedely 50s/60s style rock'nroll and rockabilly jams otherwise. Some of which is released/circulated aleady. To find this original belongingto those cover heavy sessions was quite fun. Not very original tune though, but tons of energy and some frantic hammering from Ben... ! Barnburner? He said it. I Don't Belong --- Well, some of us have heard this before. It has been heavily circulated. Nevertheless good to hear it in full sound, so to speak. To hear more nuances revealing themselves, than is the case on my old mp3 copy of this song, actually does make it a lot better. There are some really good, if simple songwriting buried here. I always thought - from hearing my mp3 - that something was slightly off with the vocal track, but here it sounds good enough and quite finished. A ditty. A sad ditty. There are such things, it seems. Bus To Tampa Bay --- Fantastic song! Really grows with a few spins. There's just a few little notes, that end up in just the right, initially somewhat unexpected places, that makes the whole difference. Making the slightly generic base of it all shine with such a distinct charm. It could have benefited from a bit more of an atmospherical extension, some dreamy swagger interplay or solo... There's some type of simplistic Mudcrutch vibe to the song, may be the bass... Either way, I can just see the old timers shuffle about dancing to this one, down at the Best Western, an Wednesday night. The song is like a mature, somewhat mellow rendition of the same musical impulse that gave us the tall tale Ankel Deep. Two Men Talking --- Familiar song to all live fans of TPATH (is it possible not to be one?) But certainly new as a studio recording. One would have guessed that they tried it in session for Mojo, and perhaps they did. This 2012 take is quite good. I actually prefer this to the various live versions. Not sure when it was written, but to me, neither TMT nor Black Leather Woman, both of which showed up in live shows in the early 00s, ever felt as full of potential as did Melinda, from that same era. But this studio version TMT is really good. Certainly more than an attempt, it feels very finished and worked. Great arrangement - that "quite" segment is totally fantastic! Not sure how and where it would have fit on HE though.. so.. glad it showed up here. Still wonder if they ever tried Melinda out in studio, when and how that was arranged exactly. What all those mentioned "unreleased" songs from the early 00s have in common, is that they are typical jam songs, fit for the live treatment, not necessarily easy to work into optimal studio versions, but this one works surpisingly well. Sins of My Youth --- Gonna include this as an unreleased song, since for all intents and purposes, it's a totally different song than what is on Hypnotic Eye. I don't think it's better, and I can understand why they did what they did with it. The final version really highlights the vocals and the sublime and unusual (for TP) work with the melody really build some strange powerful vibe. This version feels more typical in some ways, more generic TP, and there is some great playing on it, but the melody doesn't quite make the perfect fit with the lyrics, somehow, and the delivery doesn't reach that extra dimension of urgency. It loses quite a lot of it's character, frankly. Not at all as memorable. And wouldn't have worked at all as effective as a "palate cleanser" as some wise person put it, as it does in the released version. I do love Mike's little solo towards the end, though!

Please do!

Considering the genral interest in all this, I guess the real question is, are we gonna get kicked out soon? Wait, you have mod skills and authorization, right? Can you please kick us out...?

The California sun has nothing on that inside "tan" that your average Stewart party deepfry of the mind will give you, though... Don't talk to me about heat, snowman!

Yeah, we are. Kinda like that fountain on candid camera, right, that erupts right in your face, when you lean in for a sip...

And now this thread is officially "hot"... Shoot.. all the snow is melting...!

Transcendental, you mean? Always.

You are almost there. Literally.

You'd be willin', I get it.. And my point about why you dig IANTM so much, should be proven by the turn of this thread at this point... For a "zero snow" guy, I think Stewart would've been proud of you, man. Myself, I would have sampled his goods, danced with his elephants and bearded ladies, and still called his songs by their four letter names. But that's me. A guy walking from the fire...with a thorn in my side.

I think the correct term may be "synthetic", in this context. Blow certainly is right, though.......

Somehow I knew you'd say that, you being the IANTM official spokesman and all. Well, if you say so. While I don't share your belief, in the words of the mid 80s Snow King himself, Dave Stewart, I don't mess with the missionary man. Or in the words of Bill Cosby.. ehrm.. Bing Crosby, that is.. Let it snow, let it snow, let it snow!

https://uproxx.com/music/tom-petty-an-american-treasure-review/2/