Shelter

Don't know for sure. I find this interesting though, since it turns out TP is actually credited as playing guitar on one of the studio recorded song of DT's from the era as well (Looking For Magic). According to "the internets" the guys playing on the tour prior to the album "Twilley Don't Mind" (on which both Chance To Get Away and Looking For Magic were officially released, in late 1977) were: DT, Phil Seymour, Bill Pitcock IV, Bingo Sloan and Rob Armstrong. Then on the album there's the same bunch, sans Armstrong, plus a few additional session guys, incl. TP. I can find no mention of Rhodes.

Great. 7 minutes.. What's the hurry..? Oh, yes beer.. You remembered that, hu? Certainly the right way to take the wrong door.

Interesting. To me that is one of the throw-aways of their recording history. And not many of those - the ones on my list, that is - actually made it to an actual album. I wouldn't let this one rain on my parade either, so to speak. Really? You like it that much? Hu. (Would you put Heartbreaker's Beach Party on LAD as well?) Oh, for sure. That's not an issue.

Ok, just stumbled upon this.. Thus I just had to find this thread and get it back to topic. I mean, just look at this handsome bass player here.. Really nice sound too! Never heard or seen this video before myself. Hope you will enjoy this rare piece of photage.

Go with the under, I say! How cool is that! Hope she had a wonderful day! As for today.. I need to listen to the vinyl edition of the Mudcrutch LP, been way too long and I start to feel excited about maybe eventually there will be more coming up!

If it wasn't for what's been said about ATR already being finished, just waiting for a go from upstairs, theoretically I like your theory. Perhaps it could then be an "ATR 70s + ATR 80s + ATR 90s + ATR 00s" kind of box? Only.. with today's label SOP such a box won't be ready for release until the 50th Anniversary at the very earliest. But I remember where I heard about it first. Guess I much rather they just quit their procrastinating tardy ways and release the freaking thing as it is, right now.

Btw- No one noticed how I apparently have no song 4 on the B-side of my imaginary edition?! Groovy, isn't it? D'oh!

Sounds like the trip to end all trips.. and I guess it will be. Hope you're not in a hurry though, and hope there is plenty more where that came from, here and soon.

That's sort of sweet! And sort of ironic as well, considering the inescapable passing of time and all that.. And that studio Biff.. I didn't know Steve Ferrone had another night job??

You never been 'Round the Mulberry Bush" then I take it.. It's surprisingly busy there. And tight. Especially considering how spacey it is.. Let's call it a paradox. (Then, let's not go into whether or not we like it when the band blows.. .. the horny section, the brass, the winwoods and all that.. )

Oh, I thought I answered that alrdeady.. but check this one out.. last track. http://www.discogs.com/Tom-Petty-And-The-Heartbreakers-Anthology-Through-The-Years/master/265252

If I get to pick my own.. then blueberry jam is my favorite. I don't like traffic jams, though.

Sounds about right. As for 99, Minneapolis would be my choice. As for additional suggestions, some of the Vic shows (it was 2003, btw) would sufice, as would Santa Monica, New Years '78, the Bridge School Benefit of 88 (recently discussed, although.. it's too short) and - even if that would be cheating, by my own complete shows only standard in cases like this - some kinda "best of" comilation from the Beacon/Fonda gigs. As such the HCC live bundle is at least close to perfect, as is the "Kiss My Amps" collection from the Mojo tour. But it's just impossible to say. Last Night at the Fillmore, yes. (although a dream scenario would be that show with today's sound). On the other hand.. I could also go with the Utrecht, Holland gig of 1982. Love that one. Or any of the Mudcrutch 2008 (for personal reasons if nothing else, since out of all TP shows I attended myself, these are my favorites), but that would be thinking a little too much outside the box, I take it. Ho ho.. This quest is a m#%er...

It's fried. To perfection. What else.

Well.. no sight of him in real life here either. Too bad. Would have loved to have a visitor from 1985, so I could send a note back to Dave Stewart, saying "Don't do it!!"

Epic indeed! Many thanks for refreshing my memory. Been awhile.. Quite a build-up watching that stuff.. for if and when the new Mudcrutch album materializes. I truly think their first effort is some of the best stuff they have ever involved themselves in. And that, of course, says a whole lot, doesn't it?!

Yes, I realize it's oddball, at best, to suggest the merits of an imaginary resequencing of DTT involving touching the holy Refugee. Thing is, as it stands, obviously Refugee is a fantastic opener and I have no complaints, just that I visualize quite another album from these sessions, equally good, if not indeed a tad better, but most of all different in tone. I like this idea - and have a burnt CD version that runs accordingly - but I don't suggest the actual album, the way it turned out, would have anything to gain from moving Refugee from pole position. Hey now.. You need to listen again. And then again. And so on. Perhaps you have done so already, but study it real close, both the studio versions, then the existing live versions and so on, and you will notice there's nothing limp about this noodle. It's quite intricate in its arrengements - listen for many things - it has a nice "oldie" type groove, a cool vibe that kinda both steals the show and generously allows for it to continue bravely in its wake - and imo it has got really great vocals, some of the best ever, if I may be so bold. Again, I admit it would tilt the over all album vibe a tad, had it been included, but imo that wouldn't be a hurtful tilt. (As a side note: The 2000 version of this song (made for the Anthology disc and hence beside the point here - while slightly less great than the 70s versions in most ways it still highlights the merits of the song nicely) was supposedly Howie's last studio recording as a Heartbreaker. Bless his broken heart.)

What to add to all these "normal noises in here"? So, it's a true classic an album full of atmosphere, sound and songs. So it is. Still it's astonishing - although it does say alot of the limitations of the mind, of us humans in general and of critics in particular - how DTT generally is considered THE album in the TP cataloge, the one that holds up, get praised or even recoginzed outside the TP world as being this untouchable classic that it kinda is. Not that there is anything wrong with saying it's a classic (and some fairly good people have done as much just recently). It's just that it all comes with way too much butter. I guess I just think that more TP albums are as good or better and more of them deserves to be held up against other classic rock albums the way DTT always are. I mean the album has at least two fillers more than some of the very best. Speaking of which, how about me asserting that What Are You Doing In My Life is bad even due to musical considerations, not primarily lyrical ones. Certainly filler, for me too. All that is just me. I know. But keep in mind that even with this load of mild sceptisism, one of TP's better albums will always be one of the better albums of all time. So it goes. I don't trash this album, never. But as far as mild sceptisism goes, though, neither Don't Do Me Like That and Louisiana Rain (both old left overs and both some of my favorites) are quite as magnificent as in the original shapes. Moreover, I agree that leaving Casa Dega off was a major wrong call. It would have fitted. As would Nowhere, as it were. Even worse - leaving Surrender off, which would have been one of the best and most fitting openers of all time. I think a next to perfect album would have gone over the top had it run something like this: Side one: 1. Surrender 2. Here Comes My Girl 3. Even The Losers 4. Casa Dega 5. Shadow of a Doubt 6. Nowhere Side two: 1. Don't Do Me Like That 2. You Tell Me 3. Century City 5. Refugee 6. Louisiana Rain Just a thought. Well.. perhaps you should..

Perhaps you know something I don't. But, yes, I certainly feel like we are likely to get screwed on this one. Anyway it's pathetic how it's been handled. A real low water mark. As if a sign, with this post I just bump the thread about this disc from being 22nd on the list of recently discussed here... The excitement is slowly dying even among the die hards. Way to go.

This thread reminds me of a more aptly titled thread from the not so distance past:

Don't see you around as much as in the old HCC days, but if you check in today, I'd just like to wish you a happy birthday!

Hey.. apart from having killer arguments today, on the issue of Jammin Me's exclusion on Greatest Hits and the status of Waiting For Tonight as not suitable FMF song alike.. I also noticed.. you have a birthday! Congratulations!

Actually, it would be so potentially mind bending that a warning would be in place. "Caution - No More Going Through The Motions Tour! - Oh, yeah.. and also.. Wet Floor - Cuidado Aquí Vamos Gira y Piso Mojado", as it were.

.. did anyone see Marty McFly yesterday, or what?!

Ok, fair enough. I stand corrected. Maybe. Obviously, I know the existing studio recording is not the full Heartbreakers experience. I just always thought that the song itself predated the FMF sessions and that it (with or without Bangles) was intended for the cancelled Heartbreakers album, the sessions of which admittedly barely got under way, but dates back before FMF. But you might be right.. I forgot the details of those sorces you mention.. and the song may indeed have been intended for - or at least been recorded mid sessions of - FMF. It still don't fit though and it's recorded in a largely different style. Which is the main point. (And I still think it feels a lot more like a song for a Heartbreakers album in the traditional sense, than a Jeff Lynne soaked TP solo album.) And again.. you say you don't understand, but if WFT ever was a serious contender,if they actually considered putting it on, even if it meant breaking the spell or mood on FMF, could it then be the good-night themed similarities with Alright for Now that made TP feel it too much to include both. I think it's fairly obvious why those two can't be on the same album, both in terms of style, sound and lyrics.