Shelter

You're not??

I don't like it 😀

Digging about on the Wayback Machine. Found some interesting stuff. Earliest capture is from December 5, 1998:

Website for that company didn't bear too well over the years:.

Jump to October 8, 1999, and it gets interesting:

Let's click the input jack--oh, never mind.

Instead click the little link under the input jack. I suspect the site wasn't really intended for larger screens.

Clicking around, you can listen to 'Surrender' in glorious 100k audio! Or you could at one point. The link doesn't work.

There's some news, too. 

And tour information. Sort of.

There's a discography page with links to all the albums. I'm pretty sure the background image on the Damn the Torpedoes page is reversed.

There's also a page that just has a picture of a Rickenbacker guitar. I'm not sure the purpose of this.
 
 
 

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

Wasn't Robert Plant also the singer of the Honeydrippers? I've heard their cover of "Sea of Love." If I'm remembering rightly, they only had one EP.

some lovely ballads and fun rockers on that disc! 

Robert Plant was/is a huge Elvis fan, and that influence has always shown through his work - from dropping "A Mess of Blues" into a Zeppelin medley (mis-heard as "Minnesota Blues"), to the entire feel of the Honeydrippers.  As I said, I'm a huge Zeppelin fan, but he owes a big debt to Elvis and he'd be the first to say so.

She’s the One is an oddball in the TPATH catalog. Perhaps the oddest, and most overlooked.
It’s probably my second favorite TP album, behind Wildflowers, of course. Probably because it’s a continuation of the Wildflowers songbook in some ways….
I actually wasn’t interested in it when it came out, and I bypassed purchasing it. Gasp! (I know, don’t judge me). At the age of 17, I was into rock and roll albums, not movie soundtracks. Up until that point, the only movie soundtrack I ever purchased was The Karate Kid soundtrack, when I was 8 or 9. (Again, don’t judge me). Overall, motion picture soundtracks have little appeal to me. Seeing a photo of Tom next to Cameron Diaz on the cover was disorienting. It didn’t “look” or “feel” like a Heartbreakers album. When I finally picked it 4 years later, it somehow found it’s way into becoming one my favorites.  Weird, huh? I started picking up the distant signal of the Supernatural Radio. I thought Zero From Outer Space was trippy garage rock, something I’d never really heard from Tom before (a la I Can’t Fight It). The atmospheric moodiness of Grew Up Fast. This song feels like a movie itself to me. The beautifully ragged Hung Up and Overdue. There’s something unique and beautiful about the album that keeps bringing me back for repeated listens. Maybe it’s Walls, which gets me every time. There’s something about how this song in particular makes me instantly realize how and why I love Tom’s music so much.
And I STILL haven’t seen the movie. Don’t really plan on it.
I agree that over time, She’s the One has grown to become a great lost, forgotten (even hidden) Tom Petty album.
What makes STO most interesting to me is the time in which it came out. I have this idea that Tom’s second wave of massive popularity was between the years 1989-1995. Starting with Full Moon Fever and the Traveling Wilburys, peaking with the Greatest Hits record, and continuing steadily with Wildflowers and the awesome Playback Box Set. Maybe You could say it marked the end of an era. Indeed, 1996 was a turning point for TPATH.
By 1999, I don’t think many people (including the casual fans) were very interested or impressed with Echo. Upon first listen, it feels darker, more lost, lonesome and world-weary. The guy who wrote Free Fallin was gone, and now it’s just Free Girl Now. Even the Echo album packaging was black, white and gray tones. The warm, organic, earthy-tans of Wildflowers, and the bright sunshiny yellow of STO were gone. People’s overall interest in TPATH began to wane (we’re a fickle public, aren’t we?) And this sentiment continued on with The Last DJ and beyond. (Granted, TPATH were always recognizes as one of the greatest live bands around. That never changed. Just maybe people became less excited about the studio albums). With STO, maybe the public saw Tom as an aging, less interesting, less relevant rocker?
Think about it this way, for example, the Foo Fighters. I think they’ve enjoyed a good 20-plus year run of admiration and acceptance, and have generally been perceived as good and honorable torch bearers of rock. It would seem that most people speak highly of Dave Grohl, and see him as a faithful ambassador of rock. He’s always appeared the same to me - long shaggy, head-banging hair, everyman beard, stadium screaming vocals, etc. Steady, consistent. Kinda like Tom from 1976-1995. Nowadays, I’ve grown less interested in Dave Grohl, for whatever reason. He’s 49 (Tom was 46 in 1996), he’s kinda just doing the same thing. Still rocking, I guess…but. And, I’m just a casual fan of the Foos.
Around 1996, did radio or fans that slowly begin to lose interest in Tom? Was his star diminishing? Im not saying it was!, just pondering….Maybe his long run or popularity and BIG HITS that began with Full Moon Fever had finally ran its course. And so STO goes unnoticed…
A few Strange Behaviors I observe with She’s the One (also total speculation):
1. I don’t think Tom had much of a plan for the year 1996. He’d just finished a massive tour (more on that below). Sadly, his marriage was over. Originally, he’d said no to doing a movie soundtrack (as a rule!) when the idea was presented to him. Then, one night, randomly, he watches the film, calls Ed Norton the next morning as says he’s in. Not much forethought there. In the Behind the Scenes film for STO (https://www.youtube.com/watch?v=M_4_TMsON1U). “And I thought, this might be something to do.” Was he bored? Creatively tapped out? Big, open schedule?
Then, later that year, sensing that Tom was directionless/depressed/struggling, Rick Rubin invites him into the studio to work on the Unchained album. Again, no plans, he just accepted the invitation. Consider how other than the 20-show Fillmore residency run, that 1997 and 1998 would be pretty quiet years for TPATH.
2. With STO, they didn’t do much in the way of promotion. I think they played Walls on Letterman and maybe an SNL appearance that year.
And most importantly, why didn’t they do a tour? Could this be why STO slipped Through the Cracks? I believe this was the fist album release that the band didn’t tour behind. Was it just hastily put out product? Was it because Tom wasn’t in a good place personally? Too uninspired or burnt out from the lengthly Dogs With Wings Tour the year before? According the setlist.fm, 1995 was the year that the band played the most shows in their career. A whopping 86 shows, even more than the crazy 1977 tour schedule (78 shows). While I know it’s not true, it could appear as though he didn’t care consider the album as a “proper release.” Yet we know he was a big fan of Walls. Maybe psychologically, I felt that the album wasn’t a big deal to Tom.
3. It’s Nobody’s Child…it teeters between being a true Heartbreakers rock and roll album, and a movie soundtrack (that should somehow have a story line, or feel connected), and it never really convinces you of being either of them. The very idea of Tom doing a soundtrack to a random romance movie is quite strange. Out of character for Tom Petty. Could you imagine a younger Tom doing such a thing? And how could it be a customized movie soundtrack when a good chunk of the songs were left overs from Wildflowers? A few instrumentals, a few new songs, a few different version of 2 songs (Walls and Angel Dream). Granted, we really wouldn’t know this until later, these were carry over songs from the previous record.
4. Maybe since She’s the One is a crappy movie, people consider or assume STO to be a crappy album? Guilty by association?
5. Where did record stores put the album…in the Rock Section, with the rest of the Petty albums, or under Soundtracks? Again, did it get lost to the casual fan/browser?
6. Tom says they did the album VERY quickly (imagine his standards), ONE MONTH. Still goes to show that despite whatever head space Tom was in during this time, or whatever personal problems he was enduring, we was still able to complete a very cool album in a very short period of time. Compare the quick release of STO to the previous 2 year studio effort of Wildflowers…!
7. STO is pretty dang diverse! (in terms of song selection, moods, etc.) and yet it doesn’t feel too disjointed or messy (to me at least).
8. Unique in that it’s the only album that features Curt Bisquera on drums….an honorary Heartbreaker. For a minute. Ringo stops by too. STO is still in that transitional moment where the Heartbreakers didn’t have a full time drummer. When did Steve get the official join in?
9. What makes it overlooked is the same reason that makes it special: it’s the only movie soundtrack that Tom attempted to do.
 

Bad Moon Rising backed with Lodi, then?
Which reminds me. I forgot John Fogerty in my little exposé above. Definitely on the list. 
As for Plant, he's still doing it. Not the same "it" as he did with LZ, obviously, and why would he. But more of a folk, blues and soul thing, which is quite briliant and speaks even more of his universal qualities, than if he would have been just Mr Whole Lotta Love. Just saying.
 

Yeah, TF.. that is some great reasoning. No doubt. It's a point long since taken, IMO. Still, nothing will prevent me from both agreeing with what you say AND failing to get my head around the totality of Mojo. 
TP is great, the greatest, but that to me is not a religious stand. I think my take is well known from my reasoning (or lack of) over the years, but still. It may be worth saying: at the end of the day I have done my homework, and then some, with this music - there are tons and tons of benefits of doubts all over the place, if not quite as many tons as there are TP records   - and to me cherishing an album "as it is" or re-cutting it to my private likings, to maximize it, is really not a debate concerning "better than the artist" or not, it's rather just a matter of "better for me". And it comes after a lot of exposure, I assure you. A lot of consideration and deeply felt sense of the parts, of the whole and of the parts inside the whole (and just about every vague shadow within that silly way of phrasing it). Perhaps it's easiest summed up by the old saying about how, perhaps, sometimes all that glitter isn't gold, especially not all that stinks and smells. Strange as it seem, this rule apply to TP as much as anybody, no matter how much above the rest I hold him in general.
Sometimes these things change over time, mind you. Music is very organic to me. Lot of things do shine in time. Sometimes glitter fade too, but rarely. But in a few cases there seem to be a sort of definite void, or rather it's mostly a bump admittedly, and to me that is not the least problematic. Sometimes there seems to be an absolute quality or dimension and more rarely said things are lacking. Just like there are circles in hell, there are circle of genius, and few, if any, travel the circle of the total flawless eternal bliss. Not even Bob. (Actually.. right now, I can't think of anyone who never made a mistake. But then again, to me this is entertainment - ok, it's highly soulful, heartfelt and borderline scientific but it's still entertainment rather than religion, right?)  
Given that speaking of individual songs is one thing and the total experience of an album is another, my understanding is that both deserve that benefit of a doubt that you mention. It's a known fact that albums too tend to grow or develop over time. And since albums (or Mojo, specifically) is what is discussed here, I think I will have to once again redeem myself, by saying that I might not end up loving or praising all TP decisions being made in terms of sequencing or even production (the artist's pride has nothing much to do with these things to me - thank goodness, considering how proud even bad artists are and how bonkers certain pride has made this planet in general, right?). But I do respect the work and I love TP's heart in certain matters, even in the cases where I personally prefer the listening experience slightly altered. Even his "worst" to me is rather charming, but his best also sets a standard that takes a lot of above-average work to level, a task he himself, if very rarely so, falls a tiny bit short of. No wonder. I'm not upset.
Besides. Given the logic of the song and the album being different entities, sometimes it's a great (or at least good) song that helps messing up the album - case in point Saving Grave on HC. Good song, but not in line with the rest of the album and even less suited as an opener. So this thing about rethinking albums, does not always mean bashing songs, more often than not -at least to me- it's about rethinking the vibe, the mix and/or lifting songs that TP himself scrapped. Speaking of giving things a benefit of a doubt. (Grumpy Old Men of the Muppets heard in the control room of the making of this post: "Yeah so, this crappy aweful outtake is really not that crappy.. it actually reveals this bundle of songs for me in quite a new way..! In fact, I love it! It's my favorite song of all time!!" "Or this one here.. it's a masterpiece! How could it have been deleted from the Playback set for the sake of Moon Pie??" "Wait what, Moon Pie is my favorite song of all time too!!!")
Anyway. Over the rather vast and glorious catalogue of TP albums - where indeed most of them beat most other artist's albums - I'm still stuck with this unholy dissatisfaction of mine (concerning the total end product) in only two (2 !) clear cases (that is Mojo and Southern Accents) and perhaps the odd borderline case or two, depending of further dimensions discussed. Only one of which - although, given the vaulted material that may or may not exist in other cases and given that several perfectly great albums would've been interesting and fun to hear revisited, anyway - only one of them could easily be imagined within the frames of what is officially released. And that one happen to be the long and winding Mojo. The best of examples, as I have said. As always, more or less all TP albums are packed to the rim with great songs, but that is not the same thing as all of them being totally flawless albums in the full sense of the word (although, I'd say he more or less nailed it on at least five or six occasions - maybe I am religious after all!! ). I do say these things a lot, seemingly, and I'm not sure most of Farmers or Lurkers understand the distinction between good songs or good albums (or between artists' success rate at fulfilling the intentions and the listeners' success rate at getting the message and loving it too) or if they even care for it. Nevertheless, it does explain where I come from and why I sometimes chose to play along in such here humorous ventures.
Btw. Side of main point, but still: Candy is a perfectly fun and good bar band song, IMO. I'm in no doubt that you guys have a lot of fun and that you sound awesome playing it! Only thing, to me it's quite subpar to TP's high average album standard, for one thing. For another, it ends up on an already long and "disjointed" album, that already has focus problems in the midst of many great songs. It could do well as a b-side, by all means. Same goes for Don't Pull Me Over. And on a good day (for me), TP can come up with a sequencing that doesn't have to bother with the likes of Takin' My Time either. Again.. these to me are not great songs.. but they are good. But good songs is one thing and a good album is another. Not to mention a GREAT album, an album worthy of the likes of First Flash of Freedom, Trip to Pirate's Cove and Good Enough, just to mention a few.
My $ 0.002.  

I heard that the 'Little Irish Gir'l song for Dolores O'riordan will make an appearance on the album.  Mark Felsolt was on FB saying he heard 3 tracks and they were all great.   

The album was completed 2-3 weeks ago. It was done in 8 days, according to Felsot. Mike plans to tour outside of California to support the album.

Today I found out that there's not only a British footballer (that's a soccer player for you Americans) called Tom Pett, but there's also an American businessman called Tom Petters.
I blame it on switching keyboards.

I had to go play the openings to recall which is Kings Highway and which is Kings Road.  Kings Highway they used to open the tour they did with the twisted tree set.  They let Stan do psychotic reaction.  I remember I had lousy seats.  
They should have done Kings Expressway. Maybe do an entire album and every song starts with Kings and ends with something to do with transportation.

I have to go with a teacher I met in 4th grade. Although I was taking private lessons for drums for at least 4-5 years by the 4th grade, It was the 1st year you could take music lessons at school. I went to the class and said I wanted to play drums, and he said, we have too many drummers right now, play trumpet. Well, I did for 2 classes, and walked into the 3rd class and said this isn't going to work, it's drums or nothing. He said ok, I'll give you a chance. At this point he didn't know I was already taking lessons for 4-5 years and when he heard me, he said I was in. By the time I hit 6th grade he moved me up to lead drummer in the high school band! This was unheard of at the time, because you had to be in 9th grade or higher to be in the high school band. Our concert series band (winter) that year was the 1st ever in HS history to get a Superior Rating at the Ohio State Finals! He was passionate about music as was I, and that made a bond that never ended. When I got to the 11th grade, he decided to move on and took a job at a University in Maryland. I miss him, we sort of clicked on all styles of music, from classical, to marches and even Rock & Roll. We learned together through each other, something that I think is missing today. His name was Mr. Emil LaCivita, a great man and teacher. I hope to meet him again when I'm in my astral body.

Right. 
It's tricky. From certain angles I really see what you're getting at. Still. I find genres quite useful, when talking or writing about music. It's a complex culture history kinda thing, I suppose, without knowledge of which and without descriptive tools, any discussion tend to be quite pointless. In a way, genres work a bit like words do inside language - that is, not always are they precise or clear, and even when they seem clear enough, the intent may be blurred, but there tend to be a general direction that helps and within a context the message can be put through. Sometimes.
That said, I suppose the "rock", isn't a more useful term than "pop". So, the pop vs rock battle you are reffering to, really is futile. But that, to me, is not because it's pointless to discuss genres, but rather because pop and rock are too wide to carry any real meaning any more. They are intermediate level labels, really. And as such I will agree they are useless.
Quite by coincidence, I stumbled upon this interview with Tom (made by Charlie Rose) from 1999 where he talked about how "rock'n'roll" has morphed into "rock", a term that says a lot less than the original "rock'n'roll" does. (According to Tom, it's the "swing" connected with the "roll" that was lost in translation when the term got widened and started to connote too much keep it's meaning.) That's kinda where it's at to me as well. 
ButI will insist... that even if "Pop" means everything and "pop" is too vague and empty (defined more by what it's not), there are certain ingratiating elements that I like to call pop elements. Perhaps that is all that is left of the term, even for me. But that is ok, since that is what I was initially aiming for. I don't wan't to be the official spokesperson for neither pop nor rock. Frankly, I hate them, and that was also, I guess, part of the point.
 
 

Well, I'm getting my hopes up!  This news makes me so happy!  It's been a very long time coming!  

Wow, just read that Mike was a surprise guest at Neil Finn's show at the Largo in LA Thursday night. He and Neil played two FW songs including one from the Peter Green era that included some fiery guitar work from both guys. 

Yes, Mark Felsot says so!

Right. It's just that it hit me like a brick wall (again), how all that is left now is a company. And I am not gonna be a fan of no company. Especially not one that makes this type of crap their main output. I know it's still early. Kind of. But so far, their ideas on  how to move forward has not impressed. In my view, their job (whoever they are) is to cherish the legacy of Tom's music, by means of duly protecting and respectfully deal with copyright issues, keeping things focused on the music, perhaps issuing archival releases and/or special reissues, allow certain research and so on. That's it. Anything else, I see as speculative and wildly counterprotective in terms of respect for both Tom and the fans. Tom being gone, should simply not mean a more predatory approach to business. Without him, all that is left is his music. And without music at the heart of it, the people making money on this brand are crooks. 

Man, those residencies were something else, weren't they? Such unique and amazing performances. I was so lucky to see two of the Vic shows in 2003. Honestly, one of the things I am saddest about, musically anyway, about TP's passing is the fact that there will be no more experiences like this. The stadium tours, as most diehard know, were played out. But runs like the Fillmore ("97 and '99), the Vic ('03) and the Beacon/Fonda ('13) represented under-explored terrain for the band to do more of in the future.

Oh, love that! Sometimes I think they should've expanded on that, made a whole song out of it... 
Nooooooooooooooooooooòo!!!
Ok. That was the first time, since first entering any of the two leading Tom Petty communities, that I got seriously upset. (And given the thickness that goes on display here and there, from time to time, that accounts for something!)
Seriously. Rethink that thought. Please. Thank you.

It will be within the next week! We're in beta phase doing user testing, then we'll make a few changes, and be ready to go! 
I'll post a thread here about it. We also have a FB page if you're on there. 

Yes, Fender is probably my favorite guitar brand.  Speaking of........here's a pic of Tom with one of his Telecasters.  I took this photo at the Gorge in 2014.  I just liked the way Tom was half in the dark and eve n his guitar disappeared and reappeared.