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MaryJanes2ndLastDance

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Everything posted by MaryJanes2ndLastDance

  1. MaryJanes2ndLastDance

    Parteeeeey!

    Too bad. My veggies and dip were a big hit with everyone...especially Jimmy Iovine.
  2. MaryJanes2ndLastDance

    Let's Try to Make Southern Accents Great Again

    That song has grown on me. I kinda wish they'd played it for the woman in their crew who wanted to hear it. Or...no, I"m thinking of How Many More Days, a woman they worked with always wanted to hear that I think. Either way, they could've played the latter for the woman they worked with and the former for those sign-holding fans; oh well. cheers
  3. MaryJanes2ndLastDance

    Let's Try to Make Southern Accents Great Again

    I think that perspective is the difference between a good live band and a great one, the latter will take such "risks" repeatedly. Look at the one and only performance of Fault Lines, sure it wasn't...faultless (geez!) but it could've taken off on stage had Tom stuck with it. Oh well. I'm not denying it must stink to see the crowd go from a 10 in excitement down to a 2 for a new song or deep cut but so what? Either win e'm over or it's their loss for not caring for it, but somewhere in that audience were some people who appreciated the band playing new songs and deep cuts, even on those big stadium/arena tours. cheers
  4. MaryJanes2ndLastDance

    Did anyone read 33 1/3 Southern Accents? What did you think?

    Rereading this now I can see how the song Rebels could be an entry point for discussion of race, as the title itself evokes the South's rebellion and the overall bitter, past-his-prime? vibe of the song's subject. From that perspective, much like I consider the book a "bait-and-switch" I could see how someone could view it the same with the first track on this record. But I still think my points about potential pandering etc. etc. above are valid. Heck, the way the album turned out, the cover and title itself feels like a bait-and-switch! cheers
  5. So far, the best 33 1/3 book I've read is Pixies Doolittle and in my opinion could be the template for this series. It has interesting interviews with most of the band, it primarily focuses on the conception of the album and goes in-depth on each track. And then it ends. It's perfect. The only thing I could've had more from is just an even longer book! I was hoping Southern Accents would be roughly the same in nature and believed it was at first. Washburn is a good writer and his being a fan of the band comes through and it's an interesting idea to write about a failed concept record that isn't a classic, like FMF or DTT or to some ears, WF. The book's best moments in my opinion are when it focuses on the songs and the Mike and Benmont interviews, the whole thing could've just been that or at least 90%, it's a shame there isn't more from the 88 keys man and Mike. The problem is the author focuses on race much too long. I respect Washburn's discussion of his past, and how he felt about certain superficial elements of the Confederacy and growing up in the South. I also like how he notes his respect for Tom after chiding the confederate flag from the stage and his later apology for using it. But much like how he and others (including myself) look at Southern Accents and think about what it could've been instead of what it is, I feel the same way about this book, thinking it a shame more time wasn't spent on the music and songwriting process than on Washburn's relationship to the past and what it means in relation to Tom's goal for the album and the actual record itself. I think I understand why he took this approach, as what's the point of art if not to move people and clearly discussing the album has given him an opportunity to clarify and perhaps expunge his own feelings of the south but this didn't interest me even where in some areas I agree; it is tasteless, hell worse than tasteless, it's downright wrong to tour with a plantation stage set and to celebrate the confederate flag to one degree or another and risk blurring the line between Tom playing a character on stage and in song and the musician himself. Having not watched Pack up the Plantation nor seen shows from that tour (aside from It Ain't Nothin' To Me) I don't know what else to say about that. When I was a little boy I never understood why the losing side of the civil war kept the flag. Then I just accepted it and didn't really consider it the way I figure most people don't think about it. It became a part of the south and nothing of interest to me. But I also understand how the band went with the flag as some in the South do view it differently, they don't think of it as slavery but as their own freedom and heritage; maybe it's a case where a symbol's meaning can change over time. I think I understand (but I could be wrong) to them, it was something they grew up with the way many of us do with symbols we don't understand; it was years before I learned Nike was a Greek Goddess (and I had to look her up again just now to remind myself since I thought she was Roman) and not just the name of a shoe company; symbols and their meanings change over time or are forgotten, so I get why Tom used the imagery without thinking beyond a simple connection to the idea of the South. My other main contention is Washburn's point that the black perspective isn't represented on the record. 1) It's almost a no-win situation. If Tom decided to write a song about segregation or slavery or racism or whatever, from a white observer or black p.o.v., unless he was truly inspired it could come across as pandering and be a weak song since the primary motviation wasn't writing a good tune but making a political point. My understanding is Tom sat down with a guitar or by the piano and began playing and songs would emerge and he didn't stop to question why or how but was grateful he could do it. If such a song came to him about a black man (or woman) or about racism I'm sure he'd have given it a go, maybe he even did and the tune ended up on the studio floor, maybe it didn't. But my understanding is he wrote the songs and then figured out how they fit (or didn't) on an album. So maybe he didn't have a song on this subject or from the black perspective. And even if he had written such a tune, years later he'd most likely be criticized for daring to do so as a white man or for not truly digging deep enough into the black experience. In other words, there'd be no appeasing criticism of the record in this area. 2) Tom isn't obligated to write about the black man or woman's experience. Why would he be even if the record is about the South? The South isn't just about slavery or its past and having grown up there and found success on the west coast, perhaps Tom's focus were on other areas not touching on its shameful disgusting past. That Washburn focused on this is his call but a little bit goes a long way and too much for my taste. I get it and I think the point comes across that no one in the band is racist and truly no harm was meant and beyond that, why keep hammering the point? Heck, Tom even chastised the crowd for the adoration of the flag from the stage at one point. And later apologized for its use. At points book became less about the album and more about the issue of racism, it felt like a bait-and-switch. Overall, it's disappointing. Still, I'm glad the book was written and did enjoy the parts that covered the music and can respect Washburn for being open about his past. Some other points: What I found interesting is how Benmont's take of his own band seemed to match mine to a degree, when on page 17 he says: "The band has always been up and down, it's never been a band that does a consistently great record after great record." While not quite my thought that each album has a really good e.p. underneath the weaker tracks, it's close enough, well...in my opinion anyway : ) While I didn't expect Washburn to offer a defense or even like the song, I never knew so many people don't care for It Ain't Nothing To Me. I still say it's one of Tom's best songs, it's not just catchy but a lot of fun with a unique structure he never repeated with that back and forth in the verses. Washburn notes the power of the chorus but like a lot of people just doesn't care for the tune. But hey! All three other people besides me who like this song still appreciate it! It's ironic that the two biggest cited sources for the disruption of the record were cocaine and Dave Stewart and yet without the latter the band would'nt have written perhaps it's strangest greatest hit, Don't Come Around Here No More. And maybe too much blame is laid upon Mr. Stewart when cocaine, wild expectations and a demo that couldn't be equaled were more than enough to derail the concept. The parts where Washburn discusses the transition to being an LA band is interesting. I don't really care one way or the other because I more thought of them as this weird little classic rock band that's a bit stranger than they seem on first listen. But I think it's an overall interesting observation, maybe he's right and on some level Tom had to formally draw a line between their southern Florida beginnings and where their careers really took off. He might be onto something that Southern Accents certainly could've been the catalyst for Tom embracing/promoting them as an LA band from that point forward. I'll leave this for more devoted listeners than me to discuss. To sum it up, the book's a well written letdown, especially after some of Washburn's interesting promotional interviews. Maybe it was naive of me to think more would be on Mike and Benmont and song discussions and less on race. It's also a bit off putting since this has come out after Tom's death and he can't defend himself though to be fair Washburn was going to interview him. If future books come out about the band I hope they focus more on the music and less on Tom (or other member's bios) and more on the playing in studio and on stage. I still rank Zollo's Conversations with Petty as the best book to date on the man and his band but it's good this book is out there. What do you think?
  6. MaryJanes2ndLastDance

    New TPATH Releases

    Two points: #2) Eventually these songs will be released, money and the record companies will see to that but it does make All The Rest seem pushed even further back. #1) I understand how you feel. Things went from friendly, enthused promotions for AAT to a sudden ugly affair. Could kill anyone's enthusiasm understandably. I figure law suits will be forgotten songs (ha!) if/when these promised albums are finally released. But in the meantime I get why even discussing it feels like picking at a pus filled sore. fini
  7. MaryJanes2ndLastDance

    Words on Take The Highway: Live!

    I think Kings Highway isn't on this (sorry Two Gunslingers) to protect it from being removed; I could be wrong.
  8. MaryJanes2ndLastDance

    Old & new interviews with Tom & the Heartbreakers

    Thanks.
  9. MaryJanes2ndLastDance

    Words on Take The Highway: Live!

    I agree. How about dames? Or better yet...goils. Da goils sure love Petty and dose Heartsbreaker. They got moxie, see.
  10. MaryJanes2ndLastDance

    Words on Take The Highway: Live!

    I meant I don't like watching Tom dance and that goes for anyone in the band, I don't care how well Mike Campbell cuts a rug or how well Stan can Frug. I guess Steve's tap dancing would be a possible exception but he ain't even on this video. Ha ha, you're taking this much too seriously. While I'm all for nuance on serious matters (especially online when there's no vocal tells) this is a rock-n-roll show with a giant fairy tale tree as background, evil presidents and a harmonica delivering wyvern. I'm not going to qualify every statement, that's just darn boring and really unnecessary. Of course women can appreciate musical technique and there's some who don't find Tom attractive (yeah right) and whooooo zzzzzzzzzzzz. What was I droning on about? Set list? Zzzzzzzzzzz. Not only do the ladies in the crowd enjoy watching Tom dance, they love it when he saunters up to the mic and says things like "...babydoll..." and "...hello..."
  11. MaryJanes2ndLastDance

    'Llamas hold each other tight' and other mondegreens.

    Ha ha ha! And apt too if you think about poor Penelope...
  12. MaryJanes2ndLastDance

    'Llamas hold each other tight' and other mondegreens.

    These are hilarious, thanks for posting this. I don't know how I missed this topic back in July, it's great! cheers
  13. MaryJanes2ndLastDance

    Let's Try to Make Southern Accents Great Again

    Here's the author's take. http://333sound.com/tom-petty-week-day-3-my-perfect-version-of-southern-accents/
  14. MaryJanes2ndLastDance

    Let's Try to Make Southern Accents Great Again

    http://333sound.com/tom-petty-week-day-4-pettys-death-and-what-happened-next/
  15. MaryJanes2ndLastDance

    Tributes and covers from peers and writers

    Lost Children was good too, nice singing. Interesting to hear a young band cover some deep cuts from TPATH. Never realized this before but the organ/keyboard part in Lost Children makes the song sound gospel-music like, the same way Learning To Fly was transformed from its roots, though here I think the song always had that component built in. I guess my only criticism is how they went with the live finish the Heartbreakers went with on this one instead of doing their own take which I would've preferred. Thanks for sharin'.
  16. MaryJanes2ndLastDance

    Tributes and covers from peers and writers

    Listened to Makin' Some Noise, nicely done, very supercharged version. I like the guitar sound as well, on the riff, nice and fuzzy. cheers
  17. MaryJanes2ndLastDance

    GRAND PRIZE WINNER

    She looks like a very classy young lady, Nurk. I'm glad she had fun. For those who care about such things I checked out the Aerosmith set list and for a hardcore fan looks like that would be the show to attend. Anyway, thanks for sharing. cheers
  18. MaryJanes2ndLastDance

    Words on Take The Highway: Live!

    Opening Credits---This could've gone on even longer! I really enjoy watching the band in seemingly candid soundcheck moments. I even really like that tiny guitar ditty Howie (rest in peace) plays. Kings Highway----Not included on this but could be to keep it from being struck down. Sorry Two Gunslingers. As for the song, I was never a big fan of this so...I'm still not. Not high enough energy for me; a good comfortable performance. I actually prefer the opening credits. Too Good To Be True----Here we go! A good song from the record and I like how they extend it, some moody Benmont playing. I Won't Backdown---Pretty much a straightforward version. Aside from the acoustic takes this has largely stayed the same over the years. Unfortunately I'm quite burned out on it but it's a good performance. Free Fallin'----Like the above but moreso. My favorite live version was the extended one they did back in the previous tour. A good version but I was never a big fan of this song to begin with and it's just been overplayed. Did Stan ever play the drumrolls in this song during the last verse? It's too bad he didn't as musically that's one of the best parts of the song in my opinon. Out In The Cold----Nice. It's a good version, nice and rockin' and much needed after the mellow Free Fallin'. Psychotic Reaction----A moment for the Psychedelic Dragon. Very funny. High powered, I love how Mike rakes his pick against the strings during the fast part. Very fun to hear Stan sing and band leap into hyperdrive. Ben's Boogie----Excellent! The only complaint would be it could've gone on even longer! Who doesn't love when Benmont transionts to the other keyboard! Just excellent. Except for Tom's dancing, sorry ladies I'm sure you liked it but...blehh. Terrible. Don't Come Around Here No More----What about that intro? One of the best intros to DCAHNM. I used to watch that part over and over, Mike setting up the loop, the e-bow making his guitar sound like "whale song", playing the mandolin, the rhythmic thump of Stan joining in...and that's before the song proper starts. Just a really good version; probably my favorite from all the times they played it live since the fast part goes on even longer due to the corny chase scene. Here Comes My Girl----Good. I'm Tired Joey Boy----I liked it. Into The Great Wide Open---Not a fan of the song overall but a fine version. Love Is A Long Road----Good, never understood why they never extended it. Refugee----Excellent. I love how the band gets mellower, then brings it up briefly before dropping down before the final explosion into the finale. The extended Refugee is my favorite live version of the song (aside from the goofy and fun acoustic bridge school take) and I'm glad they filmed this version. Runnin' Down A Dream----Pretty high energy. I still think it's a song that was never really captured live as well as on album but I'd say these early tours when it was still fresh are the best live versions of it. Lonely Weekends----It's okay, not much to say about this. Built To Last----Very good. I enjoy watching Stan drum with those mallets, I think and just the whole bouncy, yet mellow mood of the song. Like a 50s rock lullaby. Makin' Some Noise-----Good! A fun riff, fun lyrics and high energy finale! Thoughts?
  19. MaryJanes2ndLastDance

    Happy Birthday Mudcrutch

    Happy Birthday!
  20. MaryJanes2ndLastDance

    Tom Petty Mojo - Limited 2 CD Tour Edition 2012

    I never really cared for Takin' My Time but I really liked it all of a sudden. What a heavy sounding groove. cheers
  21. MaryJanes2ndLastDance

    Covers of Tom Petty songs

    How many more days & All mixed up cover. He plays drums and sings. It's impressive. Go check it out he's only at 183 views. https://www.youtube.com/watch?v=O4O1cfjz-bw
  22. MaryJanes2ndLastDance

    Random Thoughts Thread

    I just ate some grape leaves from a restaurant. Delicious! No meat, I've seen some made like that from a local greek festival. cheers
  23. MaryJanes2ndLastDance

    FAKE TV

    This is a pretty good book. Four Arguments For the Elimination of Television. https://www.amazon.com/Arguments-Elimination-Television-Jerry-Mander/dp/0688082742
  24. MaryJanes2ndLastDance

    Tom Petty Mojo - Limited 2 CD Tour Edition 2012

    What's interesting to me about this is how they managed a nice balance between big hits, Mojo tracks and some deep cuts: Mojo: 6 Hits: 7 Deep Cuts: 3 Good sound quality too! cheers
  25. MaryJanes2ndLastDance

    Tributes and covers from peers and writers

    https://www.stereogum.com/1965601/74-artists-on-their-favorite-tom-petty-song/franchises/list/
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