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MaryJanes2ndLastDance

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Posts posted by MaryJanes2ndLastDance

  5. Posted · Report reply

    Well, I guess they released "Somewhere Under Heaven" to see how the public would react to it.

     If true, how could this possibly surprise them? What was the last successful single and by that, I mean something that could possibly fit on Greatest Hits without people wondering what it is? I'm guessing Walls; that seemed to have a lot of airplay. They couldn't have thought Somewhere Under Heaven was going to be huge. There were no hit singles from Hypnotic Eye. It's not impossible for Tom to have a hit but I wouldn't count on it happening either.

    They should've just released All The Rest in time for the twenty year anniversary of its release. Maybe some hardcore Wildflowers fans would pick it up, as would the same people who purchase Tom's work.

     

  6. Posted · Report reply

    Some random thoughts spurred by TomFest's post.

     

     

    shadow people
    What's in their head
    in the car next to you when the light turns red
    Could be thinking of love
    might be thinking of hate.

    ---I think it's a general statement on the alienation of people from one another. Are the "shadow people" bad? Is it paranoia?

     

    That one's thinking of great art
    and eloquent words
    That one strapped on a gun and joined up with the herd.
    That one's saving up water,
    got some food stored away
    For the war that is coming on the judgement day
    Shadow people in shadow land
    and this one carries a gun
    for the U.S.A.
    He's a 21st century man.
    and he's scary as hell,
    cuz when he's afraid,
    he'll destroy anything he don't understand.

     

    -----This part feels like a critique of those who would harm others for misguided beliefs. The unknown potential for good and bad within people? A critique of Doomsday Preppers?

     

    well I ain't on the left
    and I ain't on the right
    I ain't even sure, I got a dog in this fight.
    In my time of need, in my time of grief,
    I feel like a shadow's falling over me

    -----Is Tom slipping away from taking a definite stand, not wanting to be nailed down to one opinion or lacking the courage of his convictions?  Or just saying he doesn't want to be on either side, doesn't want to be part of a battle between sides. Is it really a missive to personal responsibility? 

     

    Shadow people and shadow land.
    waiting for the sun
    to be straight over head,
    til we ain't got no shadow at all.

    ----Seems like in the end he's hoping for peace between people, an end to fighting.

    I'm curious to hear what others think in relation to TomFest's post.

    cheers

     

     

     

  7. Posted · Report reply

    "...this one carries a gun for the U.S.A,  he's a 21st century man.  And he's scary as hell 'cause when he's afraid,  he'll destroy anything that he don't understand".

     I hadn't thought of that interpretation. I took it as just a critique of a guy who misunderstands patriotism in every day life and carries the gun around eager to use it, for fear of the unknown.  A lunatic, one of the "shadow people." Someone looking to harm others.

    If it indeed refers to a soldier, I'd be very much surprised if Tom meant it as a general attack against the military instead focusing on a lone gunman type nut. A bad soldier.

    However, I'm willing to admit I could be wrong with my interpretation. You raise an interesting point TomFest. 

    cheers 

  8. Posted · Report reply

     I was just referring to an "Em" that covers the 4th and 5th strings on the 2nd fret, and all the other strings open.  The most basic version of an "Em".  

     Cowboy chords! I thought you may be referring to this time of Em...isn't it also a B chord as well? Or B power chord? Whichever, that's a fun one to play. Thanks for the explanation.

    cheers 

  9. Posted · Edited by MaryJanes2ndLastDance · Report reply

    Sure, there might be a "blues styled" tune more than usual on Mojo, but to me that's far from as prominent as certain features that other albums may have. Yet you rarely hear a lot of fans speak about the Shelter label albums as blues records, the early 80s as the country years or Hypnotic Eye as a jazz album. But somehow Mojo hits home as a blues album in people's minds. A very misunderstood album as I see it. Misunderstood for better AND for worse, I might add.

        I can see why and how they came up with the "blues" approach to selling the album. It's Tom's 12th (?) album, Mike's guitar playing is a large factor, the songs are longer than usual, they're inspired by the blues and some songs are the blues, or if you prefer, "the blues." I'm fine with it (to a degree) being considered their blues record, since some songs actually go in that direction and seem to have inspired the entire album. What's a shame is that the record is more than the blues and that for some, perhaps myself included, it was a bit of a barrier.

           Perhaps it should've been pushed as their guitar showcase record. 

          This album has some really interesting and unique songs for TPATH and I figure with time, it'll lose its blues reputation and be listened to fresh.

    cheers

     

  11. Posted · Report reply

     

     

      On September 22, 2014 at 7:15:14 AM,  Shelter said:

     Personally I hear Mojo as at most 20% "blues", 50% typical TP easy going rock, at least 10% psychedelic soft rock (maybe the most interesting development in style showed here, as I see it!), 15% balladry, a few % straight r'n'r, and one undeniably fascinating showcase of how TP's alleged skill for combining themes like humor and drugs, can be manhandledly highlighted into sheer caricature and mess up the total vibe beyond belief. (And for the record, no. I wouldn't call it reggae. In other terms than the beat.) Far out dude, huhuhu..

     Interesting percentages there.       

    A lot of the songs on Mojo sound like new ground for the group, while still being a rock-n-roll band. I don't care how one classifies Pirates Cove, it sounds fresh, as if their experience as musicians and creative persistence enabled them to produce a song with a dreamy and unique sound. In my opinion, it's the antecedent to Full Grown Boy, though again, that song also feels like something new for them, it's not Another Trip To Pirates Cove. 

    It occurs to me now, that perhaps the best thing about Mojo is the celebration of band itself! With the recording of this record they all played live together while Ryan recorded; the album being not just a celebration of Mike's guitar wizardry but of the entire band working together. So while the creativity focuses on the band (and especially Mike), a celebration of the group that he's led all these years, it also revels in how well they play together, and in doing so  elevate Tom's songwriting.

    I recall reading an interview where he said that this is how he wants to approach future albums, this communal band spirit at work in the studio. 

    Not only are the best moments on this record where they push themselves into a unique amalgam of different styles that somehow sound both fresh and like them, but that perhaps this primarily occurred because of them playing together as a band.

    In short, this album shows off how well they play together as a band and while doing so, push Tom's songs into new territory!

    cheers

     

     

     

     

     

     

     

  12. Posted · Report reply

     

     I would even suggest it makes it a better album, since the most far reaching blues efforts on it, to my ears, also are the less successful songs. What it does however, is adding some confusion. Like I said, Mojo doesn't quite work as a held together album in general for me.

     

        I agree, the most successful songs for me, are the ones that aren't the blues or blues homages. Unfortunately, like many of their records, Mojo doesn't work as an album the way FMF or HE or Long After Dark do. Still, 8 solid songs are pretty good; it's just too long with too much filler. I think a shortened, maybe three minute tops version of Two Men Talking would've worked. Why so much shorter than how they play it in concert? With all the guitar soloing on this record, a good short groover would really mix it up. If anything, I think what this album needed was a couple shorter (and better ha ha!) written songs.

     

    cheers

     

  18. Posted · Report reply

    Does anyone here play it on guitar? What do you play?

    I've given this a go, mainly based on a youtube video I found.

    I think the main riff is:

    an E chord high on 7th fret.

    Then you play a F# note on the A string 9th fret. 

    and a D note on the 10th fret on the low E string.

    Listen for the rhythm, it just repeats throughout.

    At one point, Mike plays an E chord on the 7th fret and holds it, then an F# chord on the 9th fret  to E chord on the 7th fret, to    a D chord on the 5th fret, C chord on the 3rd fret and ends on a B chord on the 2nd fret.

    I think that's roughly it.

    If someone has a different or better take on it, kindly post. Thanks!

    cheers

  19. Posted · Report reply

    The more I listen to this song, the greater my appreciation for it. What TPATH do with a simple riff and some chords is really good; the song has a lot of power from its simplicity and groove. Heck, it's all groove with some really good soloing over top. Now that I think about it, I'm surprised it didn't make it onto Mojo in a shortened version. But maybe it's better as a live only track...

    cheers

  20. Posted · Edited by MaryJanes2ndLastDance · Report reply

    I know this goes against my apparent ethos of no cover songs but if they are going to cover something, why not this? It has a catchy riff, it's simple to learn, and while I'm sure Mike could learn the solo, there's space for him to make it his own. Tom could approach the lyrics as getting into character, perhaps as the central figure in You Got Lucky. It wouldn't be a note-for-note rendition but still recognizable, transformed by their own musical sensibilities. 

    Enough of Gloria, Green Onions, and the 50s-60s blues-pop song of its time they've played multiple times.

     It would certainly be unexpected.

    cheers 

  21. Posted · Edited by MaryJanes2ndLastDance · Report reply

    Bringing some posts here from the other thread on "Least Favorite Album"...

    Sure can. :)

     

    Well, again, to me there are a few more or less important distinctions at work here, if we are gonna keep that Mojo working for awhile..

     

    1) With regards to the merits of Mojo as an album, I hear a really good and wonderfully produced album and I definitely hear a bunch of absolutely fantastic songs, some of which are among the best TP's ever penned.

     

    2) I appreciate it reaching for certain "down to earth", "real music" aspects, having some kinda "purety" theme to it (much as I hear, let's say Wildflowers). 

     

    3) Desptie this, I don't quite hear it holding up fully, as is, as an album, in terms of groove, sequence, over all quality of the material, and I find it too long 

     These are all good points. Of course we all differ on what makes the cut, while I'd drop "I Shot the..." I mean, "Don't Pull Me Over" someone else will want to keep it.  The album doesn't hold up as a listening experience, I don't want to hear to it all the way through and not in this order. Unfortunately the blues pastiches bring this record down; too much filler to get to the good, blues inspired yet Heartbreakers songs like First Flash and Something Good Coming.

    cheers

     

  25. Posted · Report reply

    Thanks for posting this Liberty.

    While I know Tom and the others indulged in Marijuana and alcohol I feel a bit naive since this really surprised me. I just never thought of him as someone who'd be addicted to heroin. He seemed too smart and I would assume wiser especially after breaking his hand. Sometimes  you just never know, huh? I'm glad it's behind him. 

    As for Stan's perspective, I hope it was a healthy outpouring for him. It'll be interesting to read his experiences. I figure it'll be a mix of being the youngest "brother" of the group and all that entails, mixed with personal insecurities, headstrong behavior and a heavy measure of hurt feelings and perhaps some betrayal as well.

    There's a pretty good interview with Stan on the PettyArchives where he seems to have come to a healthy acceptance of the past and appears to be in a really good place, this seems like it's going to be his definitive word on his time in the band.

    Often reading these intimate details feels a bit strange and uncomfortable for me. While I do have some curiosity to read this book (and I think it'll be a good companion to Conversations by Paul Zollo) there's a little bit of trepidation as well. Not in that I have any of them on some lofty height, no, not at all, I figure beyond the love for their music, and acknowledging their talents and what they've done with them,  life is still life, even if you're good friends with one fourth of the Beatles, but because generally, I think their personal life is their business, my curiosity is more on why the set lists are so static or what it was like recording Mary Jane, etc.

    Still, I'll probably read it. I wonder if it will have any effect on people's enjoyment of their work, new insights and such? 

    cheers

     

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