MaryJanes2ndLastDance
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Posts posted by MaryJanes2ndLastDance
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Here's a link to a topic on Hypnotic Eye Chords...
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Whoops!
By far, your best points...!
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Good points!
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Never heard American Girl played acoustically. Would love to hear it, though!
http://www.guitars101.com/forums/f90/tom-petty-oklahoma-city-ok-11-04-91-zip-123154.html
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I think he's viewed as a classic rock oldies act. A new album that no one but the hardcore care about and a powerful album of hits people love. "All The Rest" may be the exception to that since Wildflowers was a big record for him; but even then...are there that many people excited about more Wildflowers?
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I'm bringing some Mojo comments from that thread to this one:
instead focusing on the straight rock core that to me is noticable in the album thanks to absolutely great songs like First Flash of Freedom, Running Man's Bible, High in The Morning, Good Enough and to some extent I Should've Known It. A masterpiece groover like Pirate's Cove or a ballad like Something Good Coming sure have a given place on such album, while my sensitive (well..) taste buds would spit efforts like Don't Pull Me Over, Candy and Let Yourself Go right out with the semi-blues stuff, right after tasting.
When I think about it now, it's too bad they didn't go for some harder rocking songs on here, not necessarily fast rave-ups (not that I would've minded those) but a few more songs in the vein of I Should Have Known It and Running Man's Bible. The high moments on this record are pretty good, so it's a shame that the blues-pastiche (if that's accurate) clogs a lot of it up. But that also fits with my "good e.p." take on the band. This has about a good solid 8 songs that with a couple more heavier numbers, would've been their all out heavy rock album.
cheers
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I'm bringing some Mojo comments from that thread to this one:
As for Mojo.. well.. first of all.. this is NOT a blues album.
I don't know. It's definitely more than a blues album, but to deny the influence and attempts at the blues isn't true either. Tom Petty's Frankenstein album? It's got some blues, it's got much better songs that aren't "the blues". Since the songs are much longer than usual and there is a blues element to the record and Mike's playing was the focus of much of it...I understand why it was thought of as the blues album.
And while that label may have put some people off it, it's possible in time the "blues" will no longer be connected to the record.
On a side note, I think the cover would've been much better without the photo of the band, just the name of the record as is and band name in smaller type at the bottom.
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Step forward Mike on a full album just like you did for the last third of each concert on the 2014 tour. I should have known it
I'd be curious to hear a Heartbreakers version of a hard rock/heavy metal album. Or at least a song. Sure, "heavy metal" has all kinds of connotations one doesn't associate with TPATH, but I'm referring to heavier guitar playing, as if I Should Have Known It was the lightest song on an album. Heck, an e.p. even.
But I think American Dream Plan B, some of Mojo, All or Nothing, Come on Down To My House and You Wreck Me are as hard or heavy as they're going to go.
Still, it would be interesting to see what they'd come up with. Hard Rock via the Heartbreakers, could be a lot of fun!
cheers
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I've long since learned to completely ignore the ''marketing spin'' that accompanies the release of A TBATHB album. Mojo is not just a blues album, just as Hypnotic Eye is not a 'return to Dam The Torpedos', just as The Last DJ is not just a ''middle finger to the music industry''.
I understand ignoring the marketing, even though, for better or worse, it was effective with Mojo. I don't think the blues label will last though and listeners will come to hear it for what it is. At the same time, it does have several heavily blues influenced songs, or as Shelter called it, blues "posing" or homages on here.
Regarding Hynpotic Eye, I don't know if I saw it referred to as a return to DTT but if so, perhaps they just mean a return to rocking out, in a way they haven't in years and years, as well as a nod to his earlier style of singing. I was surprised to hear his voice the first time I listened to American Dream Plan B.
To bring it back to your point, though...yes, usually ignoring marketers is a good way to go.
cheers
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Something In The Air is a piece they should try live again sometime.
I'm all right with Something in the Air as being from a particular time and place. That is a great version of it. Sure, if they played it, fine, but if they didn't, that's okay too. It's definitely different from a lot of their covers, not some 50s rock song or bluesy number, but an interesting number with a slight psychedelic edge and a jaunty swing.
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(I know how much you love the covers...! )
I'm just relieved they do them. Why, without covers they'd have nothing else to play.
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(yes that Worst Album thread where I defend Mojo for more details)
I shall check that out thread!
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The style itself is not a problem. I'm a huge blues fan.
What bothers me (well, bothers is a strong word) is that I don't find, whatever you want to call it.. the blues tendencies.. on Mojo to be very succesfull. I find them somewhat posing, like utterly skilled show casing of an image of a style.
I get what you're saying. I'm not a blues fan, it's fine to listen to every so often but I'm in the mood for it, which is rare. But I can enjoy it. I've listened to some blues here and there, and some Hendrix playing the blues but it's not a style of music that I'm usually eager to hear.
I'm somewhat aware of people's views and the attendant arguments of the blues, authentic blues, can a white guy play blues, and so on; a very superficial awareness. Again, since it's not a style of music I'm into, I don't really have an opinion on any of it; but I get what you're saying regarding "posing."
It feels like them attempting the blues but not really adding something to the form; which probably just comes down to the songwriting; though I did note, that for myself, a lot of what I enjoyed of this record was when they veered off into their own. Perhaps it comes down to being inspired by the blues, versus "posing."
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I don't know, when I've a chance I'll do a search for them. I know some kind soul shared the chords for quite a bit of Hynpotic Eye tracks in the past.
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You made it through!!
I have shared my views on Mojo before, in depth, from various angles and multiple times, but in general I find most of what you say agreeable.
I did a quick search "Shelter Mojo" but not much showed up. If you remember specifically on here where you go into the album, I'd like to read that.
Perhaps others will join in on this as well. The big surprise is how many songs deviate from the blues moniker; a good thing for sure!
cheers
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The TPATH blues album. But is it? Is it really the blues, or their version of the blues? And if so, is that all there is to it? Or maybe it’s neither. Is blues a misnomer? And did that hurt the album’s reception? More importantly…most importantly are the songs any good?
01) Jefferson Jericho Blues—Well there it is, track one and “blues” in the title. I guess that settles it; this must be a blues album! At first I liked this song but I don’t know, the riff can be annoying. That guitar sound kinda annoys. The lyrics are depressing especially when tied to the music. I get it, it’s a depressing subject sung in a jaunty number. It’s all right, I guess. I like the tempo but the sound of the riff is a bit annoying. I guess this is just all right, it feels like something that will grate even more with time. Maybe it’s not so good after all. Yeah, I don’t like hearing this, it’s an insistent and annoying riff. I can see my opinion shifting on this one depending on my mood.
02) First Flash Of Freedom—this is pretty good. Musically it sounds like new ground for the band. The riff is interesting, the sound is good. I really like the playing during the verses, that guitar sound and the rhythm sounds unique. Here and there, this song slightly reminds me of It’s Good To Be King, just a tiny bit. His voice is so plaintive, it’s a real heartbreaking song without being obvious about it. It’s not a ballad, not quite the blues, but something else. It’s a good song, I just think it goes on a bit too long. But I can understand why people listen to this and gratefully get lost in the sound.
03) Running Man’s Bible—I like this one a lot. This could be my favorite on the record. The riff is cool, has that slightly slinky spy theme feel to it; when I think about it now, reminds me a bit of Fault Lines. One can see how this song gave way to that one. Very enjoyable!
04) The Trip To Pirate’s Cove—a really interesting sound. Again, something different for them. Once more transcending the cliche blues that they sometimes hit on this album. Another dreamy song, reminds me of the same spirit of First Flash. Some interesting lyrical moments as well, crafting a weird ambiguity.
05) Candy——terrible. All of the worst elements of Tom’s songwriting in one song. A throwback to rockabilly mashed together with the blues. Just awful.
06) No Reason To Cry—This is all right. A gentle catharsis. His voice veers a bit too close to Dylan territory for my taste. One of the weaker songs on here but at least not a bad bluesy one.
07) I Should Have Known It——the classic rock blues song. I like it. Sure, the riff sounds a bit derivative, much the way Saving Grace does, though aping a different band in this case but I still like it. I wonder what an entire album of this kind of heavy playing would sound like by them.
08) US 41——sounds derivative. Stuff like this is why it’s considered their blues album At this point, I thought maybe that was a mistake but no…this is their blues album for better or worse. It’s just there are moments where they transcend their version of the blues and no surprise, those moments are my favorite on the record. Back to this song, I like it when the drums kick in; it’s still derivative but at least it’s toe-tapping!
09) Takin’ My Time—the very beginning sounds like that elton john song I don’t like, I expected to hear “benny benny”. Oh no, this isn’t good at all. What is this? Some kind of weird blues marching band song? A military funeral? sounds crappy. Except for that weird guitar sound, that super deep sound. That was good. But a sound isn’t enough to justify this. The "fuse lit" line is good. But…okay, now they are kicking in. Another good Mike solo. This song this feels like a guitar solo delivery system, which, well…I enjoy the playing but the rest of the song is dreadful.
Whew! This is a long album. I feel like Tom needed to come on and say, “Hey, now’s a time to turn this album off and go do something else for a while,” For a band that largely thrived on succinctness, they really indulged on this record. I don’t think it’s a good thing overall.
10) Let Yourself Go—another jaunty number. I like the way he says “town”. This song borders between good and corny for me. I think I like it. I really enjoy Benmont’s playing during the fade out. I think with repeat listens I’ll have a better feel for this one; I kinda like it but don't know if that'll be the case with over time. For now it's a good one.
11) Don’t Pull Me Over—I heard someone compare this to “I Shot the Sheriff” and it’s a pretty accurate comparison.
12) Lover’s Touch——Oh boy. I don’t know about this song. Good playing but it just sounds so…derivative. With nothing there that sets it apart. Breakdown, it has a good riff that forms the backbone of the song. But what does Lovers Touch have? Just some chords that try to be something but fail. Sure, they do a good job playing it but the result is just bland. Save for Mike’s solo. I guess…if I view this album as a chance to hear Mike solo, then I get it. But as an album of songs that I want to hear, it fails.
13) High in the Morning—I was dreading this one based on the title but was pleasantly surprised. There’s an attitude in this song, it reminds me of Two Men Talking not musically though there is a simalarity, but in attitude. And what a solo. Mike holds a note at just the right moment and the sound of his guitar, the high pitched texture is good. I feel if they’d recorded this in 76, it would’ve ended when Tom finishes the last chorus, but because this album is giving Mike a big spotlight, it continues on with an enjoyable outro.
14) Something Good Coming——Wow! Now this is a really good song! I like that it’s here towards the end of the album. There’s something to the playing and the way his voice sounds against it, this is a really emotional song; here it feels like they are being themselves in a way some of the other songs feel off, like they’re doing an homage to the blues, while this is really them shining through. The chorus sounds like them. Not that they don’t sound like them on other songs, just that here they sound genuine. Ahh, not like they’re faking the other songs, it’s just…it sounds like them trying to do the blues while here they are doing their own style of music, while influneced by the blues, it’s something else, especially with that chorus. It sounds like it could’ve been on Into the Greast Wide Open. And that solo…nicely done.
The lyrics are touching, especially with how he shifts his voice, it almost sounds like he’s going to stop and breakdown and cry in the middle of this, not neccesarily from sadness, but just from feeling too much all at once. The yearning in his voice and the gentle swing to the music makes this a very good song. And for this album, it’s rather short.
15) Good Enough——Ah yes, I recall this from the concert I heard. Hmm…I don’t like it here at the end of the record. I feel like Something Good Coming was the best song of this bunch to end on; this one feels like it should’ve been in the middle but then, it feels somewhat similar to First Flash. Of course, that could be from hearing them live so much that they feel more similar than they are. So maybe that's why it ends the record. Or because the second to last song also uses the word "Good" and this is a reply to it.
I like when it kicks up a notch but some of the playing here sounds like classic rock, a bit derviative in a way Mike usually isn’t. I Should Have Known It has the same problem.
Some nice brief fills by Steve. I don’t mind the song’s length in concert but on album it’s too much. The part that goes back into the verse after the chorus is all right.
Whiskey and risky is a corny rhyme.
The main riff isn’t bad but that doesn’t make it good either. Boy, Mike can solo. I feel they should really let him go even wilder in concert; between him and Benmont they have two musicians blessed with amazing ability and incredible improvisational skills. The only thing that feels like it lends itself to being the last song is the way it ends, it feels like a period. But that’s probably just because I know it’s the lsat song. Which it shouldn’t be. Something Good Coming is way better and should’ve ended the record.
In the end, it’s more than a blues album but I’m all right with it having the reputation as well; because it sounds like their attempt to do the blues and much like their early albums, it’s the blues via the Heartbreakers, which doesn’t sound like the traditional blues at all. Except those times that it does and those are the weakest songs on here.
It is quite different from their other albums and that’s good overall. What surprised me, was how much of this is more than just simple blues progressions; there’s still an element of rock and pop mixed in, but if the blues was in the background on their earlier albums, it’s been moved up to the foreground and now the rock and pop elements are less obvious, but when they do appear, are more effective.
Once again, a mediocre album cover. To review, what are the good ones? In no particular order:
Highway Companion
Into the Great Wide Open
Southern Accents
Hypnotic Eye
That’s about it. What do all three have in common? It’s not a photo of Tom or the band. I understand why their early albums were group covers or Tom covers but at some point you’d think they’d want something different. Unfortunately, while they did something different (for them) with the music, too bad the cover is just a boring photo.
Some of their tour posters would’ve made for better record covers. For someone who loves vinyl and puts a lot of care into the track listing, I’m just amazed at how many lame album covers they have.
Once again, a good 8 song e.p. in here. The rest of it could be cut and I’d be fine with it.
That sounds like I don’t like this one, which isn't the case but as an album it doesn’t work, too long, too many bluesy derivative numbers that are easily forgettable despite some excellent guitar solos.
I like that they went for something different for them, maybe not different from some of the covers they play or rehearse or soundcheck but different from any other album they’ve released.
While a lot of the songs are just too plainly...wait for it...here it comes...derivative and boring to boot; the masterful soloing not enough to make me want to listen to them again, there are some really high moments on here; those times where they really do explore new territory as a band and those make it worthwhile!
I can see how they leapt from this to Hypnotic Eye. And I’m glad they did!
Had they recorded more songs in the vein of Running Man, First Flash, Pirate, & Something Good Coming, I think this album would stand as a very successful departure and not warrant the blues reputation. But again, a really good e.p. is inside this record. It’s better than Hard Promises, it’s high points probably better than Echo’s and maybe even better than the Last Dj. Which is quite a surprise.
Now that I think about it, this record feels like a more mature attempt at Wildflowers. Another pass at mellow and thoughtful music with more experience; a good moody album with some rocking moments that largely explores new territory within the rock-pop and yes, blues world.
cheers
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I never said the record execs don't care. They probably $$ do care $$$$ quite a bit $$$$$$$.
It's like FMF, one group of executives...didn't uhh...hear a...umm...single and another bunch did.
Similar to All the Rest, let's release it in time for the 20th anniversary, no let's release a single first, no let's wait till Christmas, let's...and so forth.
cheers
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Hi,
Maybe collect all the posts showing guitar tabs and chords under one sub forum for easier perusal.
cheers
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I don't think any musician who considers themselves an artist, who wants to progress in songwriting, puts much thought to the past and rarely enjoys dealing with it. My understanding is Playback emerged from the efforts of Tony Drakoulias (sp?) to organize the materail so Tom and whomever could give it a good listen. Same with the live anthology, first Ryan Ulyate had to go through all the tapes. Granted, the Wildflowers sessions aren't over 20 years worth of live recordings but I just don't get the feeling this project is a priority for Tom, the way perhaps a new Mudcrutch and then a Heartbreakers album is. Hence the strange trickle of information, the single without any immediate follow up, etc. It's not like people are storming the record company gates demanding it, I doubt most people not on here are even aware of it. But they'll release it.
But there's no way a record company is going to turn down a chance for profit and since Wildflowers was a significant record for him, not only for his new songwriting style but also because he gained new fans, they are going to release "All The Rest" and hope its connection to Wildflowers brings in a good amount of money.
Waiting for Christmas makes sense for how companies usually operate. Maybe the original intent was to release it sooner and someone with a different agenda prevailed. But I'd be surprised if it doesn't get released.
cheers
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I feel that they were a bit stuck soundwise since the grand 1982 tour, until 1991 again opened the door for things to start moving.
This makes sense to me, though the Wildflowers tour certainly doesn't seem where they'd go at the end of Touring the Great Wide Open. Not just with Stan gone, the tour has a different feel, much of which I'd attribute to Tom's new songwriting approach and Steve's drumming.
A forgotten moment is the 93 homecoming show. This feels very similar to the Great Wide Open tour in feel and sound; in a way, Stan's farewell show; which is fitting since it's The Greatest Hits show. What a good performance, too. The debut of acoustic and mellow Kings Highway, Something in the Air, the last Psychotic Reaction with Stan, a nice longer version of Mary Jane, Deathray Boogie, Drivin' Down to Georgia debuts...it's a good show! Though it bothered me that the intro robotic/alien/distorted voice says: Tom Petty and the Heartbreaker.
It's Heartbreakers! Plural!
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Anyway, maybe since FMF was the first album to employ minimalistic drums, it worked well, because it was not yet a formula. It's still kind of playful even in its restrictiveness.
Phil Jones has some very distinctive moments on here; the two that immediately come to mind are the awesome drum breaks in the Apartment Song and those classic drum rolls in Free Fallin', building up the tension during the last verse and into the final chorus!
And his drumming on Runnin' is perfect, driving the song while Mike wails.
cheers
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I've come to really like Room at the Top. I think it's a good song, with a nice groove, those excellent slashing guitar chords during the verses after Steve kicks in and some excellent playing at the solo with Mike and Ben on the clavinet. I love that sound!
cheers
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I always liked the Orion's belt line in Dark of the Sun but, much like Kings Highway, it just doesn't work musically and is also a tune where the Jeff approach (tm Shelter) is really evident. It's uptempo but a bit too twee for me; like Jeff was trying to reconstruct Penny Lane through the Heartbreakers and failing both at the same time.
However, the songs that work are quite good. Have they written another song as heavy and powerful as All or Nothin'? That's a wall of guitars, no a wave of guitars washing over the listener; right from the beginning, there's such a powerful groove to the song. I'm assuming Jeff had a hand in the finished version. And without him, no Full Moon Fever...!
Tom's said it, others have observed it but ITGWO was really an attempt to mesh Jeff and the Heartbreakers and when it worked, it was great and when it didn't it was bland...and unfortunately not a good time for the band.
Per usual, what's great or bland (and anywhere in between) differs wildly for everyone!
cheers
TwoGunslingers reacted to this -
ITGWO found him arriving at the point where he had fully integrated his new abilities into his system. Maybe that's why he could throw the doors wide open (no pun intended... but maybe things are connected here).
I don't know. Well, actually that's a good point about "fully integrated." But...for me, there's a good chunk of songs that don't work and I wonder if I'd like them more had there been less Lynne influence and more Lynch influence. I just realized, those last names are quite similar...synchronicity, perhaps?
Mojo---a surprising album
in Great Wide Open
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This is a really good song of theirs; they took their songwriting to another level, the texture of the song and the lyrics result in a memorable dreamy tune that sounds like nothing else they've done.