MaryJanes2ndLastDance

http://www.charlestonmusichall.com/event/1574610-black-jacket-symphony-present-charleston/

NS2, EMPORIUM & CMH PRESENT:
THE BLACK JACKET SYMPHONY PRESENT TOM PETTY'S "DAMN THE TORPEDOES"
THU · FEBRUARY 1, 2018
DOORS: 7:00 PM / SHOW: 8:00 PM
$25.00 TIER 2 | $35.00 TIER 1 
ON SALE
FRI · OCTOBER 20, 2017
10:00 AM EDT
 
Dinner & Show option available for an additional $32 
Call for reservations after purchasing Dinner & Show option
Dinner at Vincent Chicco's - (843) 203-3002
Dinner at Virginia's on King - (843) 735-5800
CLICK HERE for Details and Menu Options
Tickets can also be purchased at Music Hall Box Office:
37 John Street (843) 853-2252 | Monday - Friday (10 am - 3 pm)
Ticketfly Hotline: (877) 987-6487 | Everyday (10 am - 9 pm)
      THE BLACK JACKET SYMPHONY The Black Jacket Symphony offers a unique concert experience through recreating classic albums in a live performance setting. A selected album is performed in its entirety by a group of handpicked musicians specifically selected for each album, with no sonic detail being overlooked--the musicians do whatever it takes to musically reproduce the album. 

The performance is separated into two sets. The first set features the album being recreated as a true symphonic piece. The second set, which features a selection of the album artist's "greatest hits," opens in full contrast to the first set with an incredible light display and the symphony being much more laid back. The tone is set very quickly that the show will feature the high level of musicianship of the act being covered and will also be accompanied by all the bells and whistles of a major rock and roll show.

I don't think of them as prized, that's giving them too much value but I have some concert t-shirts and two set lists, one from the Echo tour and one from the pre-last dj tour I got from the soundboard guy after the show, who kindly gave them to me.  
Like the posts above, the rest falls into the non-physical, listening to the music and jamming on some of it with friends.
cheers

http://www.rollingstone.com/music/news/ringo-starr-on-tom-pettys-death-it-was-a-shock-w508982
 

http://www.rollingstone.com/music/features/stevie-nicks-looks-back-on-her-friendship-with-tom-petty-w508749
 

I understand. As an exception to many, and while not a punk I don't think but I saw footage of Iggy Pop recently, nearly 70, running around the stage and singing Lust For Life; which is inspiring.
 I wonder if he had toughed it out, considering how few new songs they'd generally play live he could've maybe enjoyed being on stage with them still. And with time, would've adapted or found something to enjoy with the mellower numbers, etc.
No, it's more the songwriting that Tom did, which is why the change seems so prominent. If She's The One is largely unused Wildflowers tracks, the next two Heartbreakers records are Echo & The Last Dj, which seem to be in more of this newer, mellower (to a degree) style than before. It's as if Tom somehow reinvented the band which is interesting.
Now the lack of new singles could've just been a natural thing that would've happened all along; but it's interesting that this style of songwriting, aside from Wildflowers and I guess, Walls, isn't what the band is really associated with. 
I like both styles though, most of the live shows I listen to are with Steve on the drums and I find a lot of good tracks among both; and even with the change in style, which may have been something Tom was heading towards but seems abrupt and nearly uniformly distinct across records, there's still something different about them that they maintain which keeps them from sounding like their other contemporaries, like Seger, Springsteen, etc.

Sure, that makes sense. But it's not as if the majority of the songs necessarily had to become more mellow or simply groove oriented; and as a counter example I'll point to the live shows where they continued to play uptempo numbers like Runnin', Need To Know, Refugee, You Wreck Me, American Girl, Driving Down to Georgia, Black Leather Woman, etc. without losing a step.
 I agree; and I think it's a subject worthy of its own topic. There's a level of weirdness in TPATH's music that is rarely mentioned. I think without this they'd be more like Springsteen, Bob Seger, etc. Instead they've recorded Luna, Don't Do Me Like That with the surprising double-time bridge, Don't Come Around, It Ain't Me, It's Rainin' Again, MyLife/Your World, Full Grown Boy, Money Becomes King and others I can't recall at this moment.
Nicely phrased.
Really? I find that difficult to believe as you've definitely commented on the style and subtleties of Stan Lynch's drumming, etc.
 Yeah, I sometimes forget about Into the Great Wide Open (good album cover) as the last hurrah with Stan. I think Full Moon Fever influenced ITGWO and while it's not as good of a record, it still has a lot of high points. 
Sure there was nothing really different about them doing another rock record but...one should never underestimate the power of a good rock song which most of his album has. Aside from some of Let Me Up, I don't think they'd record another proper rock-n-roll album in any way similar in vibe if not execution like the first three records till Hypnotic Eye, which certainly shouldn't count as repeating themselves!
cheers

It's a fitting dividing line.
  I understand. It's odd but I listen to a lot of live TPATH so it's refreshing to return to the studio albums. I guess there are more high points in the pre-WF period but I also like quite a bit that followed. 
 I agree. Following up DTT with Hard Promises was doing the unexpected. But I don't think Long After Dark was a step backwards either, nor is it them treading water as Tom suggested, it's good the band put out another more rocking album after some of the thoughtful and moodier Hard Promises. 
The band never truly went experimental, no Heartbreaker's Mystery Tour but...within their own context their sound definitely evolved. Ironically enough, I think Echo and the Last Dj are both quite similar, though the latter feels more optimistic to me, overall. I guess if you're in the mood for albums to drift along to, it's what a lot of these records feel good for.
It's interesting to listen to something like Nightwatchman followed up by Echo (the song). Or Finding Out by Good Enough. 
 I guess what happened, is the template changed for the band, from rock-n-roll to something with more of a groove, with heavy amounts of introspection and even the blues. That's a pretty big shift. With the lack of hits following Walls most of the different areas they went to as a band stayed confined to the records and residencies. When I posted this topic I was strictly thinking of the albums but when I think about it, the WF tour introduced the longer jams in concert.
Prior to that tour, what were the songs that really got an extended live version? Breakdown. Jammin' Me. Runaway Trains. Dog on the Run. Shout. Kings Road. A Thing About You. Hm. But did any of those hit the ten or eleven minute Mary Jane or It's Good To Be King? 
 
 

Fittingly enough I was watching Two Men Talking from Soundstage when I again thought about the two differetn TPATHS.
From their beginning the band's style of music had more of a pop-rock-n-roll feel peaking with FMF which is pretty much one uptempo number after another.
Sure, not every song was a Too Much Ain't Enough  or I Need To Know but even when they played ballads or slower numbers, the vibe was different than what came later.
 My Life/Your World is a song that grooves along at a good midtempo. I like it for the most part, it's a bit strange, heavy doesn't really sound like anything else. But those types of songs don't dominate Let Me Up and they have a different feel. I think someone on another forum quoted here said it better, that with WF and I'm paraphrasing, it became more of Tom as songwriter separate from Tom as part of the band. 
If the two first albums, while interesting on their own, were building up to DTT, then the next couple albums felt like variations on that style of songwriting; I think Rebels is another attempt to achieve Refugee, especially the way both songs begin with different instruments coming in.
I think a lot of what people find appealing with the Heartbreakers, not the main thing but something they may not even be aware of is how well all the instruments blend together. I'm not talking about subtle stuff that Benmont mentions in the making of DTT, but just the way the instruments work together; it's their sound and you hear it in so many of their albums.
But Wildflowers changes that. Gone is the thought of keeping to succinct songs and midtempo becomes king. I think the midtempo numbers take over for the rest of their recordings, with some exception until Hypnotic Eye which was a deliberate attempt to play more rock-n-roll.
I think the band is very good at the midtempo songs, and at establishing a heavy groove, like Two Men Talking. But when I look at the albums I see a continuation of approach, from WF, through She's The One (which had unused WF tunes), Echo and the Last Dj and Mojo.
Now some songs have more of an upbeat nature but still, there's something different in the songs from WF through Mojo. Heck, Mojo could be the ultimate culmination of that sound with the longest, heaviest midempo tracks they've put to record.
There's a big difference between I Need To Know and Room At the Top and it's probably why they kept on as a band, Tom in many interviews said he kept pushing for them to go in new directions on record. I just find interesting that there's such a distinct line between how the band changed.
What do you think?
 

http://www.rollingstone.com/music/features/stevie-nicks-looks-back-on-her-friendship-with-tom-petty-w508749
 

http://www.charlestonmusichall.com/event/1574610-black-jacket-symphony-present-charleston/

NS2, EMPORIUM & CMH PRESENT:
THE BLACK JACKET SYMPHONY PRESENT TOM PETTY'S "DAMN THE TORPEDOES"
THU · FEBRUARY 1, 2018
DOORS: 7:00 PM / SHOW: 8:00 PM
$25.00 TIER 2 | $35.00 TIER 1 
ON SALE
FRI · OCTOBER 20, 2017
10:00 AM EDT
 
Dinner & Show option available for an additional $32 
Call for reservations after purchasing Dinner & Show option
Dinner at Vincent Chicco's - (843) 203-3002
Dinner at Virginia's on King - (843) 735-5800
CLICK HERE for Details and Menu Options
Tickets can also be purchased at Music Hall Box Office:
37 John Street (843) 853-2252 | Monday - Friday (10 am - 3 pm)
Ticketfly Hotline: (877) 987-6487 | Everyday (10 am - 9 pm)
      THE BLACK JACKET SYMPHONY The Black Jacket Symphony offers a unique concert experience through recreating classic albums in a live performance setting. A selected album is performed in its entirety by a group of handpicked musicians specifically selected for each album, with no sonic detail being overlooked--the musicians do whatever it takes to musically reproduce the album. 

The performance is separated into two sets. The first set features the album being recreated as a true symphonic piece. The second set, which features a selection of the album artist's "greatest hits," opens in full contrast to the first set with an incredible light display and the symphony being much more laid back. The tone is set very quickly that the show will feature the high level of musicianship of the act being covered and will also be accompanied by all the bells and whistles of a major rock and roll show.

Something I realized was that out of all of their albums, WF is the only one with three songs played in a row on this tour. Perhaps these tunes are not just showing the different styles of songwriting on the record but also taking the listeners through a bit of a story, not a specific tale but more one of simple feelings expressed honestly.
  It's Good To Be King---A wistful midtempo song, a mix of somber sounds with a powerful almost pop dreamy chorus, both haunting and energized as it goes on.    Crawling Back To You----the dreaming is done and now he's lamenting the state he's in, not happy about it, he returns to his lover, is this a good thing? The lyrics in the bridge seem to maybe on the surface, something in her eyes about him being all right, but if that was the case, why does he keep leaving? I don't know! Maybe it's not some direct meaning but just the feelings, for some perhaps it's about going back to someone you shouldn't, the promise in their eyes a lie, or maybe, on a less cynical view, it's is a song of realizing what you've had and being able to return to it, welcomed back to love.   Wildflowers----a peaceful resolution, looking towards the future with hope. Whatever the feelings of the Its Good To Be King and Crawling Back To You, Tom now just wishes the best for someone else with a generosity of feeling. Wildflowers is a tender "UP" song.   The three songs aren't about something specific but how you relate to the feelings expressed.    Perhaps as some have suggested, so much was played from WF not just because of his love for the record but maybe he figured they wouldn't be making a big tour out of that album so why not focus on it during this tour and give as many people a sample as possible.   After a digression of long jamming and then two non-radio hit songs, they return back to their more standard set.   I guess as with most things artistic, it comes down to what you make of it; for me, well...I guess I like the thought that someone who tried twice to make concept albums that never quite achieved their desired effect found a way to have a short little musical play within the 40th tour and what would turn out to be their last.

I have to be in the mood for that song.
Reading this topic again had me listening to some of the album, but my opinion has stayed the same. It's disappointing considering the theme, the Last Dj, album and song feel like it's the start of something fantastic but it never gets there.

Fittingly enough I was watching Two Men Talking from Soundstage when I again thought about the two differetn TPATHS.
From their beginning the band's style of music had more of a pop-rock-n-roll feel peaking with FMF which is pretty much one uptempo number after another.
Sure, not every song was a Too Much Ain't Enough  or I Need To Know but even when they played ballads or slower numbers, the vibe was different than what came later.
 My Life/Your World is a song that grooves along at a good midtempo. I like it for the most part, it's a bit strange, heavy doesn't really sound like anything else. But those types of songs don't dominate Let Me Up and they have a different feel. I think someone on another forum quoted here said it better, that with WF and I'm paraphrasing, it became more of Tom as songwriter separate from Tom as part of the band. 
If the two first albums, while interesting on their own, were building up to DTT, then the next couple albums felt like variations on that style of songwriting; I think Rebels is another attempt to achieve Refugee, especially the way both songs begin with different instruments coming in.
I think a lot of what people find appealing with the Heartbreakers, not the main thing but something they may not even be aware of is how well all the instruments blend together. I'm not talking about subtle stuff that Benmont mentions in the making of DTT, but just the way the instruments work together; it's their sound and you hear it in so many of their albums.
But Wildflowers changes that. Gone is the thought of keeping to succinct songs and midtempo becomes king. I think the midtempo numbers take over for the rest of their recordings, with some exception until Hypnotic Eye which was a deliberate attempt to play more rock-n-roll.
I think the band is very good at the midtempo songs, and at establishing a heavy groove, like Two Men Talking. But when I look at the albums I see a continuation of approach, from WF, through She's The One (which had unused WF tunes), Echo and the Last Dj and Mojo.
Now some songs have more of an upbeat nature but still, there's something different in the songs from WF through Mojo. Heck, Mojo could be the ultimate culmination of that sound with the longest, heaviest midempo tracks they've put to record.
There's a big difference between I Need To Know and Room At the Top and it's probably why they kept on as a band, Tom in many interviews said he kept pushing for them to go in new directions on record. I just find interesting that there's such a distinct line between how the band changed.
What do you think?
 

This is the best place online to discuss and read about TPATH but don't feel badly about not being here. Life outside the internet is way more important.
 

This one, right?
 

This is the best place online to discuss and read about TPATH but don't feel badly about not being here. Life outside the internet is way more important.
 

In light of the untimely passing of the legendary Tom Petty, we share our September 2014 cover story with the iconic singer-songwriter.
https://www.relix.com/articles/detail/tom_petty_eye_wide_open

Why didn't Waiting For Tonight become a huge, huge hit? It's a good song, the Bangles are fantastic on it, the playing is great, it and sounds a bit different for TPATH. I recall it being played on the radio here and there but it never took off. 
Another one I would say is the expanded Saving Grace from the '08 tour. This is such a good version, I think the whole band is just on and playing in their favorite spot, which is when they just groove along and trade solos:
https://www.youtube.com/watch?v=UgZZRWN_Y_I
To keep venturing into the live, you've also got:
Drivin' Down To Georgia/Lost Without You/Two Men Talking/Melinda

Something I realized was that out of all of their albums, WF is the only one with three songs played in a row on this tour. Perhaps these tunes are not just showing the different styles of songwriting on the record but also taking the listeners through a bit of a story, not a specific tale but more one of simple feelings expressed honestly.
  It's Good To Be King---A wistful midtempo song, a mix of somber sounds with a powerful almost pop dreamy chorus, both haunting and energized as it goes on.    Crawling Back To You----the dreaming is done and now he's lamenting the state he's in, not happy about it, he returns to his lover, is this a good thing? The lyrics in the bridge seem to maybe on the surface, something in her eyes about him being all right, but if that was the case, why does he keep leaving? I don't know! Maybe it's not some direct meaning but just the feelings, for some perhaps it's about going back to someone you shouldn't, the promise in their eyes a lie, or maybe, on a less cynical view, it's is a song of realizing what you've had and being able to return to it, welcomed back to love.   Wildflowers----a peaceful resolution, looking towards the future with hope. Whatever the feelings of the Its Good To Be King and Crawling Back To You, Tom now just wishes the best for someone else with a generosity of feeling. Wildflowers is a tender "UP" song.   The three songs aren't about something specific but how you relate to the feelings expressed.    Perhaps as some have suggested, so much was played from WF not just because of his love for the record but maybe he figured they wouldn't be making a big tour out of that album so why not focus on it during this tour and give as many people a sample as possible.   After a digression of long jamming and then two non-radio hit songs, they return back to their more standard set.   I guess as with most things artistic, it comes down to what you make of it; for me, well...I guess I like the thought that someone who tried twice to make concept albums that never quite achieved their desired effect found a way to have a short little musical play within the 40th tour and what would turn out to be their last.

Thanks for posting this, never seen it before.
Interesting how natural and at ease Tom comes across, it feels like the Vic shows but even more intimate. Which I'm sure made the bevy of women you can see in the audience quite happy. I enjoyed Tom's realization about changing Rock to Wreck. Actually, while  it's nice to see the band close-up in a theatre type setting, the highlights were Tom's anecdotes between songs. You can nearly feel the rush of energy from the audience when he strums the opening to Free Fallin'.