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RedfordCowboy

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Posts posted by RedfordCowboy


  1. On 2/17/2020 at 8:12 AM, MaryJanes2ndLastDance said:

    But tribute tours/shows aren't my interest for the most part, speculating about possible ones that have no evidence in reality is probably even more pointless than set list complains prior to 2017 and even somehow double pointless than set list complaints post 2017. Wake up time? I think for now for me on this topic it's go back to bed and sleep some more time.

    So the way I see it, a Wildflowers Theater Tour wouldn't fall under a Tribute Tour. Especially since it's focusing on one album only. It would be the Heartbreakers playing the Wildflowers album in full with some some great guest singers & friends. I think there's a distinction here. Plus, this was the original vision that Tom had for this project, so it would just be presenting it as planned...

    I think Adam Lambert singing with Queeen is "tribute tour" to Freddy Mercury type thing.

    But, maybe if 5 years from now, we see a "Heartbreakers Live Featuring Jakob Dylan" singing "All the Hits", then yes, I would classify that as more of a tribute to Tom & his music. And some folks would likely get excited about the idea, and some might not. And that's OK. Of course it's not Tom. There was only one of him. Therefore, it wouldn't be the original or real thing, but it would give people a a chance to hear beloved songs again. And that would be a good thing.


  2. Um....while I'm indeed glad the album is being worked on.....does anyone else find it unusual that Jane is now involved with the WF reissue? I wonder if she's been involved with the production of any other TP projects in the past??

    First, Dana was in charge of the legacy releases....and now....

    One of the reasons I find it odd (ironic, sad?) is that of all the albums, it's Wildflowers. Adria said that upon hearing WF, that it was the sound of her dad leaving/ending that relationship.

    In that context, I wonder what effect that would have on a person (namely Jane) or what feelings and emotions that might bring to the forefront...

     


  3. 2 hours ago, TheSameOldDrew said:

    Eddie Vedder, noooo!  Take back Eddie Vedder, give him some place to go (like the back row of the audience)!  Eddie V. doesn't have the right kind of voice for any TP/TPATH songs, other than Joe from Last DJ.  And I can't stand to see him doing his fake shy/humble act while he jumps up on any stage to grab the microphone from the real stars that people actually came to see.  Although the WF song Eddie would probably want to do would be YDKHIF, because he seems to think people want to hear about how horrible it was to be growing up as a popular kid at a high school in warm, sunny San Diego, surrounded by beach babes.  Although he doesn't quite tell it that way, if you can decipher his singing.  How that guy pushed his way into the RDAD film, I'll never know.  But he's good at grabbing the spotlight at other people's concerts; somebody get the hook! 

    Actually the band itself (The Heartbreakers without Tom Petty?  The Heartbroken?) have enough good singers internally to manage WF.  Who knew that Ron had such a great voice, as heard performing Down South?  And maybe they could bring Stan back to sing, if he could mend fences with Mike, over the European trip of more than 30 years ago.  I think Stan still gets along with everyone else left in the band, and Mike seems pretty easygoing. 

    If they did add some "guest vocals" I think they should be female vocalists.  Miley Cyrus did a nice job of covering Wildflowers (the song).   Stevie Nicks would probably love to do something with the remaining band.  And/or maybe someone like Taylor Swift, who is apparently a TP/TPATH fan.   It's interesting to think about; I bet there are a lot of singers (both male and female) who would like to perform a one-off concert with the remaining band.  Probably not so many would tour with them, other than maybe Stevie.  

        

    Agree....between Mike, Scott, Ron and Ben, I'm sure much of the WF vocals could be covered by the Heartbreakers themselves. Even including Stan would be both a kind gesture and unique twist.

    I think the original vision behind a WF tour was to include female singers for sure. Maybe 2 or 3 rotating between songs with Tom, and maybe taking solos. I think Norah Jones was considered and on board first. Maybe the Webb sisters would come back. Come to think of it, what might be cool would be artists featured in Echo in the Canyon. Jakob Dylan, Regina Spektor, Chan Marshall (Cat Power), and Beck on vocals with the Heartbreakers. Or Dani Harrison. Or the Shelters. Tom had so many friends who could and would be honored I'm sure...

     

     


  4. 2 hours ago, Shelter said:

    either an album of covers hiding there or perhaps some more originals, which I think I'd prefer.

    Well, Rubin said that the band recorded some 50 songs during the GH sessions. 50. SONGS.

    Looks like we have 3 massive box sets waiting in the cue...from this popular, prolific, fertile period:

    - TPATH: The Complete 1993 Greatest Hits Sessions AKA Stan's Last Stand

    - Tom Petty - Wildflowers: All the Rest

    - The 1997 Fillmore Residency Deluxe Box Set

    BRING IT ON. Just get me in contact with Adria, Dana, or Ryan U. I'll get it done for us.


  5. 33 minutes ago, MaryJanes2ndLastDance said:

    The thing is, his performance at the October show is powerful. Did he think it was largely his last big concert with the band and he went for it? This show made his departure even more surprising I think.

    Are you talking about the 1994 Bridge School Benefit shows? Because I read that there were 2 TPATH shows that weekend. One of them went terrible, and the band was in a very tense and foul mood. And Stan flew home immediately after them, or something like that....

     


  6. Definitely some good thoughts there on Wildflowers, the 1992 sessions, and Somewhere Under Heaven, Shelter (and all). Love it, and I love this thread.

    SUH certainly feels closer to ITGWO than WF to me...perhaps the 1992 sessions started out as band effort, then shifted course by 1993. (Similar to Travellin' sessions of 1988, eventually arriving at FMF). Perhaps Tom had a new vision...or reinvigorated inspiration working with a new producer...or an itch to "go solo" again, having such a good experience the last time. Perhaps he needed yet another break from the band, in his mind.  SUH does sound like a one-off of sorts. What about other songs from 1992, ie. You Get Me High? Were songs like Driving Down to Georgia or Lost Without You being tossed around? Again, think of the epic Mindbender record....

    At at rate, we all agree that WF was a transitional moment. Which makes the 1992-1994 period quite fascinating..(and divisive?) all leading up the departure of our beloved Stan. We can see it as the dividing point, the half-way marker (literally) of the lifespan of the band. The first half (with Stan), 1976-1994 - 18 years....and the second half (with Steve), 1995-2017 - 22 years. Or...BW (before Wildflowers) and AF (after Wildflowers), as it were.

    And it goes back to FMF. We've discussed this too. The band was obviously hurt/upset/betrayed/angry, etc. about Tom's decision to "go solo" and make a record. With them playing on it, yet solo. Who wouldn't feel threatened? Or at least worried. This put the future of the band into uncertainty. Including their very life (financially) and career. And now, Tom decides to do it again.....

    Back to Stan in all of this. He's sort of the central figure affected by this drama + decisions. I think it was more of a natural progression that led to his departure. By 1992, he was probably being his normal difficult self. By 1993, he was pissed. By 1994, he checked out. He was done. He said in the past (half jokingly) that he quit the band while making every record. But this time, sadly, it was for good. Plus he disliked Rubin. I think maybe ultimately it was because of feeling/being so hurt. Maybe it too much for him to go through the whole "TP solo cycle" again, and he simply couldn't do it. While the rest of the Heartbreakers could (meaning Mike, Ben and Howie. Especially Mike. He knew he was going to always be the co-pilot by Tom's side. He had his place forever secured). They saw how it went down after FMF, and maybe told themselves it could go the same way again with WF. That it would be back to business as usual, after Tom "got it out of his system." Or maybe they accepted that Tom was just going to do this from time to time, and keep his family together (the band) in the end. Maybe they felt more confident, more established. If something were to happen, they could carry on being a producer, co-producer, collaborator, or find endless work as a studio musician, playing on other people's projects. (Which they did in fact to, as history shows, and still do to his very day). I keep saying maybe BTW, since all of this is simply speculation or observation.

    So Stan would say things in 1994 like "This ain't my main gig"* that would in turn piss Tom off. Deepening the fracture. But could you blame him for feeling this way?

    Which brings us back to 1993. The GH sessions. Perhaps the last real time of Stan being an "official" member of the band...even if begrudgingly. By this time, summer 1993, Tom was waist-deep (not ankle-deep) in Wildflowers. When the Greatest Hits project arrived, and he had to write/submit/contribute a NEW song, and we know he bristled at this GH submission project. He absolutely WAS NOT going to give up any of the new WF songs. They were too good. Nope, no Wake Up Time was going to be given away. This to me, is an indicator of just how much be believed in and was loving this new "solo" material. Enough to make a distinction between this being solo record, and the GH project being a Heartbreakers thing, that needed a HB song. So, what did he do? He looked for any older, leftover, or unfinished songs to finish and submit. Thus, MJLD, a song idea started in 1988 that he saw had some potential (and boy, did it).

    Observation: I love Neil Young's album Harvest. I always thought that WF was like the Harvest of the 90's. Only bigger, longer, more songs of course. Same kinda warm feel and vibe, mixture of songs from fast to slow, etc. Arguably Neil's best work, same with Tom and WF.

    Lastly, WF to me is a rocking album. Sure, it has diverse styles, moods, and textures, but it's a rock and roll album at it's core. Because it was made by a rocker. We all go to You Wreck Me, Honey Bee as examples. Don't forget Cabin Down Below. Oh yeah, remember that outtake Lonesome Dave? It's all over the map, it's glorious, sweeping, and epic (cue IGTBK). At this point in Tom's career, he was putting a lifetime of experiences and influences into one maximum expression. At it succeeded on every level. It feels so right, so warm, so welcoming when you spend time with it. It's a journey, and it paints many emotional pictures using a wide canvas (cue Wildflowers, Time to Move On, or the 2 album closers :) I consider it to be Tom's deepest, widest, and biggest record. Maybe the most poetic (I agree that's arguable). Still, doesn't matter, it's great, and I love it. It's his finest moment, in a career of many, splendid fine moments. Did I mention it's my favorite album? Ha. 

     

    ----

    * Shelter-end-of-post-asterisk. What's pretty interesting is how Stan stayed in a creative partnership with Don Henley after his departure with band. Which to me says something about Henley. That he really recognized Stan's immense talents outside of just drumming. (not saying Tom didn't see it, be you could argue he was under-utilized). And it wasn't just for a season. Want more proof? I pulled out Henley's EXCELLENT last solo record, Cass County, from 2015. Have you heard it? It's great. If you like country music, you'll really like it. It's got some amazing collaborations. But I checked out the liner notes, and guess who's all over it? Yep, Stan. Co-Producer. Main songwriting partner. And he plays acoustic and electric guitar! So, Henley is still a fan. Which sort of makes you wonder how much he could've brought to the table with late-career HB music....


  7. On 1/5/2020 at 11:07 AM, Hoodoo Man said:

    I feel like I have heard Tom sing that lyric live before, is this familiar to anyone else?? 

    Yes! Tom changed that line while playing YDKHIF on occasion during the '95 Dogs With Wings Tour. An example being on the excellent soundboard 10.6.95 Tuscaloosa bootleg....the crowd is insanely rowdy and enthusiastic in this show!

    This was also the tour where Tom exclaimed "OH BABY DOLL..." at basically the start of every show :)


  8. I also agree that HC ultimatly is about time, the passing of it, and how it finally catches up with you when you aren't looking or paying attention. HC is similar to me with Bruce's Devils and Dust album, which came out in 2005. Bruce was 56 when Devils came out, and Tom was 56 when HC came out. I remember Bruce saying something around this time that he realized at that moment that he was indeed getting older. That it almost startled him, and he officially realized he wasn't a young man anymore. Like, "When did this happen, how did I get to my mid-50's so quickly?" It sort of made be develop this theory that the mid-50's is maybe the adjusted mid-life crisis point for rock and rollers, and I started looking for other artists' albums that would be released when they were this age.

    Imagine starting it out when you're 22, and then stepping onto the roller coaster. Tom always mentioned stuff like how they moved at breakneck speed when they were kids, that the pace was insane, that they didn't have time to grow up or "be adults", that they lived in the studio, long tours, etc.

    Most musicians never take the time to look back, only move forward. Finally, you look up, and 30 years has gone by. Stuck in the write, record, promote, tour cycle....indefinitely.

    I believe Tom was being reflective with this album (not necessarily for the first time, because you could say he was looking back on his Southern youth and geography with Southern Accents. But he was still younger then). Taking stock of the journey so far. Remember there was a 4 year break between The Last DJ and Highway Companion. It's possible he was just assessing life and his "career" in rock and roll music. And his age.

    Rock and roll is a young man's game, and yet these live-long masters (Bruce & Tom at age 56) don't plan on retiring anytime soon. We know that Tom loved rock and roll, believed in it, and found great joy in playing it. So he wasn't going to stop doing what he loved with his band, and yet he knew how silly it would look to be prancing around the stage, pretending to be 26 at age 56. So, how does one proceed forward? Well, we know that Tom did, and kept all the integrity, passion, craftsmanship and spirit of rock and roll in tact. He "aged" in rock and roll years quite gracefully, as a consummate professional on stage (never looked silly), while also keeping the muse and rock and roll spirit (freedom, rebellion, innate youthfulness) inside, as his guiding light. And HC was perhaps this moment of revelation/acceptance.

    As far as the title goes, perhaps Tom knew that his music & songs served as a continual & faithful companion to the lives of many people. I know it sure did and does for me. Rock and roll, or music in general, was probably the unfailing companion to Tom as well. That's the beauty of music–it never let's you down, and it's always there for you.

    Lastly, the HC cover was always odd to me, and I never really liked it. The bright orange and blue monkey/rocket ship illustration couldn't be further from its music and themes. I also have a hard time associating a monkey with Tom's music. And the title alone evokes ground travel, (highways, byways, roads, detours), and here's a cover depicting space travel. It's just a disconnect. HC is one of Tom's stronger album titles, and I feel they missed the mark with the artwork. I love it when the artwork matches the mood and vibe of the music...

     


  9. Happy 25th Anniversary to the legendary Wildflowers album, released this day on 1994!!!

    https://ultimateclassicrock.com/tom-petty-complete-wildflowers/

    As we know - lots of pondering, uncertainty, debating and deliberating on the best way to release/re-issue/celebrate Wildflowers: All The Rest. The label, the band, the family, Ryan U, Rick Rubin...even Tom himself was unsure the best way to continue to tell the WF story.

    Which is a bummer for the fans. I don't get it. I appreciate the fact they they want to protect the legacy...but...are they perhaps overthinking this release too much?

    Why not do it the way everyone does it these days - with options ranging from one disc to multi-deluxe options, depending on what you want & want to spend?

    ie.

    1. Option 1: All the Rest - Standalone album with the "new" 11-12 tracks only. $9.99

    2. Option 2: The above + the originally envisioned WF Double LP. $34.99

    3. Option 3: Deluxe: The above + One disc of WF home demos (that Ryan U recently stumbled upon) $44.99

    4. Option 4: Ultra Deluxe Box Set: The above + 1995 Dogs With Wings live show recording + Hardcover book with essays and never-before-seen photos. All wrapped in an organic cloth box that looks like the texture of the WF cover. With an embroidered flower on the cover. $149.99

     

    Come on Warner Bros...GET IT TOGETHER!!!!!!!!!!!!

     


  10. 47 minutes ago, TheSameOldDrew said:

    I've read a lot of TP interviews, and it always seemed to me that his "favorites" would be their 1st album plus their newest album. 

    I think that every artist says that their new/current album is great...and/or their best work. They usually say something along the lines of, "We're really proud of this album. It might be our best album yet. Certainly as good as....." So yeah, it would make sense that they like their new album are excited about releasing it to the world. It would be pretty bad if they didn't like it. I'd never heard or read of TP saying his first album was his favorite. I know he's remarked how they were very green in the studio, and were basically trying to absorb and learn as much as they could. By the second album, he was taking a producing credit...

    ...then time passes and you get to look back on your albums with some perspective. And you say things like, "Dang, why did we put horns all over that?"

    54 minutes ago, TheSameOldDrew said:

    I haven't seen where TP thought Wildflowers was his best,

    Yes, MJ2LD is correct. He stated this is the Zollo book, circa 2005. Tom said that WF became "the one he was always competing against." Things might've changed with his outlook, but I doubt it. Rubin said that Tom was "scared of Wildflowers".* That he didn't know where those songs came from. And I think I understand why. I watched a great John Mellencamp documentary called Plain Spoken. If it's still on Netflix, check it out. He talks a lot about the record busine$$ and the creative process. In the film, John says that "All great art should surprise you." That's one indicator to know if it's any good. Meaning, you should be surprised where it came from, asking yourself, "Did I really just write/paint/record/sculpt/direct/make/create that?? Did that come from me? How did that just happen? This idea of something coming from outside you, beyond you... JM says that if the art doesn't surprise you, then most likely it won't surprise anybody else.

    I'm pretty sure WF surprised Tom (scared him).

    Artists are notoriously bad at being a good judge of their own/best material (in the moment). Or what songs might "be a hit". Thus all the stories we hear of artists leaving pretty great songs off albums. Springsteen and the Promise come to mind. 3 of Tom's that come to mind are Surrender, Casa Dega and Trailer. Shoot most of the stuff on Playback Discs 5 & 6!! However, with WF, I believe Tom knew that he was creating something special. That he was tapping into some deep, rich well. I think he knew that the material was particularly, uncannily, especially strong. That is why I'm so stoked to hear All the Rest. What else is there to discover? Lonesome Dave was a wonderful surprise. As a WF-era outtake, it delivered for me.

    * He said this around 2015, when he was revisiting WF and showing songs to Rick. (listen here: https://www.stitcher.com/podcast/broken-record/e/57883752) You get the idea he was almost reluctant to mess with WF, to tread carefully with the unreleased material. Surely he was gonna make sure any deluxe reissue/box set was done right, since he was dealing with such special material.


  11. I enjoy seeing your lists here. These albums and songs speak to us in different ways, at different times. And they mean so much to us personally, I think it's great. Tom's music (and music in general) has that special power. No wrong ranking choices (except if you put LMU first, ha ha). It's fun to see how some rankings are almost exactly flipped from mine.

    Hmmmmm....I wonder what a Tom Petty ranking of his own work would look like? What do you think.

    From what we know, he considered Wildflowers to be at the top, his personal best.

    From here, we also know that he spoke VERY HIGHLY of the Unchained album, and those fun, pressure-free, instrument-swapping sessions.

    We know he loved the immediacy of the first Mudcrutch album, how that album was cut live, in 14 days.

    And that he loved the material on Discs 5 & 6 of Playback.

    And he said that the Live Anthology was an accurate statement/testament of them as a superior live act.

    Probably looked back in fondness to FMF (aka Songs From the Garage) and Traveling Wilburys vol. 1, those being happy times filled with great friendships and collaboration.

    I bet Mojo ranked up there on his list.

    He was probably proud of Hypnotic Eye, a late in the game guitar album that said the Heartbreaks didn't need to go quietly into the sunset or rest on past achievements. He called out Fault Lines and being as good as anything from the past.

    DDT probably had a special place in his heart, since it was breakthrough album.

    We know he was critical of albums like Southern Accents and not too much a fan of Echo. What about LMU, HP, LAD?

    Probably looked at She's the One as a mixed bag (not properly promoted or toured), yet containing one his favorite tunes - Walls. How can we assume this? Because he personally requested it during the final 40th Anniversary Tour :)

    What do you think?

     


  12. Funny you bring this up Shelter.

    I dig listening to Echo from time to time, but it is quite the sad album. Lot's of "downer" songs about and pain and loneliness. Which isn't bad necessarily, but an entire record of it makes for a heavy listen. Much of this a result of what Tom was going through during this period.

    Which got me thinking.

    What would a happier, more positive version of this album look like?

    Happy Echo.

    This would involve removing, like 75% of the album as we know it. Songs like Room at the Top, Echo, Rhino, Lonesome Sundown, No More, One More Day, One More Night........

    Well, here's a shot. Happy Echo.

    SIDE A
    Gainesville (sweet opening rocker!)
    Counting on You (sad vocal, but cool tune)
    I Don’t Belong (sad lyrics, hopeful sound!)
    Swingin’
    Won’t Last Long (Sure, I'm down, but it won't last long)

    SIDE B
    Accused of Love (toe tappin, smile inducing simple little ditty)
    Free Girl Now (see, a positive message!)
    Billy the Kid
    Sweet William (sounds more at home on Mojo, but I can't find any more happy songs. Maybe About to Give Out? Even though that song is unmemorable...)
    This One’s for Me (could be a reflective closer?)

     

    Sorry, had to try.

     

     

     

     

     


  13. I've always loved "Magnolia", and thought it was a forgotten song tucked inside You're Gonna Get It! Never played live, no? That would be a cool one to hear. Even an acoustic version, during the "unplugged middle set" of the show. Found this version on YT. It's also interesting to hear it being sung by a female:

     


  14. OK.
    So, did this thread ever veer off topic from Wildflowers or what!?

    We someone went went off course to discussions about AC/DC, set lists and rarely played songs + graphs, should Louisiana Rain close DDT?*, the monkey on the HC album cover, and then science and evolution (no pun intended).

    I'm gonna steer it back to Wildflowers now, if you all are good with that.

    November 1 marks the 25th Anniversary of the release of this special album. Do you think that IF a WF All the Rest is to appear in time to coordinate with this date, that it probably would've been announced by now, no? Last we heard about it, back in April, both sides/parties involved were gridlocked. Sadly. The ongoing frustrating saga of it all...

     

    *Gotta do a Shelter-style asterisk. Louisiana Rain always sounded more like a Mudcrutch tune to me. Not sure...It's got that Up In Mississippi Tonight vibe to me (with better, fuller production obviously). Same geographical location too...:)

    I think it's a strange choice to close out DDT. It never fit with the rest of the album for me, sonically, thematically...I think Casa Dega is a FAR SUPERIOR song, and wish it could of found it's way onto DDT.


  15. I've read it.

    1. I do think it was an interesting album choice to tackle. It makes sense, as SA is a conflicted, scattered album with a compelling backdrop/concept. There is potentially a lot to angles and ideas to dive into and parse out. And it's not an initial "obvious choice", like DTT or FMF. It would be like tackling a 33/3 book on Echo or Mojo or something...

    2. I agree that that author brings too much of his own history, upbringing, and experience with the south into the book. He spends a lot of time discussing the over- saturated use of the rebel flag in the SA marketing and subsequent tour & merchandising. He claims that the album only tells ONE SIDE of the southern story: Tom's side. AKA the white side. And that he didn't attempt to tell the black perspective or story of the south.* Or that he wasn't able to, or wasn't aware of it, etc.

    He ultimately calls the album a failed attempt. Barely a concept record. Mixed and messed when Dave Stewart came into the picture. Ben and Mike call it a missed opportunity, unfocused, the one that got away...

    3. I think the most fascinated aspect about the SA years, as touched upon here, is  the total public perception transformation that Tom underwent between 1985 to 1989. Think about it. If 1985 gave us the southern Tom Petty. When the concept album and idea of SA "failed", or fell flat, what happened? In just a few short years, Tom shed the southern image (characterization) and somehow became the quintessential California dude by the time Full Moon Fever came out! Look at the music video for Free Fallin. Total feel good-laid back California vibes, which seemed to fit him perfectly this time. Maybe the beginning of the mellow, easy-going rocker image that Tom seemed to show from this point forward....

    Southern Gentlemen or California dude? (or both in equal measure?)

    Still so fun to debate whether TPATH are a Florida or LA band, of course. Tom says they're LA, although I'm not fully buying it. I think they are southern at heart... Proof to me is when Mudctrutch reunited in 2008. This is Tom going back to his roots, returning to Florida, showing his true self...IMHO...The Mudcrutch detour just felt so right...

     

    *For further introspection and study, check out the album "White Mansions", released in 1978. Its a concept album about slavery and the civil war. Various artists, featuring Waylon Jennings, Jessi Colter, Eric Clapton, and several more. The stories/perspectives of 4 characters are woven throughout. Not quite related to Southern Accents, but close. Tom's song Rebels or the title track could fit in with this record.


  16. 34 minutes ago, Shelter said:

    I'm not sure when we'll all get over this bummer, as you call it. A word somehow slightly lightweight, all things considered.

    That's why I used the word 'massive' before 'bummer!!!" :)

    The different parties involved obviously have very STRONG and OPPOSING opinions on what should be released, how and when/moving forward/curating the catalog, etc.

    And it seems that Adria is exhibiting her fathers' traits/stance in the matter (aka. WE DON'T SELL OUT. WE DON'T BACK DOWN. WE DO IT FOR REAL.)

    Just look at how difficult it was to manage/cooperate/arrange the release of the first 2 posthumus TP projects (as we now find out what was really going on)

    Yikes.

    Sad that it's heading/headed in this direction. And I agree it takes the fun (or joy even) out of it...


  17. So I'm in the middle of reading the new 33 1/3 book on Southern Accents. It's good. Both Ben and Mike were interviewed for the book, and it's neat to hear their thoughts looking back on it. Of all of Tom's albums, why are we still drawn back to this one?...in equal part frustration and fascination. To me, it makes a ton of sense that of all his albums to analyze, that the author would've picked SA.

    It further breaks down the southern mystique, and discusses where Tom got it right and where Tom got it wrong. He talks at length about how Tom doubled down on the Confederate Battle Flag concept and imagery after the album came out...putting it T-shirts, stage backdrop, tour program, coat with flag lining, and wearing it on a trucker hat around this time in vidoes, etc.

    He comes away saying that it's a deeply flawed record..basically a failed attempt for a myriad of reasons (the band members agree they didn't achieve what they set out to do). Many of which we know and have discussed at length here. Drug problems. Self producing it. Home studio. Dave Stewart. Losing vision and concept. Recording frustrations on top of recording frustrations. Demo envy. Tom's broken hand. Tom hearing The Boys of Summer. Doh!

    What might be most fascinating is in essence the complete reinvention of Tom Petty, from the Gainesville Southerner of SA, to the California Dude of Full Moon Fever. Those album are night and day different in almost every way possible. Look at 1985 TP to 1989 TP....what happened!??

    It does mention that they were looking at 26 tracks (!!!) for SA, and that when Iovine was finally called in, he pared it down to the 9 songs that we know. Going from 26 down to 9 is a huge jump! And of those 9, I would say a solid 4 are quite subpar. Not to mention it totally destroyed the idea of it being a double album. The whole thing comes out as a muddled mess. Ben says in the book, "it was the one that got away from us."

    The author states that the core 5 songs that faithfully make up the core of SA are Rebels, DCAHNM, Dogs on the Run, Southern Accents and Spike. I can agree with that. So I'll start there and build the perfect SA album.

    He mentioned that still fans (ahem...us) who are still to this day trying to piece this album together. To re-imagine it closer to Tom's original vision. To make it great again. Basically, we made it in the book.

    Which immediately made me think of this thread. And I had to come up with my updated track list....AGAIN.

    Side A:

    1. Rebels

    2. Spike

    3. The Apartment Song (feat. Stevie Nicks)

    4. Dogs on the Run

    5. Casa Dega

    6. Don't Come Around Here No More

    Side B:

    1. Trailer

    2. Image of Me

    3. Big Boss Man

    4. Cracking Up

    5. Walking From the Fire

    6. Southern Accents

    This feels closer to some sort of southern theme or idea. Supposedly, the album was to be based on the outlook and journey of a solo southerner (the character we discover in Rebels.) But is he mentioned or referenced anywhere else as the album unfolds? Maybe SA was never so much a southern "concept" album, as a southern "themed" album. An exploration of the American South. Maybe I can be done with my nagging restlessness to make this album work now....who knows, maybe not.

    * I would add Casa Dega since it feels like it fits the mysterious southern theme and landscape, and it's such a moody song. Every time I listen to it, I think of how powerfully it would be a home on SA. And they would've had this song in the vaults by this time. They could've easily looked back into their inventory to see if they had anything that would fit along the way.

    ** If someone wants to create an actual playlist of this, I'd love to hear it in this order. Yes, that's an invitation :)

    ***Also, who knows, if there were 26 songs around this time to work with, how many haven't we heard yet? Maybe the "Revisiting SA" package that Adria mentioned would be super cool...finally creating a fuller picture & depth to this album that has been hidden or lost all these years....

     

     


  18. Dang it, Adria. I love you, I respect you, I appreciate you, and I think your heart is in the right place, but please stop.

    Release this Wildflowers All the Rest Box Set. In 2019. Cooperate for the greater good. Give it the green light. Do what you gotta do.

    The fans want it. We've been waiting for 5 years now.

    WB wants to do it. They paid a lot, and are offering more for the demos.

    The marketing dept wants to do it, to capitalize on special anniversary dates. Fine. Cool.

    Ryan U. wants to do it. He's the man. He found a treasure trove. He has great instincts. His loving care and mixes make the music sound out of this world. He and Mike and Ben can put together an awesome track list. Trust them.

    Just reading the above snippet about finding the demos and home recordings gets us more excited than you will ever know. The album already is warm and intimate....we can only imagine what the home records sound like and they are starting to be formed, realized, and fleshed out.

    Finally, Tom wanted to do it. Please do it....for your dad and for the fans. Not to be selfish here, but I think Tom would do it for the fans alone.

    Please don't be silly about this.


  19. 7 hours ago, Shelter said:

    Actually.. This exists as studio recording. Aka Can't Get Close To You. Reportedly part of the cancelled solo album project of 1975. (As was first version of Louisiana Rain a cover of Rolling Stone's "We've Got a Good Thing Going".. and Lost In Your Eyes, Since You Said You Love Me, Another Lonely Night.. Strangered In The Night and Hometown Blues from first LP is from here as well.)

    Whoa. You almost forget that TP was signed as a solo act for a brief moment with Shelter Records, circa 1975.

    Mudcrutch is signed in 1974. Record never happens.

    ------

    What if the world saw a Tom Petty solo album in 1975? What would that record look like? I say we'd get to hear the studio recording of Dog on the Run. The whole album has gotta have that bridge feel - somewhere between a Mudcrutch/TPATH sonic thing. Struggling to be cohesive, a hybrid of all the influences and instincts built into an ambitious 25 year old TP thus far. Going off of the above track list, and Mudcrutch set lists for clues, I imagine something like this....(see attached).

    Unhappy with being a "solo artist", and Tom being the stubborn guy he is, goes back to the label (who is starting to have their doubts about him), and tells them his next effort HAS TO BE A BAND EFFORT.

    ------

    Tom Petty and the Heartbreakers first LP is released in 1976.

    TP_Dog on the Run LP.jpg

    TP_Dog on the Run LP2.jpg

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