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RedfordCowboy

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Everything posted by RedfordCowboy

  1. Cool tune...I hear a touch of the Last DJ in that one.
  2. Hey, do you think this band was inspired by Tom Petty and the Heartbreakers at all? http://grandcanyonband.com/ Listen to their single "Standing in the Shadows" It's like TP and Stevie collaborated on a tune in 2018...or 1982... Not that I'm complaining...I think they sound pretty good...the Petty sound will continue to inspire many...
  3. Wildflowers was released 24 years ago today! Bring on the deluxe box set baby....or shall I say, baby doll!!
  4. Way to go, Jon! Awesome quote from Stan. Thanks for being a champion of the band!!
  5. https://www.moderndrummer.com/article/february-1984-stan-lynch-heartbreaking-rhythm/ Very cool and insightful interview with Stan Lynch from the Southern Accents era. You really get a sense of him as a person. He discusses his relationship with the band (and vice versa), his drumming rig, singing and playing, pre-show & tour warm ups, and how he's quit the band during the recording of every album. At times, he comes across like big immature teenager, and at other times quite thoughtful and respectful. Always honest. If he didn't like the music, it's style, direction, or disagreed on anything, he was out. He'd leave. You can see the undercurrent of strain it created in the group. Probably exasperated Tom. It's clear he had/has a big personality, was a fun loving guy who was taking a big bite out of life. Looking back, it some times would appear it was 4 against 1....and vice versa. Stan is a good singer. I think he rocks when he gets a turn to cut loose and sing in concert. Howie was a great singer. And let's not get started on Mike. I often wonder if Tom was under-utilizing the Heartbreakers over the years? Semi-related - The fact that he basically told Mike he couldn't put out an album because it would mess up the "Heartbreakers Brand". That's kinda lame to me. He comes across as threatened. I don't think people would think or see it as a Heartbreakes project, or even close to it. We actually like to keep these things separate in our minds and enjoy both for what they are. For example, Carl Broemel, guitarist for My Morning Jacket. He puts out solo albums which are awesome, and then there's his main band, the "main gig." I go see & enjoy both for what they are. Was Tom that worried or intimidated about it? IMHO, Mike served Tom faithfully since day one. I wish Tom couldn't let his friend shine, and give him some glory, as it were. Be excited and supportive of him, give him his blessing, etc. Ya know?
  6. I love double albums. How about you? Do they hold a special place with you? What is it about double LP’s that make them so unique and special? Is it because they’re simply more rare, and not everyone attempts them? Or because the label frowns upon them, wanting to spread them out into separate releases? When they are done right, with enough inspired material, double albums easily achieve epic status. Maybe it’s the fact that you get an over-abundance of music from the artist. As if one record wasn’t enough from your favorite band, you get two! It’s a feat on multiple levels.Surely it must be hard to capture THAT MANY good songs during one recording period, I imagine. Add to that a concept album and it's even more impressive. I’d like to think that the artist feels extremely inspired for this season, that they are in such a creative head space, that the songs keep flowing out. I love hearing when an artist says, “Yeah, we probably cut 40-50 songs, and had to pare them down…” The White Album. Exile on Main St. The Wall. Mellon Collie. Physical Graffiti. Which got me thinking. Tom never got his legendary double album…and we know that he did chase after it on more than one occasion. How badly do you think he wanted to do one? Do you think it was on his bucket list? On that topic, I wanted to investigate the at least 3 times that Tom almost arrived at/realized/released a double LP. 1. Southern Accents We wanted this one so bad. I love how we’ve discussed this album at length on threads here; imagining, re-imagining, inventing, analyzing, and proposing the proper final track list. Tom’s concept album of the American South, what it could of been still entices us to this day! Let Me Up (I’ve Had Enough) What? A potential double LP? I was unaware of this until I read the liner notes in An American Treasure. Tom said he booked studio time for Dylan, who turns out wasn’t ready, so the Heartbreakers went in instead, and ended up in there for a month. 30 days later, they had enough songs in the can for a double album! Tom even said it was shaping up to be something like their Exile on Main St. Now, I don’t know about you, but that’s quite the intriguing statement. I dare anyone here to make an a imaginary double LP track list for Let Me Up! (just like we did for SA). Why? Cuz I’d love to see that. Are there enough songs from that time period to cull from? What would the Heartbreakers version of Exile sound like? 3. Wildflowers Perhaps the closest TP release to becoming a true double album. We know the songs were there. Wildflowers- a knock out collection of his best material from that time, continually recognized as a fertile period of song writing. We know he spent 2 years crafting away at the songs for this record, and wow, was he in a sweet spot. How many songs were recorded? Thirty? More? And still no double album, as Tom originally intended. I wonder if it came out as planned, if Wildflowers would be in the pantheon of the all time great double albums? I think so…… Furthermore, with Wildflowers and beyond, Tom packed several of the HB albums with tracks, reaching 15 songs on several occasions. She’s the One: 15 songs. Echo: 15. Mojo: 15. Just a few more songs, and you’re ready for a double disc. Making me think that maybe Tom really wanted to do one.... ---------------- *Side note: I know that Pack up the Plantation was a double, but I’m speaking strictly in terms of official studio album releases. Besides, nearly all of the Live albums from that era of putting out live documents were double records. They almost had to be.
  7. I just noticed something about these Complete Studio Albums Box Sets (Vol. 1 and Vol. 2). Howie's not pictured on either of the main band photos they chose for the box set covers. Anybody else notice that? They choose the original lineup, circa 1977, for the main image on Vol. 1, before Howie. They choose a latter-day image of the band, circa 2010 (Mojo era) for Vol. 2, after Howie. Perhaps an oversight, but still kinda sad, when you think that he was a Heartbreaker for 21 years (1982 up until the time of his death). That's even longer than Stan was in the band. Plus, when you think about how he didn't appear on the Echo cover (yes, by his own doing) it's just another blow. It's almost as if Howie became a ghost member of the band. Slowly being erased or less recognized over time (Don't Fade On Me). Like Tom always said, I miss his beautiful harmony vocals alongside his. In fact, besides Mike's ever-present guitar virtuosity (he never plays a wasted note), I think Howie's harmonies might be one of my favorite things about the HB's magical sound. I guess this is just a little bit of a call out, a shot of recognition, a thank you to Howie for his wonderful, often overlooked contribution to the Heartbreakers.
  8. Found a rare Interview from the Echo era. Good read! https://www.oxfordamerican.org/magazine/item/1327-tom-petty
  9. That's a nice looking track list for SA, jtx84! The only thing I would add would be include "The Apartment Song" on your list...I like it when each side is balanced on an LP Shelter is right, we exhausted the SA "what could've been concept album" in that thread. I always wished it could've been the double album opus, but the songs just weren't there to fill it out. Wasn't meant to be, but I dig your SA version....
  10. NIL DESPERANDUM http://www.sebreephoto.com/copied-blog/2017/12/8/tom-petty-1950-2017-nil-desperandum Robert Sebree got a front row seat of a big chunk of Tom's life...looks like a period from around 1989 up to his marriage with Dana, circa 2001. During that time, he shot some of my all-time favorite photos of Tom, specifically during the Wildflowers and STO era - 1994-1996. Him and Martyn Atkins were his main photo/video/art director guys. Could you imagine being able to capture Tom and the HB in the studio, during recording sessions...oh to be a fly on the wall. Just look at those photos, man!!
  11. I've always felt a sadness for the 'Orphan of the Storm', and that hurricane that blew her back to Houston....
  12. Nice pick, Shady Grove. I'd say "Hard to find a friend."
  13. 70 year olds fighting and bickering and carrying on..."I didn't like the way he smirked at me!!" Grow up! The inner culture of Fleetwood Mac has been toxic for as long as I can remember. What a shame. 40 years down the road, and still this. Good luck with that, Mike! Maybe this is what happens when it becomes more about the Business (capital "B") than the music....I don't know. I'm glad that Tom and the Heartbreakers never had this type of drama play out, or this type of toxic atmosphere within their group. The closest thing they had to that was the friction/falling out with Stan...which is still a bummer to this day. Because we're STILL talking about it here on this forum. Could you imagine if a fracture happened between Tom and Mike, the way that things have went down with Stevie and Lindsey? How tragic would that be. The HB in general seemed to love and appreciate one another. You do have to give it to bands who travel together for 30, 40, 50 years. It ain't easy and smooth sailing. But what a journey and experience and bond at the end of the day. I saw it even more with Mudcrutch, that love they had for one another. Life's too short to be feuding with fellow band mates and to not be speaking with one another. And there are so many bands that do this. CCR. Pink Floyd. The Kinks. Oasis. Simon and Garfunkel. The Beach Boys. The Smashing Pumpkins. STP. GNR (I know, I know). What you created together was special. Recognize that, remember that, appreciate that. See it for the GIFT that it is. The music is gonna live beyond you anyway... I think bands with extreme longevity reach that point where it becomes something much greater. Something beyond themselves. It turns into something almost sacred, that you're entrusted with, something in your care, that means SO MUCH to so many people. How cool to achieve that? TPATH had it for sure. Tom used a words like "holy" to describe what the Heartbreakers did, and what rock and roll felt and meant to him. And I believe that. IT IS something sacred, and they were so fortunate to be in that position for so long. And the fans? That's just icing on the cake for you. Music creates so much JOY for people. Those who get to make it, and those who get to experience it.
  14. Well, he does say "I hit the last number, I walked to the road" Interesting take: http://www.culledculture.com/better-off-dead-mary-janes-last-dance-what-it-says-about-projecting-expectations-onto-a-lover/ Yeah, you're right. Last Dance, You Don't Know How it Feels, Girl on LSD, You Get Me High, Don't Pull Me Over....
  15. Mr Timba - Yes, God's Gift to Man would be a perfect addition to Mindbender for sure. It fits in with the rowdy vibe of Come on Down to My House, I think. Shelter - Yes, thanks for re-posting that thread from 2015. It definitely is connected to this! (Mindbender, that is, ha ha). If you haven't read it yet, it's a good discussion on the 92-93 recording sessions, trying to piece the potential songs together. I like how you've designated the "Aborted HB Sessions" (1992) and the "Greatest Hit's Filler Session" (1993) Timeline: I've read that Tom took 2 years to do Wildflowers. Which would be late 1992 - late 1994. Released Nov. 1994 Touring the Great Wide Open (1991-1992) ended on April 2, 1992 in Sweden. So that give you a window for the aborted HB sessions (April 1992 - late 1992). Greatest Hits filler session: summer 1993 Mary Jane's Last Dance was recorded on July 22, 1993. That's why I'm putting Mindbender in the summer of 1993. https://en.wikipedia.org/wiki/Mary_Jane's_Last_Dance The 2015 thread proposes that there were 14 songs recorded during this time. We know of 6, 8 still missing. Thus the Mindbender hypothetical scenario. -------- Blue Moon of Kentucky sounds like a close cousin of Baby, Let's Play House. Which brings me to "Somewhere Under Heaven". This one is a weird one. Recorded in 1992, It just doesn't sound like a Wildflowers track at all. It sounds closer to ITGWO. It would make sense to me that this is from the aborted HB sessions, no? I mean, if you put this anywhere on Wildflowers, to my ears, it would feel totally out of place with the rest of the songs. Cool song, but not a Wildflowers vibe. Can't wait to hear Lonesome Dave. Who know that Tom would write a song about a dude in Foghat!? Whaaaaaat....
  16. Aw, come on guys, use your imagination here!! (not your illusion....) Do you know how much time I spent writing that pretend interview imagining how Tom would answer pretend questions to his old pal Cameron Crowe on an imaginary Heartbeakers release??? (tell me that doesn't sound like Tom) And coming up with an accompanying album cover too!? But seriously, this whole exercise was steeped in curiously from a fascinating time period (for me) with the Heartbeakers....the summer of 1993. Between recording Wildflowers and right before Greatest Hits. It was the time of the last official recording sessions with Stan, when they had to cut a few new songs (or produce a Greatest Hit, if you will), for the upcoming Greatest Hits album! The sessions that produced Mary Jane's Last Dance! Is anybody else here curious as to what other songs or material they might've recorded during those sessions?? Am I missing any potential songs on my imaginary track list? What else would they have tried out? Was Driving Down to Georgia like Surrender, where they couldn't nail a take that they liked? Is there a studio version of Lost Without You? A demo of 13 Days? What if someday these sessions are revisited for a potential release? I know we've talked about it before on another thread, the Lost Heartbeakers Album. I though a few of you might enjoy or partake in the imaginary brilliance of Mindbender. What if those sessions produced enough songs to create an interesting HB album which captured where they were at the time? What say ye, MJ2LD? Any thoughts, Marion or Chimera? Oh....Shelter? Where you at, TwoGunslingers? I'm calling on you, Nurktwin.... Bueller, anybody....Bueller?
  17. Ah, again, more torturing me with hints, mentions, and teases of a Wildflowers Deluxe Box set.... Maybe someday all the dreaming will become a reality....
  18. In honor of the 25th Anniversary of the release of Mindbender, I thought it would be appropriate to repost this old interview from Rolling Stone. —————————————————————————————————————— Tom Petty’s Long Strange Trip By Cameron Crowe From Rolling Stone Issue 664, September 1993. So, how did this new record (Mindbender) come about? We’ll, the plan wasn’t to make a record (laughs). It was probably the quickest record we’ve ever done in the studio. Other than maybe our first two albums. But it was a different time and process back then, combined with the fact that we really didn’t know we were going. We just thought, we put a song down! And we were thrilled. Back then, records used to be recorded in a short period of time and released. With Mindbender, it reminded me of that time. Rick just booked a handful of sessions with the Heartbreakers and we did the whole thing in a few weeks. And yet, there are TWO Heartbreakers albums coming out this year. That’s sort of a long story. Basically, our label approached us this year and told us they want to put out a Greatest Hits record. And that they wanted us to record and submit two new songs for it. I thought, that’s stupid. How can a new song be on the Greatest Hits album? When it’s not even a hit? So, I didn’t want to play that game. I said to the guys, “Hey let’s just jam a bit. Plug in & play, get comfortable, and see what comes out. How we feel. There wasn’t a direction. Not trying to shape an album or anything. That was the start of it really. After a few days, we realized we had some really interesting songs coming together. Sort of off the cuff. When we played back this group of songs, which was us just jamming away in the studio, we realized we had what could be an interesting album. Unintentionally, of course. So, it came together that fast? Yep, 2 or 3 weeks. But, you see, we’d already been working in the studio for a year now, and our instincts are really sharp. So we were up to the challenge. But yes, we have Mindbender coming out this month (releases September 21). And then following that will be the Greatest Hits album, a few months later. And you’re also in the studio working on a different record with Rick Rubin, I understand? Yes, we’ve been working on that one for a while now. It’s coming along great. I’m not sure if this will be a Heartbreakers record, or perhaps another solo one for me. Of course, almost all of the Heartbreakers are playing again on it as well (laughs). But we’ll see. We have a lot of songs already done for that. We just cut a good one the other day, called Don’t Fade On Me. It’s just me and Mike on that track. A real quiet song. But Mindbender is a new batch of songs, that were recorded rather quickly, like I said. Some of them covers. The mood and vibe of Mindbender feels drastically different from the last record, Into the Great Wide Open. Sure. The Heartbreakers are a pretty durable band. They can play anything. And I mean I was throwing them a lot of curve balls. I’d say, let’s try this, and they would just go there. We were jamming out on many of them, just lost in the moment. We lost track of time in the studio! With this new record, Benmont and (Mike) Campbell really shine. There’s a song on the record called “Melinda”, and I think it might be Ben’s finest hour. We just let him go on that song, wherever he wanted to take it. It’s one of my favorites on the record. Their playing has never sounded better to me. Being around these guys, it makes me up my game. They are so good in the studio. We usually take months when recording, just trying to get it right. I’m sort of a perfectionist that way. But with Mindbender, this one came out different. It’s definitely our loosest playing yet, and maybe our most rock and roll. I’m hesitant to say it sounds like a jam band record, but…. I’m relieved that it came together so quickly. That never happens for us. We’re calling this our spontaneous record. Many of these songs were improvised. Some I was making up lyrics right on the spot, like on the song “You Get Me High.” We’ve actually played a few of these songs before in front of a live audience. During our last tour in Europe last year, we started getting adventurous. We would try out a song during sound check, and play it that night. One song was literally created on stage. (Note: the band also played the song “Come on Down to My House” in Europe last year, also found on this record.) Speaking of, any touring plans on the horizon? We do a have a small handful of shows coming up. One offs. Like this month, we’re doing a small club show, which is unusual for us. We’re helping our pal (Johnny Depp) open up his new club, which he’s calling the Viper Room. We’ll probably try out a few of these new songs. Johnny asked us, and couldn’t say no. I owe him for helping me out with one of my music videos (laughs). We also have a rare homecoming show coming up, later this year in Gainesville. Basically to help promote the Greatest Hits album. I think that will probably be a special one for us, and we might pull out a few surprises. I don’t get back to Gainesville all that much these days. But no upcoming Heartbreakers Tour? No, we’re just living in the studio at the moment. I’m not ready to jump back on the road just yet. Oh, we might play Neil Young’s Bridge School Benefit show, which we usually do every year. Still, with two new albums coming out, it’s a good time to be a Heartbreakers fan. Yes. I guess we’re giving the fans some old music with the Greatest Hits compilation, and some new music with Mindbender. Too much ain’t enough, right? (laughs) Sounds like things are good in the Heartbreakers camp. How are you guys getting along these days? Oh, we’re getting along fine I suppose. There’s always little things, little disputes. But we’re like brothers, you know. We’ve known each other for a long time, and that means that we also know how to push each others buttons. Sometimes Stan might get to me. But Ben, usually being the diplomatic one, will calm us down. And none of us can ever get mad at Scott (referring to Scott Thurston, a touring member of the Heartbreakers). He’s just a cool kat. But we’re still here. And I’m grateful to be doing it this long…in a way, I feel like I’m writing some of the best songs of my career. I’m in a pretty good place right now. I’m wondering if it ever will really slow down, this train that we’re on. The songs are really coming to me. Or maybe it’s just Rick pushing me really hard, I don’t know. (laughs, and lights another cigarette. He’s probably gone through half a pack so far during the course of our interview.) I find it unusual that there’s three covers on this album. That’s not typical for a Tom Petty and the Heartbreakers album. Isn’t that something? And we cut many more covers actually. We blasted out a couple Elvis Presley songs. We did an old one called “Wooden Heart”, but it didn’t fit in with the rest of the songs. It was a bit too mellow. We also tried out another Them song (Gloria), but we decided to go with “Mystic Eyes” instead. I love the sequence of this album. The songs flow together nicely. The sound of this record is what it sounds like when we just get together to play in the Heartbreakers Clubhouse. We play what we all love. We’re students of this music, you know? We usually start off by playing a bunch of cover songs. If I’m honest, this is what I love playing the most. We could get lost for days playing these. Songs that I grew up listening to. We’ve been playing “13 Days” (by J.J. Cale) for years now. J.J. Cale is an underrated and under appreciated musician. Yes, and he’s one of our all time favorites. We listen to Cale all the time on our tour bus. We’re always digging through his old records and looking for gems that maybe the Heartbreakers could play. Our song “Magnolia”, one of our earlier records, always felt like a J.J. song to me, at least in spirit. I was probably channeling him. “13 Days” is one of my favorite songs. I just love the mood of that song. It changes the vibe in the show whenever we play it. It speaks to the weariness of the road. We actually cut more J.J. Cale songs too, believe it or not, that didn’t make it on this record. We could only pick one! (laughs) We recorded “I’d Like to Love You Baby” and also “Traveling Light”. But the latter song turned out to be like 11 minutes long or something like that. And many of these songs are already long and bluesy on this album. It would turn into a really long listening experience, which isn’t necessarily a bad thing. But the record label starts to get nervous when you show up with too many long songs on an album. What is this, Freebird? (laughs). (Petty seems to really be stuck on Cale at the moment) He’s someone I’d like to play with. Both me and Michael, it would be fun to just sit in on one of his sets. And learn from the master, you know? Maybe one of these days we’ll get a chance to do that. It would be fun to tour with him actually. Maybe to have him open for the Heartbreakers on a joint tour would be an honor for us. I mean, look at Clapton. He’s been a champion of J.J. Cale for years. He knows. And we’ve been playing tribute to him in our live sets. I joke around with the guys that maybe one day we’ll just but out an album of Blues cover songs. You know, Diddley, Muddy Waters, that type of thing. I wouldn’t put it past us. We are influenced by so many artists, the list is endless by now. Let’s talk about a few of the songs on the album. Starting with Something in the Air. When we first came together to record, we really didn’t have any songs ready. So we we were just trying whatever came to mind. Like the Zombies or something. But this particular one was an old obscure 60’s song by Thunderclap Newman, that we all liked. I don’t know who said we should try it, maybe it was Rick Rubin. But it came together nicely, and sort of starts the album out. Knd of an optimistic feeling. Tell me about the song Mary Jane’s Last Dance. That song is killer. I actually had this song floating around for a while, but it was incomplete. I think I started writing it around ’88 or something, but I didn’t have a chorus. But me and Mike didn’t want to give up on that riff. We knew we had something there. So, we brought it back out for these sessions, and the chorus finally came together after we started practicing it a few times. The original working title for the song was “Indiana Girl.” I understand this is going to the first single off the record? That’s what I’m told. And I think it’s a good choice. We actually just shot the music video. The concept of this one is a trip. I think it might freak a few people out, or at least bewilder them… (hesitant to say more.) How so? It can’t be any more wild than your video for “Don’t Come Around Here No More” can it? But without giving too much away, I will say that it features a famous Hollywood actress. And that’s all I’m gonna say. TPHB MINDBENDER.pdf
  19. Welcome! It brings back memories for me when I first discovered his music (1993), and what a thrill it was!!
  20. Do you think it's true? Do you think this guy actually bumped into Tom Petty at the Cypress Lounge sometime around 1983? http://maybebabyoryouknowthatitwouldbeuntrue.blogspot.com/2010/10/even-losers.html
  21. Tom Petty Roadtrip Playlist: Big Weekend Down South Cabin Down Below Love Is A Long Road Time To Move On Walls A One Story Town Trip to Pirates Cove Don't Pull Me Over House In The Woods Runaway Trains King’s Highway 13 Days (live) Six Days On The Road (Mudcrutch) Rebels Blue Sunday Learning To Fly Into The Great Wide Open California Something Good Coming Something In The Air A Higher Place Have Love Will Travel All You Can Carry Running Down A Dream First Flash Of Freedom Lonesome Sundown One More Day, One More Night
  22. I have this theory that your favorite album from an artist/band is at times the album that you came in on. In other words, the first album by them that you heard and/or purchased that brings significance. The ‘discovery’ album. The gateway album. It’s like that with me for some other artists I dig. To mention a few, Ryan Adams - Cold Roses Rolling Stones - Exile on Main Street Neil Young - Harvest Band of Horses - Infinite Arms RHCP - Stadium Arcadium Jamey Johnson - The Guitar Song Scott Weiland - Happy in Galoshes War of Drugs - Lost in the Dream (excellent album!!!) Wilco - Sky Blue Sky And that particular entry album may not be considered the artists ‘best album’ by the masses or whatever, yet to you, it is. It forever holds that special spot in your heart. Question for you: What TPATH album did you come in on? Does it also remain your favorite? Perhaps some is connected to your age at the time, fondness of a specific band era, or the season of life you were in (good or bad) that determines a favorite. I’d love to hear your thoughts on this. Like many, I came into Tom Petty and the Heartbreaker’s music with the Greatest Hits album. On cassette. I picked it up because I liked the “new song”, Last Dance With Mary Jane. After seeing the music video a thousand times on MTV, I was intrigued. I was hooked. I knew nothing else about the artist coming in. So I let that sucker blast. I remember my mind being blown when I heard the songs on Greatest Hits. Each song consecutively blew me away, and I thought that was the best one on there, until the next song came on… Here’s a cool article on the Greatest Hits, if you haven’t seen it yet: https://thespinoff.co.nz/music/03-10-2017/rip-tom-petty-the-troubled-triumph-of-1993s-tom-petty-the-heartbreakers-greatest-hits/ Specifically, to my point above: “OK, I am now going to ask you to try to imagine what it is like buying a CD with ‘American Girl’, ‘Refugee’, ‘The Waiting’ and ‘Don’t Come Around Here No More’ on it having never heard those songs before.” That was my experience. I might’ve recognized Free Fallin’ or I Won’t Back Down, but I certainly didn’t know any of the bands earlier stuff. So, needless to say, my world was rocked by the songs on the first side. (American Girl to You Got Lucky). At 14, the Greatest Hits just grabbed me, and it never let go. It was the beginning of a 24 year journey where Tom’s music would be a constant in my life. Greatest Hits albums are perfect if you don’t want to waste time exploring or bother picking up an artists back catalog. With TPATH’s Greatest Hits album, it did the exact opposite for me. It made me a fan, for life. It made me want to go back and discover the previous records, one by one. AND it make me excited with each new TPATH release moving forward! As long as Tom Petty was making new music, all was right and well in the world. While Wildflowers became the definitive TP album for me, the Greatest Hits will always be special. —————— Here’s a final thought on TPATH Greatest Hits, which arrived in 1993. To this day, it remains their best selling album (12x platinum). The perfect Petty distillation. I’ve wondered at times if his contemporaries saw this and decided to follow suite. To get in on some of that action (the record companies, that is). $$$$$$$$$ Bob Seger’s greatest hit’s came out in 1994. Bruce’s arrived in 1995. Not saying that Tom was the first to put out a Greatest Hits package (obviously), but I’m just looking at the timing of the releases…
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