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CrescentMoonFever last won the day on November 18 2017

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  1. Refugee is so great on acoustic guitar... great clip.
  2. I will not get my hopes up yet. This BETTER happen.
  3. To be fair to Stan, they did have the opportunity to cherry-pick the (very old) footage they used of him to frame him that way, since he wouldn't talk to Bogdanovich's interview crew. That said, I do agree that he was not a team player. If he didn't like the direction Tom was steering the ship, he should've done the respectful thing and walked away sooner.
  4. Always wondered the same thing about Steve's absence from the cover. Their excuse for not having Howie was that he was "not there the day they shot it" or something, which is such an obvious BS reason not to have him on there. Ferrone not being there was weird too.
  5. I want to see a full release of every song TP's ever created in one place at some point. Is that too much to ask? lol
  6. FMF was commercially successful and was a massive hit out of the gate, with "Free Fallin'", "I Won't Back Down" and "Runnin' Down a Dream" all being smash hit singles. It was the first album I've ever listened to in my life so I love it on a personal level, but I can go on forever about that so I'll stop there. I love it from a technical (and production) standpoint, but I don't think I can ever fully detach myself from my nostalgic bias for it. In terms of the Heartbreakers hating it, that was largely because it was Tom's first solo effort and minimized all the HBs other than Campbell. Benmont hated his experience with it, he only played some piano on The Apartment Song. Stan was left off completely, don't think Howie had much of a role either. They seemed to resent his Wilburys/FMF period since it was the first time he stepped out to do his own thing without them. I'm SURE they recognized it was a masterpiece, just hated it anyway for their own reasons. Which I get; I probably would feel the same way in their spot. In terms of the poppy nature of it... I didn't get to experience the firsthand reaction, but we know the casuals loved it and it brought in new fans for him. It's always had a steady stream of diehards who are staunchly opposed to Lynne's sleek feel being too mainstream a diversion for Tom. Given that this was my intro to him, I never found myself on that page.
  7. Shelter I'm almost 100% sure that they remastered all the albums other than She's the One and (I think) PutP a few years ago, at least for iTunes. But now this article is saying they did it with all of them. Not sure they used the remastered versions on Spotify, but if you noticed such a radical change then it stands to reason. I haven't heard my original CD pressing of Echo since the early 2000s, so I can't say this is something I've noticed. http://www.kshe95.com/news/real-rock-news/tom-pettys-entire-catalogue-remastered-itunes
  8. Stapleton's voice is as advertised and beyond. Shocked that it took this long for a guy with those kind of vocal chords to break out on his own, but even though I only casually like country, he's as technically good as it gets. It's good that Petty remembered that open letter!
  9. "Jack and Diane" by John Mellencamp I'm pretty sure. Great song too.
  10. Oh I definitely think Joe is his angriest song ever; it was jarring to me when I first heard it because Tom has never been the kind of artist to go in like that. Really, the song taken in context with his entire body of work makes it all the more powerful. Personally I agree with most of you guys in this thread on DJ. I didn't think it worked as either a concept album or as an "album" album in full. When it comes to complete albums, I'd prefer it to be full of consistently middle-of-the-road-ish songs (Echo for instance) as opposed to such glaring peaks and valleys. The lows are, as mentioned in this thread, just too low for me to enjoy it regularly. Even when I'm in the mood for a Last DJ fix, listening to it still leaves me feeling meh... I used to be a lot higher on it, I think. I often find myself reaching for single songs from this album, but rarely the whole thing in full.
  11. I'm gonna bump this one too since I just watched the "Live at the Olympic" DVD where he rolled through this full album to begin the show. My thoughts may be somewhat painted by those performances since it's the last time I heard each song, but they stayed largely true to the studio tracks. Love: The Last DJ, Dreamville, Joe, Blue Sunday, Have Love Will Travel Like: Money Becomes King, When A Kid Goes Bad, Lost Children, Can't Stop The Sun Meh: Like a Diamond, You and Me, The Man Who Loves Women I'm coming to the very bizarre and unexpected realization that "Joe" is my favorite song on a TPATH album, which is just weird to me. Now that's what I call music! Hah.
  12. Regarding Free Girl Now I completely agree. I have no idea why this one faded so quickly. I like it as much as Swingin', if not more. I've had the riff stuck in my head plenty, huge fan of the entire song. It is thematically unlike the rest of their catalog and it's... interestingly placed, album-wise. This is the closest TP ever came to striking a start-to-finish theme on an album, so a song that has no ostensible correlation stood out as somewhat out of place to me on a full Echo listen. When I first heard it I wondered if TP was (in the 3rd person) referencing/mocking some of his ex-wife's views about her marriage to Tom, but that was before I looked into his life and he doesn't seem like an authoritative "control" kind of guy with his family, so that wouldn't make sense. (Fun fact is that FGN was supposedly his 28th and final "Top 10 Mainstream Rock" charts hit, which is an all-time record. The Foo Fighters are apparently tied for second place with 24 of them... and Grohl is the same age Petty was when Free Girl Now was a single. As a side note, it is pretty interesting that the Foos have stayed so mainstream, but few have ever remained there past their 50th birthday in terms of getting consistent radio play on their new songs... I could see them tailing off in terms of that sort of relevancy. I've heard a lot of comparisons drawn comparing TPATH to the Foos as being bands that toe the line between truly great music AND being popular, though personally for me they don't hold a candle to Petty.)
  13. Absolutely. Myself I've always viewed it as "pre-Stan" vs. "post-Stan", even though that wasn't the reason for it but rather a result of it. I go back and forth on which TPATH era I enjoy more. It just takes such balls for a band to put such an emphasis on growth, which I do think gets understated. It's a big part of what makes them so ageless and great. The obvious radical shift between ITGWO and Wildflowers (at Tom's peak of popularity, no less) is the biggest example, but at that point he and the HB were a well-established act who had already etched their place in history. The willingness to deviate from the DTT "full speed ahead" approach for Hard Promises was to me an even gutsier call, just a few years and 1 hit album into their careers. That didn't mark a massive shift but a lesser group would've rested on their laurels and just tried to cash in on what was working for as long as they could. The trust they had in each other to create great music no matter what direction they went in... that's what really put them over the top.
  14. Southern Accents is one of my personal favorites despite being a botched concept album. First side is great, 2nd side is hit or miss but I see something to like about every song other than Mary's New Car, which is just a total dud for me.
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