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Everything posted by CrescentMoonFever

  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.
  15. Same, and Grohl to a lesser extent. You can tell some of these guys are still trying to find the right words.
  16. Mystery Man - Always liked this one even if it faded into the background with the other songs on this album Dogs on the Run (the plural one) - A highlight of Southern Accents for me: "some of us are different, it's just something in our blood; there's no need for explanations, it's just dogs on the run..." Letting You Go - I really have a hard time understanding why this wasn't at least a second or third-tier hit for them. Goes to show you the number of great melodies in particular the band was churning out in the late 70s/early 80s to where LYG becomes an afterthought, they didn't even use an incredible song like Keepin' Me Alive based on album mood (unthinkable to a lesser band), and he just hands Stevie Nicks a potential hit. I still have some of my own conspiracy theories regarding how that came about with Iovine/Nicks' relationship being kept a secret from Petty... I'm unclear completely on the timeline, but it wouldn't surprise me if Jimmy sort of manipulated TP into handing that one over to Stevie as a sort of romantic gesture! Half kidding but you know... Shadow of a Doubt (A Complex Kid) - Not one of Petty's best but it was like being a mediocre hitter on the 1927 Yankees murderer's row team. Still pretty damn good, and rarely discussed. Wildflowers - Okay, maybe not anymore, haha! Prior to 2017 this would've been my first choice, but I think with its inclusion in the 2017 tour it returned to prominence; and now plenty of artists have been covering it since his death. Safe to say this one is finally getting its due. Magnolia - I kinda like the way he sings this one, it's different. Echo - This one is an absolute gem of a depressing song. Paints such a great (if slightly confusing) picture. Free Girl Now - Pretty atypical theme for Tom. 3rd verse/delivery is awesome. Accused of Love - Another one from Echo... this album is really good. It'll All Work Out - This one isn't really forgotten as much as stuck on an album that doesn't stand out in the minds of most TP fans (I don't think, anyway). It's great. Have Love, Will Travel - Might be my favorite song of his post-Echo. Joe - I know... I know. Call me crazy but I LOVE the song. The pure rage and anger, you just feeling him seething; the sarcasm that drips from Petty's venomous words in the chorus... I love these raw, bitter, "full honesty" type songs, especially from songwriters who aren't typically laying into people so directly. California - Short 2 minute or so song from STO, been stuck in my head quite a bit lately. Same with Hope You Never. Built To Last - I've always found this song to be stunningly unique and unlike anything I'd ever listened to. Love the drums/bass in this. The Dark of the Sun - Kind of like a sequel to "I Won't Back Down"; Petty's upbeat stuff is some of his best work. All The Wrong Reasons - Benmont called it Free Fallin' part 2 and I know it's pretty soundly disliked, but I've always liked it. Somewhat clouded by nostalgia here, admittedly. Zombie Zoo - I don't consider it forgotten, but even though Tom doubled down on his disgust with this song on Rolling Stone... I'm glad it was on the album. There was a time when I was a kid that this was my favorite song ever made, for whatever reason. Love Is a Long Road - Probably gets overshadowed by its soundalike "A Woman in Love", but LiaLR is (like Shadow of a Doubt) like casting the best actors in the world for one movie and then Leonardo DiCaprio fades into the background. It's bound to happen when there's that much star power, but taken on its own this is an incredible tune. That's enough for now!
  17. This definitely would've been pretty awesome. I definitely think he might have started incorporating some more of the faster-paced Echo songs into his setlist if he kept touring. In recent years he'd had somewhat good things to say about Echo; first Tom said his wife made him listen to the album on a road trip, and in one of the recent interviews that came out (think it was the Rolling Stone one), unprompted, he mentioned a fan encounter with a girl who told him it helped her through a difficult time. You could feel him softening up a bit lately. I don't think he'd ever have played Room at the Top live again considering he called it the most depressing song ever, but then again I was surprised to read in this thread that he EVER brought out the title track at a live show. The actual song "Echo" is LITERALLY the saddest song in his catalog (though I love it). I can't imagine what made him think that would work in a concert setting, yet I somewhat wish I was there to experience it? Anyway, this album is incredible. I do think some of the fat could've been trimmed (didn't need to be so many songs), but I like pretty much every track. As a cohesive album I like it as much as anything in between DTT and FMF, even Hard Promises.
  18. I think this is actually what Detroitken was thinking of. It was "Long After Dark", the album after HP. Song was definitely Keeping Me Alive, I saw the documentary pretty recently.
  19. Utterly heartbroken by this... Petty has always been my favorite musician and I can't see that ever changing. Taken from us way too soon. Such a legend, rest in peace and my thoughts are with his family. I don't remember being this shell-shocked by a day in news in a very long time. Unbelievable.
  20. Ugh... Zombie Zoo is a huge part of FMF for me. I honestly love that song and I find it unfortunate Tom hates it so much. He might have been referring to "A Mind With a Heart of its Own" in that interview, from what I remember he just said it was a song at the end of the album, and those are the two that I don't think he ever played live? Could be wrong. But yeah. Waiting for Tonight is way too good to have been left off the original, but I still wouldn't touch it. Add it to a bonus disc, if you ask me.
  21. Oh man... Dog on the Run deserved an album spot at some point, and I'm still holding out hope that one day they'll do it. A revised and expanded "Playback" style release in the future would be great. It would be nice if the only live album released by the Lynch-era HBs (sans Blair) featured more original songs by the band. 5 covers out of 14 was not a move I would have made. 3 out of 15 sounds a lot better. IMO keep the first two and Stories, replace "Don't Bring Me Down" and "Shout" with "Dog on the Run" and maybe leave "I Need To Know" and "You Got Lucky" (?) in there like the video release supposedly had? Not sure why they would pull them out, especially when they otherwise had no problems picking and choosing songs from different live shows.
  22. 1. So You Want To Be A Rock 'N Roll Star - I like it. It's one of those songs that seems like it should be better (same w/ Byrds' original) and I cannot put my finger on why I feel that way... it's a good opener. I've seen you describe "Wildflowers" as a pretty good song that lasts 3 minutes, but feels like twice that length. That kind of sums up how I feel about this one. 2. Needles and Pins - Not going to lie, I love this cover. Everything about it. I don't agree that it halts momentum, at least not for me. 3. The Waiting - I love the original, but like "Rebels", I feel like it's a song that works best either really rocking out, or softer like this. Great version of a great song. 4. Breakdown - Loved your assessment of this one, MJ2LD. It's a bit long but I don't mind that, the seemingly-endlessly improv was an odd choice for an album. One of several choices made that make PUTP an album that I almost never listen to front-to-back. 5. American Girl - Phenomenal cover. Not much to say about it, it's a slightly rockier version of the original with few real changes. 6. It Ain't Nothin' To Me - Very underrated song. I get bored sometimes towards the end when I'm not in the mood for it, but I do think it's a real improvement over the (still great) studio version from SA. 7. Insider - One of my top five TPATH songs ever. Lyrically I'm not sure Tom has ever done better. His mellower stuff has always appealed to me, and I'm glad he held onto this one rather than SDMHA. Goes to show you how great Petty is, the fact that he just give away a hit song almost as a favor. Prefer the Hard Promises version though. 8. Rockin' Around With You - Just a great song to jam out to. Really never heard another TPATH song quite like this one. 9. Refugee - Amazing, though them stretching out the slowest parts of certain songs has long been a pet peeve of mine... "You Wreck Me" comes to mind, but he kind of does that here too. Vocally the original is unmatched IMO. 10. Southern Accents - It felt extra. This song is at its most powerful when stripped down, but with it being a new song at the time I see why they felt the need to experiment. 11. Rebels - Maybe my favorite song he's ever written, chorus gets me every time. It does feel like in recent years, Petty has finally shed his confusion as to the way this song is meant to be played. He seemed caught between midtempo, harder edge, softer etc. I love the Southern Accents version and this live one, but the song feels most "at home" and right with the acoustic. 12. Don't Bring Me Down - I like it but it made no real impression on me. 13. Shout - Come on man... it's 9 minutes of just pure skippability. It's not bad but it's probably been 15 years since I sat through the entire thing. What's the point, replace this with 2 WAY better non-covers. I don't hate it, there was just no reason for its inclusion. 14. Stories We Could Tell - Highlight of the album bar-none IMO. The song is inherently super-nostalgic, but the band ramps it up even more. It's a great closer and almost flawless.
  23. I hope so, at least in the short term. The Ariana Grande incident did seem to be creepily aimed at younger fans to make the most devastating impact, but it's better to be safe than sorry. I'm going to one of Petty's shows in a couple weeks.
  24. Did he bring it back? Or do I gotta sign my name on this thing again to really put the pressure on Tom?! And look, I like "stretched out solos" as much as the next guy... but you can't tell me that he can't chop that last 8 minutes off "It's Good To Be King" to make room for "Will Meet Again" and maybe something like Swingin'.
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