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Everything posted by CrescentMoonFever

  1. Lot of interesting tidbits. I always kind of thought Love is a Long Road was really similar to a Woman in Love too.
  2. Full Moon Fever at the end of Runnin' Down a Dream (only on the CD version though).
  3. Hmm. I didn't hear that, do you have a link? Kind of surprised to hear it, he seemed to enjoy ZZ around the time FMF was released and talked about how fun it was to make it.
  4. Just rediscovered this song during an ITGWO playthrough and was shocked at how much I liked it this time around... so with that being said, time for another bump. 13. CrescentMoonFever
  5. Without a doubt, my favorite cover by TP. It's such a great song.
  6. Yeah, I mean naturally I feel like it has a lot to do with the fact that it's one of the most isolated songs in terms of when they decided to record it, so their creative juices might have just been in a place that they were only able to capture with one song. That plus being the first individual song (to my knowledge) that they recorded w/ Rick who might have been trying to keep some of the old sound intact while feeling out the band for possible new directions? Hard to say, but I have always agreed with the sentiment that it's very unique sounding. You always hear DCAHNM and some of the Dave Stewart stuff as being mentioned with Tom's most experimental stuff, but I think MJLD might actually be the most unique thing he made.
  7. Happened to me too man. I went down all the albums and had a list of around 30 or so too, it was like splitting hairs trying to differentiate between them.
  8. I can see what you mean about Keeping Me Alive, but it would have been kind of like Louisiana Rain on DTT. The acoustic feel doesn't seem to fit (and maybe the song itself had a different vibe to it), but I kind of like when albums change things up like that.
  9. You know, I was reading through one of the old threads here, ranking the TP/TPATH/Mudcrutch studio albums and got the idea to make this topic. Obviously judging an album is a lot different than judging specific songs, as by taking the tracks on their own they are no longer sullied/bolstered by how you feel about the flow of the album and the songs that surround it, and even better, you can factor in any version(s) of the song you've ever heard. I've always been an "album person" for the most part, but I think this is the most fair way to judge individual tracks, especially when he's changed many of them up live through the years. So in making my top 10, I almost completely ignore album context and just factor in everything I love about the songs themselves. Another thing I realized in the ranking thread was that list looked even remotely similar, a major testament to TP and the bands' consistency. I thought this could be interesting, since I presume that songs lists would look even MORE different as a result. This was a tough list to put together and I'll probably feel differently a week from now, which is the best part. This will probably be way too long to read but I'm allergic to ranking without writeups. 10. Down South. Probably my favorite post-2000 Petty song slightly ahead of The Last DJ... this is a prime example of a song that radiates nostalgia ahead of anything else. Prefer the live versions but as far as I know they're all largely unchanged. 9. Keeping Me Alive. The fact that this one was never given a proper studio release on an album infuriates me more than any of the other lost "deep cuts", but I'm definitely glad that he didn't just sit on it forever and we can hear it now! I know Tom was talked out of it by Iovine and the album really suffered for it IMO, but as a single song, I find myself wanting to hear it as much as any other song from any artist. 8. Wildflowers. I guess I'm a sucker for the TP mid-tempo acoustic songs, wasn't expecting so many to be on my list. I'm probably alone in feeling like one of TP's simplest songs ever is actually the best song on that entire album, though it's so hard to pick. I prefer the live versions, but the studio version is probably my favorite of his in terms of his vocal performance. 7. The Dark of the Sun. I think this is the most underrated song in their entire library. I can't find ANY live versions and I do wonder if this song would get more of its due if he played it more often. It's kind of a hopeful, positive song and sort of gets lost in the shuffle with some of the other great songs off that album. 6. Walls. On its surface it's a simple song, but yet powerfully awesome at the same time... way more to it. This one represents Tom at close to his best as a lyricist, as far as I'm concerned. Love it live, love No. 3, love Circus, I'm glad they included both versions. I can listen to this song in any form and never grow bored of it. Like others on this list I absolutely feel like circumstance was the only thing keeping it from being a big hit. 5. Refugee. My favorite hard-rocking TP song ever made. You have to love the ultra-nasally early Petty days, and a big assist to Mike Campbell for coming up with this genius chord progression. This is one of those songs where I think you ask almost any fan of the Heartbreakers, and there's literally NOTHING they would change or that bothers them about this song. It's hard to pin down a "most important" song for a band which was so nonstop great as they were, but the biggest hit from their first big commercial success has to be up there. 4. Insider. Good thing he didn't give this one up! I know The Waiting is legendary and rightfully so, but this has always been the highlight of Hard Promises for me. SDMHA was probably better served as a Stevie Nicks song, and this one definitely was better as a TPATH song. She does a phenomenal job on the duet though. The pure pain in this song is palpable, and the band backs Tom up flawlessly. Possibly my favorite chorus of one of their songs. 3. Runnin' Down a Dream. For me, it's pretty simple. I think we can all agree this is one of the all-time great driving songs ever made, and 90% of the time I'm able to listen to music semi-attentively, it's when I'm on the road. It's another one that's impossible to nitpick in any way. Lyrically top notch and draws you right into the atmosphere, Campbell's awesome guitar work. Tom Petty songs notably never seem to feature many solos, which is something I'm happy about for the most part, but this was a welcome exception. If this song doesn't want to make you jump around like a complete idiot, then you don't have a pulse. 2. Free Fallin'. Wanted to represent more albums but FMF was too good and took up two of my top three slots...I'm way biased towards this song as it was the first TP song I ever heard as a kid, and one of the first songs overall that I recall listening to. As someone who naturally seems to feel that less is more in regards to music, it's no surprise to me that I still love this one as much as I did when I first heard it come on my dad's record player in the early 90s. I don't love it as much in concert, but it's still one of those songs you wanna hear when you go see them. 1. Rebels. I've heard and understand all the criticisms. I just disagree with every single one. It's perfect. Wouldn't touch it, and while I will always be partial to the original (horns and all), I felt like I discovered a whole new layer to it when I heard it acoustic.
  10. The only other link I can find to Petty (possibly) semi-addressing this was on another message board, discussing a time it 1977 when an NME review apparently painted him as racist and Tom supposedly responded. This is some of the relevant part but the poster didn't even provide a link so I can't even verify this. http://z1.invisionfree.com/thefall/index.php?showtopic=35067&st=50 On 28th May 1977, NME printed a letter (p58) from one "A.K. Odamtten", complaining that the song "Strangered in the Night" was censored on record when it came to the offending line, "God damn you.... you've blown away my dreams", but that live Petty had sung the phrase "black bastard" where the ellipsis is. So it wasn't actually an NME live review.On 4th June 1977, Petty's letter was published (p54). In it he does use the rather poor pun "I ain't no racist. I don't even drive." I think this is bad judgement, like he thinks the word "racist" is not to be taken seriously. More to the point, he cites the entire lyric and observes it would be sensible to take it in context. He also says the line is not censored on record at all, contrary to Odamtten's claim.
  11. It may have taken a year and a half, but it's finally happened! Not only was FF the first TP song I've ever heard... I think it might have been the first SONG I've ever heard, or at least it's my earliest memory of listening to music. Free Fallin' and the whole FMF album, I'll never be able to be fully objective regarding it because of my nostalgic attachment to it, but I do think it's one of the best albums ever made. Still my favorite of TP/TPATH's.
  12. Interesting, it was definitely a bold choice to do that. I'm surprised they ever played it live, if they did. I could definitely see some of those lyrics being offensive especially with how sometimes you can't hear every word clearly at a live show. To be honest, even if you have the full lyrics it still kind of comes off "cringey" as you said, but it seems like the song is trying to make a statement against racism in some weird roundabout way... as if a racist white person is singing it while onlooking whatever is going on. I don't think anyone would accuse TP of being racist (especially in light of his comments about his past Confederate flag use recently), but undoubtedly the narrator of the song, the main character, is coming at it from a racist viewpoint. It did seem a little lazily conceived, and probably wasn't a great idea to write the song.
  13. What is this song supposed to be about? A slave confronting his former owner, from the perspective of a nearby bystander? That's what makes the most sense to me but it's still a really intense song that Tom hasn't come close to matching in the 40 years since, in terms of subject matter. What do you make of this one?
  14. Generally I'm terrible at discerning influence of prior musicians within music except when I really strain to look for it. I just don't have the depth of music knowledge or the ear for it, for the most part. Like I barely hear any Byrds in American Girl, and while their music is similar I don't think it's cut from the same cloth to the extent that some believe. Overall though, I find TPATH have a very unique sound unlike any other bands, even in their earlier days. That's why this stuck out like a sore thumb to me. Is it just me or is "I Can't Fight It" pretty much "Stuck Inside of Mobile With the Memphis Blues Again" with different words? I just heard the Playback version of that song for the first time and the similarity was so striking. Even the use of "...but I know..." is in the equivalent spot, and he sounds as Dylanesque as he ever has. To me this is hands down the biggest single-song example of influence in Tom Petty's whole career, if even I'm noticing it! Haha What are some other examples of this that really don't get talked about as much as the American Girl comparison?
  15. Is he mixing the 40th Anniversary tour with the Wildflowers thing? I'm not a huge concert-goer anymore but am definitely going to see Petty again if this is really the last big one as he says it could be. If it's the Wildflowers tour, I think he should start it off with Wildflowers for sure. Based on some of his past comments I think he probably will tweak the album order somewhat, but I'd still start off with that one. But I can see the argument that it doesn't kick the concert off on the most exciting note and might be better served being somewhere in the middle. If this upcoming tour is separate from that, I would go with Free Fallin' to kick it off. The song is great, to me one of his best ever despite the overplay, but it's also one of a few songs of Tom's where I haven't really heard any versions of it that compete with the original studio cut. Those opening strums are iconic and the song is upbeat enough to not just stick somewhere in the middle as I think he tends to do. To maximize the power of the song, I think the best bet is using it to lead off. Now, what do I think will happen? I agree with Mary Jane's 2nd Last Dance that they will hark back to the first few albums a TON in the concert (as they should), and I could see them bookending it with Breakdown and American Girl. Maybe toss in something obscure like Mystery Man or something they generally NEVER break out.
  16. I completely agree with that ^. These responses are great, and yeah... couldn't have phrased it any better myself. Those classic album track orders really are almost untouchable by this point; if you were to rearrange the track order on DTT/FMF or anything else, they would become totally different albums and almost foreign to me. And I can't say I feel that way about more than a few artists I've listened to. Now I'm really excited to pick up the albums I'm missing because it annoys me that I haven't heard it all! I was even irritated to learn that there were live Mojo-based tracks offered only to members via online download in 2010, still hoping that they can be somehow accessed? Thinking about it, the 3rd verse of Louisiana Rain has always intrigued me. It's a magical verse but I've never been able to figure out what that last line is, after "you should have seen him lick his lips"? All the lyrics I can find say it's "that old black muddied beak" but I don't really get it? It sounds like it's something else when I listen to the studio or live versions... all I know is when I hear that verse it brings me way back. I've always thought TPATH albums' closing tracks all sort of had a bit of that nostalgic element to them. Louisiana Rain and American Girl for sure, but even some of the lesser-regarded songs like The Best of Everything, Zombie Zoo etc. Only one that doesn't really do it for me was the one off Hard Promises (title escapes me), but for the most part I always looked forward to hearing how he would end every album.
  17. For me, it was mostly Square One, Down South and Saving Grace and a few others carrying it. It agree it definitely wasn't an "unskippable" sort of album, several duds for sure by TP standards. It and Southern Accents were kind of similar in that each had quite a few "very good" songs, but I admit the amount of filler is hard to overlook.
  18. I've surprisingly yet to hear anything post-Highway Companion (which I liked a lot despite what seem like pretty tepid reviews from most fans I've heard from, Down South is probably in my top 20 or so from TP). My Petty fandom has been only recently reinvigorated and I'm not sure why I ever went away from listening to him. Is Hypnotic Eye that good? I gotta pick up that, Long After Dark and Mojo to round out the collection.
  19. Thanks! Yep, same here. I don't often listen to the Greatest Hits album but when I do, it always feels like something is missing at the beginning of "Even The Losers". Any time I think I have my favorite Petty/TPATH album nailed down (grew up with FMF so I'll always be partial to it), I'm reminded that Damn The Torpedoes literally has six or seven incredible songs and no true duds. I prefer the atmosphere of Full Moon Fever though... usually I'm able to point to one album where I'm like "that's the one", but these guys have way too many good ones to do that with.
  20. I know that first minute is supposed to be some of the "normal noises" that the album led into other songs with, but has anyone else heard DTT so many times that it's almost become part of the song itself for you? My nostalgia leads me to tie it to the song to the point where I can't imagine the studio version without it
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