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TheSameOldDrew last won the day on March 31

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About TheSameOldDrew

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  1. I can't say I'm a judge of guys hair. That said, I'd guess that TP and Ron had the "best hair" in the 70's and 80's. And possibly Stan had the best hair overall when you include how he's aged. Though Ron looks pretty cool with the gray hair and beard now. Speaking of hair, I'm getting a bit shaggy myself with the sheltering/shutdown going on, and no chance of getting it professionally cut. Which is fine. Maybe longer hair will become fashionable again.
  2. How about Something Good Coming (from the Mojo album)? It references the job losses going on, but remains hopeful for a treatment, cure, vaccine, or some positive end to this. And I'm an honest man Work's all I know You take that away Don't know where to go.... There's something good coming For you and me Something good coming There has to be I've always thought that Something Good Coming would have been the perfect way to end HE, if it hadn't already been on Mojo. And I agree with the thought that Hypnotic Eye is a great album and great album for this time. Thanks to Tom and the guys for making it, a few years ahead of when we needed it. Though I still think that Hurricane Eye would have been a better name, assuming that this was actually considered, and not just a strange accident in that book. And maybe they would have included Somewhere Under Heaven on the album too, given that it's a great sounding song (which was never officially released on an album), and has its own hurricane reference.
  3. I like Peter's idea of All You Can Carry, which is appropriate and also a terrific song, my favorite from the Hypnotic Eye album. I would nominate King's Highway from the ITGWO album. Great song, and it includes the lyrics: We want to hold our heads up, but we gotta stay down. And I don't want to end up, in a room all alone, Don't want to end up someone, that I don't even know. Oh I await the day, good fortune comes our way, And we ride down the King's Highway.
  4. Although I could see splitting it into two albums, one "Southern Roots", and one "Psychedelic/Funk" - I do like the way the original album fits together as is. Remember that TP is a Southern boy who grew up with country music influences, but also grew up with British Invasion, psychedelic 60's, and funky horn-laden music. So from that perspective it all works from the clash of musical style's representing Tom's (and the band's) musical roots, both the traditional and the new.
  5. I agree. Rebels HAS to be the album opener. Southern Accents (the song) has to come later. Well I'm on the fence about moving Dogs on the Run from the "Southern" album to the other one. I agree that the Southern album could use it for the energy and pacing, but it wouldn't really fit the theme of that album. The trouble is, the more the album is moved toward a true and consistent "Southern" album, the more it winds up with the songs sounding too similar, and the pace too slow. Which is why the original album works for me in terms of listenability, even though it's a hybrid of two distinct styles rather than remaining true to the original concept. By the way, I greatly prefer the original Trailer to the Mudcrutch remake version of it. I think Trailer would work very well on the original SA album, replacing Spike as was strongly considered.
  6. I like the original Southern Accents album and rate it very highly, even though it failed to remain a concept album once Dave Stewart was involved. The major change I would have preferred, and which they almost did, would be to replace Spike with Trailer. If someone were to make SA more true to the original concept, I think they'd have to remove Don't Come Around Here No More, It Ain't Nothin' To Me, Make It Better, and possibly Mary's New Car. Possibly also Dogs On The Run, though I do love having that song on the album - it adds some needed energy, especially if one was going to remove those other songs. I do like the idea of adding in not only Trailer, but Keeping Me Alive, and several other songs that surfaced on the Playback boxed set. I could see this evolving into two albums, one being called Southern Accents, the other - I don't know what it would be called, but if Dogs On The Run was moved to that album, that could be the title. So one would be a dedicated "Southern" album, the other one would include the weird/psychedelic songs that were often horn-laden (though Rebels and The Best of Everything would remain on the Southern album), or anything that wasn't really fitting with the Southern Accents theme.
  7. Awesome bootleg, though I like all the shows from that period, if they are of listenable quality. The song Straight Into Darkness itself sounds awesome on that boot (though my favorite performance of that song is the 1983 Milwaukee one). The highlight of the Utrecht boot might be the song Louie Louie, with the false start and all. Which goes against my usual desire to hear TPATH play only their own songs, but they do such a great job on that one, it's so high-energy. I love the part where TP says something like "ok Mike lets give it to 'em right now" and Mike goes into a great guitar solo. The Utrecht Louie Louie blows away the 1997 version from the Fillmore shows. Regarding the false start in Louie Louie, Howie does a great bass riff on the first attempt. Then TP stops that song, says he's not going to play it. then plays it anyway. I don't know if Howie thought TP wasn't digging his bass work on the first attempt, but on the second attempt he doesn't play it that way. Which is a shame because the bass on the first attempt was so cool. Anyone else notice this about that song/concert?
  8. Ok, Del Shannon was rumored for consideration as a Wilbury. I still think he was considered, why wouldn't they consider him? The Wilburys even covered "Runaway". They may say "Oh we never considered replacing Roy", but I don't believe that it didn't go through their minds to bring in Del. By the way, with that gentle cough of yours, maybe it's time to self-isolate. This coronavirus thing is very scary. https://www.arcgis.com/apps/opsdashboard/index.html#/bda7594740fd40299423467b48e9ecf6?ocid=eventhub
  9. Yes, if ONLY Tom had embraced some of Bruce's willingness to shake up the setlist and attempt some fan requests. TP was said to be a perfectionist who always wanted to please the fans, didn't want to have mistakes, felt he "had" to play certain songs for all the fans seeing the band for the first time. Ironically I think TP's desire to please the fans led to a fairly stale setlist for the final 20 or so years of touring. Sure the shows were enjoyable but could have been so much better, and perhaps more fun for the musicians too. The other irony is that when TPATH toured with Bob Dylan, Dylan apparently would frequently challenge the band to play songs they'd barely rehearsed, or play them in a different key than expected, different tempo, whatever. And TP said that sometimes that led to mistakes but sometimes they'd find something really great, unexpectedly, and apparently that's what Dylan was hoping for. We might have thought that the Dylan experience would lead to a more open style with TP, maybe it did help the band be a little more "jammy" on certain songs, but it certainly didn't make him vary the setlist more, a la Dylan or Springsteen. For me a lot of what Springsteen did in the 70's was great; I'll agree on the "masterpiece" label for the Born To Run album. I do find his first two albums to be quite hit or miss, but the good songs are very appealing. I also agree that their live band was excellent in the 70's; l don't know how they are today. I still prefer TPATH live but Springsteen's band was first rate, especially in the 70's. They had an excellent drummer in Max Weinberg, great "feel" and creativity without showiness, a lot like Stan Lynch. Also a terrific sax player in Clarence Clemons. And I'm pretty sure they had separate piano and organ players, so it took two of them to do the Benmont Tench role, but they did it almost as well as he does, which is very high praise. David Sancious early on piano, and his replacement (after two albums) Roy Bittan were particularly great. I don't feel that Springsteen's band has guitar work quite matches Mike Campbell's (despite some great searing solos such as the one on Badlands), but in a way sax player Clemons fills the Campbell role on many songs. All in all, as people have said here, hard to compare the two bands. Both were very worthy of the praise they received. If only TP had been up for frequently reaching deep into his own song catalog like Springsteen, but that's a well-worn topic, and we were so glad to have TP while we had him.
  10. Those are great songs for sure, though for me Badlands - the album's opener - really stands out to me and hits hard, probably my favorite on the album. I also think Candy's Room is a standout track. Really I think all the songs are either very good or great, except Adam Raised a Cain. That's good to know; I didn't realize that. Interestingly, the Springsteen album I associate most with Patti (of the ones I like anyway) is Tunnel of Love, which has her co-vocals on a few songs, especially One Step Up. I think that the Tunnel of Love album actually has a lot in common with TP's Wildflowers album, so it's interesting that Patti likes Wildflowers a lot. Both albums explore love and foreshadow or hint at divorce. Both are fairly subtle/acoustic musically. But wildly heretical I suppose, as a major TP/TPATH fan, I think Tunnel of Love is a much better album than Wildflowers. I first had TOL as an LP, so I was playing Side 1 then Side 2. Side 1 of TOL is "pretty good", but for me side 2 is just incredible, very nice musically and just incredible lyrically, very emotional. I know a lot of people connect with the WF album and that's great. WF for various reasons doesn't quite grab me the way most TP/TPATH albums do, though it has some nice and memorable tracks IMO. But TOL for some reason does grab me in a way that perhaps WF grabs others (possibly including Patti). TOL is not a masterpiece start to finish, but the six songs of Side 2 effectively ARE a masterpiece, IMO.
  11. Good point, I missed that one. So add that to the list of audio-only live music officially released. It's so weak I forgot all about it. Why even make a CD if you are only going to include 4 songs? Though it's not quite as bad as the bonus CD by Pete Townshend, from his live Maryville benefit concerts. That one has a bonus CD of only 2 live songs, period, and one is marred by the "singing" of none other than Eddie friggin' Vedder. I might like Springsteen more than you do, but I don't quite understand why he's viewed by most as "better" than TP or TPATH. Probably because he's more of a showman on stage (including long-winded stories and introductions), partly because he grew up not far from the media center of New York City, and also because he and his band appeared on the music scene a few years before TPATH did, when both were looking to "save rock and roll". Springsteen also does longer shows than TPATH typically did, and was more willing to change his setlist from tour to tour and even show to show (something I wish TPATH had emulated). Overall, I don't think Springsteen has nearly as many good songs as TPATH, but maybe that's just a matter of personal taste. I have seen comments from fairly neutral sources, where they noted that Springsteen's new song output after the 1980's was almost worthless, while Petty continued to write many excellent songs. I do think that the albums Born To Run, Darkness on the Edge of Town, and Tunnel of Love are excellent almost from start to finish, while Springsteen's other albums from the 70's and 80's are spotty but include many great songs alongside some forgettable stuff. Again though, that's my taste, but probably a lot of TPATH fans would have a similar opinion. TPATH should offer full live shows, the way the official Springsteen site does. In terms of TPATH fans hearing Springsteen live, I would suggest the for-radio recorded Passaic NJ 9/19/1978 show, and the "Main Point" 2/5/1975 show (also a radio show). Those two are not only top quality recordings and top performances, they are historic in terms of this discussion about bootlegs and the availability of live shows. Springsteen's "Main Point" 1975 recording became so popular that it spurred Columbia records to fully fund his Born to Run album, at a time when his album sales were low and the label considered dropping him. Then the Passaic NJ 1978 concert (booted mainly as "Piece de Resistance") was so highly regarded that it spurred on the whole live bootleg industry, which in turn - eventually - led to the major record labels releasing more official live concert recordings. Ironically though, Springsteen's own label resisted releasing any official live recordings of his shows until November 1986, and even then it was a compilation of songs from many years (a la TPATH's Live Anthology) rather than a single show or single tour album, which many fans found disappointing.
  12. Good points by all here. In terms of audio-only official releases, TPATH comes up short given their 40 year history of concert performance. Officially, audio only, there's Pack Up the Plantation, LIve Anthology, a few live songs on Playback, an extra disc on the deluxe RDAD film release, a few live songs on the Deluxe DTT, and a few live songs on American Treasure (4 CD version). Plus there's the Official Live Leg LP. I think that covers it all; maybe I'm missing something. That's pretty haphazard in terms of official live audio-only. I realize that Live Anthology was meant to cover a lot of ground, and it does. But there isn't a single official release of a full concert (Pack Up The Plantation comes closest, and it's not exactly representative of the band, due to the horn presence). Bruce Springsteen is often mentioned with Tom Petty, both being born in 1950, both out to "save rock and roll" starting in the 1970's, etc. I've always enjoyed TPATH a lot more than Springsteen/E-Street, but I have enjoyed much of what they do (their 1978 shows especially, such as Winterland in SF). Interestingly, Springsteen now offers full shows on his official website, as downloads or physical CDs. Most of his touring years offer one, two, or three shows. All the more interesting though, the most recent touring years offer a ton of shows, like 12-15 each. Which likely means that demand for the full concert recordings was so strong, that they decided to record more of them for potential sale in recent years, once they realized that there was a demand for the older shows. At any rate, I think the Springsteen website sales present a model for what TPATH could do officially. In the case of TPATH, we know from the notes associated with LIve Anthology that they recorded a huge number of shows from which these individual songs were drawn. I can't say I'm lacking in TPATH live recordings, but I'd still go for some official live full concert shows in high quality, especially from the Stan-era. I don't care if there are a few mistakes here and there, that's live rock and roll, and sometimes can be interesting in themselves.
  13. So true! Even in the age of vinyl there was demand for live concert recordings and studio outtakes, but the major labels seemed uninterested in releasing them. The cost of putting out a bootleg recording on vinyl had to be very high, yet a few people took the chance of doing it anyway. The major labels mainly would react only if a live recording became very popular, and the major labels would call it "beat the bootlegs", as if they wanted to kill off the bootleg operators, rather than offering fans the product they wanted. So the Rolling Stones released "Get Yer Ya Yas Out" entirely because of bootlegs of that tour, and the official release was well-received. Likewise, Paul McCartney's Wings were the subject of a very popular 3 LP (red, white, and blue vinyl) from a bootlegger on the "Over America" tour, which led to their own very popular official release. No bootleg, no "Wings Over America" would have been released. Along similar lines, Cheap Trick's "Live at Budokan" was a Japan-only release, but made its way to the US, became so in-demand that the label released it officially in the US, where it became their biggest album. You have to wonder how many times these companies would have to learn the same lesson. But at least in the vinyl age they had an excuse, because concert albums required 2 or 3 LPs to do them justice (or in the case of the Bruce Springsteen "Piece de Resistance" bootleg, 5 LPs). That's costly and takes up space in a record store, for something that's potentially slow-selling. As recordings moved to CDs, live concert recordings became all the more possible, and compact. Yet the major labels were still uninterested in releasing live CDs, leaving the bootleggers to pick up the slack. There still might have been the problem of record stores only wanting the fastest-moving product, but at least concert CDs didn't take up much space. With the internet, there was really no excuse not to offer live concert CDs. The problem of inventory was solved, as no longer did every local record store need to carry the live recording. They could all be distributed from one location. Yet STILL the major labels were mostly uninterested in this type of release (with a few exceptions). Today we have digital distribution over the internet, not even requiring a physical CD. A few artists/labels now offer some live recordings from their websites, but most are missing out on a way of both pleasing fans and making some extra cash for themselves. I truly don't get it. I guess the only explanation is that the mindset of the executives is still stuck back in the age of vinyl and record store only distribution. As far as TPATH, thankfully many "unofficial" releases can be found on the internet, for those who know where to look. Even TP himself said he enjoyed hearing bootlegs. But we know there are still more high quality live and studio recordings stuck in the vaults, that die-hard fans would love to hear. Look at all the effort that went into the "Live Anthology", yes that was great, but a lot of fans would love to hear the full concerts from which those (and beyond) were taken.
  14. Agreed. Although I'm not a regular reader, the Steve Hoffman website has a lot of great topics and one of the best informed, most thoughtful group of message contributors that I've ever seen on the Internet, on any topic. What's more, I've found that those who post on Steve Hoffman's message boards generally know, respect, and love TPATH almost as much as we do. They've covered a lot of the same topics that have been covered here, very well and very in-depth, including the "Stan or Steve on drums" topic (spoiler, they prefer Stan's drumming by a wide margin).
  15. I can see that, but the one I think of is "Runaway" by Del Shannon. I agree, there is a bit of a connection to Runaway. Which is not surprising, given that Del and TP were close - Tom worked with Del on two of Del's albums, Howie came from Del's band, TP mentions Del and Runaway prominently in Runnin' Down A Dream, Del almost became a Wilbury to replace Roy Orbison after Roy's passing. And of course, TPATH performed Runaway live with Del at their December 31, 1978 New Year's Eve show. Which I still hope might be included some day on an official stand-alone DVD/Blu-Ray of that show, but unfortunately rights were not secured (apparently) to include it with the DVD on the Live Anthology boxed set. For those who haven't seen it (not great quality video, but what a great, memorable, and historic performance):
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