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Big Blue Sky

"Best Of Everything" album released

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5 hours ago, Big Blue Sky said:

Hi Ben, there's a recent thread about For Real where people were asking just this question. We found this answer & discovered images of the studio & that there are llamas (or alpacas) next door - though whether that was case back then is anyone's guess. Hope this helps you!

 

"On Benmont Tench's Twitter. Just to focus, I won't copy in whoever on Twitter asked questions etc. Shall just say Q (for question), okay? Obviously, pop over to Twitter & explore further if you're  interested beyond the snippets quoted below.❤️🎹🎹🎹

 

16 Feb

Q:"For Real" is beautiful. Is it from The Last DJ sessions?

Benmont: No, we went to Mendocino in 2000, I think, to cut a version of "Surrender" for "Anthology: Through the Years. It was done the same day. 

Q: Thank you. It has a great sound. "

 

 

Would have made sense as a candidate for Anthology. Because it somehow sums it all up... he did it for real, for himself, for us.

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Has anybody else noted that Best of Everything came out on Geffen? While American Treasure is on Reprise? What happened there? Do they negotiate from release to release now? Is that a blessing or a curse? Or is it simply totally irrelevant to us?

Ryan Ulyate is only mentioned as "overseeing" the mastering, or something to that effect, I don't recall the exact phrasing... but I thought that was a little strange.

Any insights on that?

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3 hours ago, TwoGunslingers said:

Ryan Ulyate is only mentioned as "overseeing" the mastering, or something to that effect, I don't recall the exact phrasing... but I thought that was a little strange.

Any insights on that?

  • Ryan Ulyate does have his own website, so that might be a good place to start? On the home page, he writes this. 

I've been recording, mixing and producing music professionally, ever since I got my foot in the door of a “real” 24 track studio 1978. In 2005 I started doing lots of great work with Tom Petty. Working with Tom was It was an experience that I will be forever grateful for. He was my friend -a very talented and very cool guy.

The Best Of Everything

Tom Petty & The Heartbreakers’ The Best of Everything was released on March 1st 2019. “As a supplement to last year’s critically lauded box set An American Treasure, The Best Of Everything was born from Petty’s long-term desire to release what he believed to be his strongest material across his four decades of songwriting. Petty’s family and band-mates rallied together once again to fulfill his dream. Rather than in chronological order, the special cross-label collection was sequenced as a hard-hitting playlist giving the entire catalog equal prominence.”

This was put together around the same time we were finishing An American Treasure (see below), so the mastering is pretty consistent between both projects. They do work well together!

  • Then, in the section about An American Treasure he says:

And for the audio geek, here’s a more in-depth article from the November 2018 edition of Mix Magazine that talks about the mixing and mastering of the project. 

  • & in that article in Mix Magazine, there's this photo Ryan Ulyate in his backyard studio with Tom Petty in August 2015Photo by Chase Simpson. 

image.jpeg.d92fe263bd6a983a34dae4eb87ace7b2.jpeg

 

 

 

 

 

 

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...and as for the Geffen aspect, I am fairly certain that Universal long since has obtained, through the usual chemical financial corporate reaction, the publishing for the Shelter era material. That material was always "on the side" from the rest of the Backstreet turn MCA turn Warner stuff, the reissues always treated separately. Geffen (Universal) then, according to this hypothesis, only allowed for that early stuff to be included on the AAT if they were allowed to be in the front seat of a career spanning golden hits review of much likely commercial success... A bit of logrolling, as it were. 

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6 hours ago, Shelter said:

...and as for the Geffen aspect, I am fairly certain that Universal long since has obtained, through the usual chemical financial corporate reaction, the publishing for the Shelter era material. That material was always "on the side" from the rest of the Backstreet turn MCA turn Warner stuff, the reissues always treated separately. Geffen (Universal) then, according to this hypothesis, only allowed for that early stuff to be included on the AAT if they were allowed to be in the front seat of a career spanning golden hits review of much likely commercial success... A bit of logrolling, as it were. 

The Shelter stuff is owned by Tom's estate. The two Shelter albums were reissued via Tom's Gone Gator Records under license to Warner Bros. Records in 2002. Warner still holds the license to both albums.

Warner releasing An American Treasure vs. Universal releasing The Best of Everything was  part of a reciprocal deal reached between the two labels: Warner was able to use Universal material on AAT, and Universal got to use Warner material on TBOE.

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4 hours ago, AKA said:

The Shelter stuff is owned by Tom's estate. The two Shelter albums were reissued via Tom's Gone Gator Records under license to Warner Bros. Records in 2002. Warner still holds the license to both albums.

Warner releasing An American Treasure vs. Universal releasing The Best of Everything was  part of a reciprocal deal reached between the two labels: Warner was able to use Universal material on AAT, and Universal got to use Warner material on TBOE.

Ok, great! Thanks for insight. So the theory holds, basically. That's how I understood it. My mistake to put Shelter in there, though. (Gone Gator, of course.. but I forgot Warner/MCA was involved with those reissues.) So, the question that arises then... What material, or rather publishing, then, is owned by Universal? (Only heard it was "early"... so.. )

 

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5 hours ago, AKA said:

The Shelter stuff is owned by Tom's estate. The two Shelter albums were reissued via Tom's Gone Gator Records under license to Warner Bros. Records in 2002. Warner still holds the license to both albums.

Warner releasing An American Treasure vs. Universal releasing The Best of Everything was  part of a reciprocal deal reached between the two labels: Warner was able to use Universal material on AAT, and Universal got to use Warner material on TBOE.

Aaaaah, that makes sense. Thanks! And welcome to the Farm! :D

2 hours ago, Shelter said:

Ok, great! Thanks for insight. So the theory holds, basically. That's how I understood it. My mistake to put Shelter in there, though.

No harm done; but you do seem to have sort of a Shelter-bias. ;)

 

13 hours ago, Big Blue Sky said:
  • Ryan Ulyate does have his own website, so that might be a good place to start? On the home page, he writes this. 

I've been recording, mixing and producing music professionally, ever since I got my foot in the door of a “real” 24 track studio 1978. In 2005 I started doing lots of great work with Tom Petty. Working with Tom was It was an experience that I will be forever grateful for. He was my friend -a very talented and very cool guy.

The Best Of Everything

Tom Petty & The Heartbreakers’ The Best of Everything was released on March 1st 2019. “As a supplement to last year’s critically lauded box set An American Treasure, The Best Of Everything was born from Petty’s long-term desire to release what he believed to be his strongest material across his four decades of songwriting. Petty’s family and band-mates rallied together once again to fulfill his dream. Rather than in chronological order, the special cross-label collection was sequenced as a hard-hitting playlist giving the entire catalog equal prominence.”

This was put together around the same time we were finishing An American Treasure (see below), so the mastering is pretty consistent between both projects. They do work well together!

  • Then, in the section about An American Treasure he says:

And for the audio geek, here’s a more in-depth article from the November 2018 edition of Mix Magazine that talks about the mixing and mastering of the project. 

  • & in that article in Mix Magazine, there's this photo Ryan Ulyate in his backyard studio with Tom Petty in August 2015Photo by Chase Simpson. 

image.jpeg.d92fe263bd6a983a34dae4eb87ace7b2.jpeg

Thank you, Big Blue Sky. I'll have to check out that article, because all this still doesn't answer why Ulyate is not credited as a mixer / masterer in the BOE-booklet. But I'm glad to see he seems to have been in charge anyway.

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13 minutes ago, TwoGunslingers said:

No harm done; but you do seem to have sort of a Shelter-bias. ;)

:D Sure do... (in another thread, someone even spoke about "painting Shelter in a positive light").

Still, speaking of making sense. The concept of swapping rights/releases DOES make a lot of sense. It's what I said, incidentally. But in order for it to move beyond concept and actually mean anything, I need to know (pun..) what material we are talking about. But maybe that's just me.

I did type before thinking, my mind skipped and jumped, surely not the first time, by bringing Shelter into the picture. I really should have know better, since it's obvious, like AKA said about Gone Gator and Warner. (Although on the surface, it's still strange to me that the two Shelter albums are treated differently than the rest of the albums, in terms of issues/reissues, when they are directly or indirectly controlled by Warner like all the rest (pun!). There is apparently more at work here than meets the eye, and I wish AKA or someone can help me filling some content into the model.)

Even if I realize my mistake, I'm still at odds about what the deal is.

6 hours ago, AKA said:

Universal got to use Warner material on TBOE


Yeah... a few, right...…………..

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19 hours ago, Shelter said:

Ok, great! Thanks for insight. So the theory holds, basically. That's how I understood it. My mistake to put Shelter in there, though. (Gone Gator, of course.. but I forgot Warner/MCA was involved with those reissues.) So, the question that arises then... What material, or rather publishing, then, is owned by Universal? (Only heard it was "early"... so.. )

 

I don’t know about the publishing, but recording-wise I believe everything from Damn the Torpedoes through “Mary Jane’s Last Dance” and “Something in the Air” is owned by Universal. I’m not sure where the 2000 recording of “Surrender” falls.

When in doubt, check the copyrights on your CDs/records (I don’t have mine handy, as I’m digital-only these days, and my CDs are stored away in boxes). 

 

17 hours ago, TwoGunslingers said:

Aaaaah, that makes sense. Thanks! And welcome to the Farm! :D

Thanks! Glad to be here. Long time Tom fan, first-time caller. :)

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Here’s how the copyrights currently stand on Apple Music:

 

Tom Petty and the Heartbreakers
℗1976 Gone Gator Records

You’re Gonna Get It!
℗1978 Gone Gator Records

Damn the Torpedoes
℗2014 Geffen Records

Hard Promises
℗2014 Geffen Records

Long After Dark
℗2014 Geffen Records

Southern Accents
℗2014 Geffen Records

Pack Up the Plantation: Live! [16-track version]
A Geffen Records Release; ℗2018 UMG Recordings, Inc.

Let Me Up (I’ve Had Enough)
℗2014 Geffen Records

Full Moon Fever
℗2014 Geffen Records

Into the Great Wide Open
℗2014 Geffen Records

Greatest Hits [first four tracks are unavailable]
℗2014 Geffen Records

Wildflowers
℗1994 Warner Bros. Records Inc. for the U.S. and WEA International Inc. for the world outside of the U.S.

She’s the One
℗1996 Warner Bros. Records Inc. for the U.S. and WEA International Inc. for the world outside of the U.S.

Echo
℗1999 Warner Bros. Records Inc. for the U.S. and WEA International Inc. for the world outside of the U.S.

The Last DJ
℗2002 Warner Bros. Records Inc.

Bad Girl Boogie (Live) - EP
℗2003 Warner Bros. Records Inc.

Highway Companion
℗2006 Abstract Recordings and Warner Bros. Records Inc.

Mudcrutch
℗2008 Reprise Records for the U.S. and WEA International Inc. for the world outside the U.S.

Mudcrutch Live!
℗2008 Reprise Records for the U.S. and WEA International Inc. for the world outside the U.S.

The Live Anthology
℗2009 Shoreline Gold and Reprise Records

Mojo
℗2010 Reprise Records for the U.S. and WEA International Inc. for the world outside of the U.S.

Hypnotic Eye
℗2014 Reprise Records

Nobody’s Children
℗2015 Shoreline Gold LLC Under license to Reprise Records

Mudcrutch 2
℗2016 Reprise Records

An American Treasure
℗2018 This Compilation P2018 Reprise Records

The Best of Everything - The Definitive Career Spanning Hits Collection 1967-2016
A Geffen Records Release; This Compilation ℗2018 UMG Recordings, Inc.

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:D Ok then.. THAT makes a lot of sense! (And now I feel double stupid!) So, nothing has changed! It's still the old ghost of Backstreet/MCA running amok....

I could've sworn Warner got all of it a while back... well in time for the complete albums boxes.. I wonder what strange dream that must have been.. Not associating the stuff with the Geffen brand in the first place, sure didn't help set my mind straight either. (And I do have original label prints only, so checking those couldn't help either in terms of what happened later, sorry.) But you did. Thanks! Basically I could've used my 1995 worldview and stuck with it.. haha..

This refreshed insight, makes me think though: If all the BIG ones are still with Universal/Geffen.. Why on earth does it seem like WB been actively stalling "Wildflowers - All The Rest" for so long.. it's their by far biggest and most commercially interesting Petty record? 

Again, thanks! 

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oh gosh i am never confused by you.  (& I am not being sarcastic.)

In this situation, I'm confused by labels & intellectual  property (& anyway, love a good conspiracy): If all the BIG ones are still with Universal/Geffen.. Why on earth does it seem like WB been actively stalling "Wildflowers - All The Rest" for so long.. it's their by far biggest and most commercially interesting Petty record? 

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Yeah, I see..

I guess, I've subconsciously been thinking that perhaps the WB not being that interested in releasing the extended Wildflowers project (in fact Tom was hinting they weren't), was partly because they nowadays have all the rest (ironic pun, right?) of the most commercially successful TP material to exploit first. Turns out, though, they still don't own anything pre 1994. That my way of thinking, then, was grossly flawed. These things happen. (At least as often as you may think is does...)

And then again, since Wildflowers then is still the arguably biggest TP fish in the WB pond, why then so reluctant to take it to the screaming and hollering market, so to speak? Suddenly this strikes me as even more odd, than I already thought it was. What with all the prattle and protracting ever since the release of Somewhere Under Heaven... I don't know the details, of course, but what seemed like my only logical reason for all the waiting, has now been taken out cold. In short: What are they thinking?        

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26 minutes ago, Big Blue Sky said:

who owns what across a whole career... the label thing is like herding cats sometimes

Right. Considering how labels change, not only graphic profile, but name and owners too, over the years, how the main labels become sub-labels and they all end up under Universal or Warner in the end, it sure is a bit of a mess keeping track - even when artists stay put. The TP catalogue isn't that complicated, though, with only two major changes over they years.. but in hindsight, I suppose that was one change too few for me.. complicated enough.. :D   

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5 hours ago, TwoGunslingers said:

Maybe they're afraid "nobody" will buy it. Too much production cost (which would be hard to believe), too little revenue.

The whole Wildflowers Deluxe Reissue/Box Set/All the Rest could either be classified as a mystery or a fiasco at this point. Why are they (whoever they are) over complicating it? The album is beloved. People would love the other songs. Release it. It will be special, it wil. Like American Treasure. Or the Live Anthology.

Have you seen how many huge box sets have been released since David Bowie's passing?

https://www.amazon.com/Loving-Alien-1983-1988-David-Bowie/dp/B07FPP5R6R/ref=sr_1_1?crid=3Q5XTV1A0ZGY0&keywords=david+bowie+box+set+vinyl&qid=1552492329&s=gateway&sprefix=david+bowie+box+set%2Caps%2C154&sr=8-1

https://www.amazon.com/New-Career-Town-1977-1982-13LP/dp/B073NXD2MD/ref=sr_1_2?crid=3Q5XTV1A0ZGY0&keywords=david+bowie+box+set+vinyl&qid=1552492363&s=gateway&sprefix=david+bowie+box+set%2Caps%2C154&sr=8-2

https://www.amazon.com/Who-1974-1976-13LP-GramVinyl/dp/B01IRI05CO/ref=sr_1_3?crid=3Q5XTV1A0ZGY0&keywords=david+bowie+box+set+vinyl&qid=1552492373&s=gateway&sprefix=david+bowie+box+set%2Caps%2C154&sr=8-3

 

https://www.amazon.com/Bowie-At-Beeb-Sessions-Limited/dp/B019PJII6O/ref=sr_1_4?crid=3Q5XTV1A0ZGY0&keywords=david+bowie+box+set+vinyl&qid=1552492402&s=gateway&sprefix=david+bowie+box+set%2Caps%2C154&sr=8-4

 

Which brought me to a new thought.

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Opps. Hit "return" accidentally.

Back to my new thought. And this came after listening to the Rick Rubin podcast recently, where he talked at length about making of Wildflowers with Tom.

I wonder how much of the confusion/hold up was from Tom. You could make a case that Tom couldn't make up his mind about it, about how to handle and best present the reissue. Tom was "haunted" by Wildflowers. It obviously meant something deep, and yet he was scared of it, the nature of the way the songs arrived. (ie. "Where did those come from? Did those come out of me? How did that happen? How do these feel so right? Can I ever match this moment, or do this again??")

A few scenarios we sort of already know:

1. He thought All The Rest was more a less a new album (good enough to be one)

2. He didn't see it as a leftovers project, or wanted it to be easily dismissed or overlooked (because of it's perceived greatness)

3. Present the original double album concept? (if they could locate the running order)

4. He was afraid of it? Conflicted or tortured over wanted to do it justice??

 

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10 hours ago, TwoGunslingers said:

Too much production cost (which would be hard to believe), too little revenue.

Maybe but wouldn't that also be a factor for BOE and AAT? Maybe it's a profit issue with Rick Rubin, some kind of inner record company animosity and they'd rather sit on the release than let him make money from it? Something crazy like that?

4 hours ago, RedfordCowboy said:

1. He thought All The Rest was more a less a new album (good enough to be one)2. He didn't see it as a leftovers project, or wanted it to be easily dismissed or overlooked (because of it's perceived greatness)3. Present the original double album concept? (if they could locate the running order)4. He was afraid of it? Conflicted or tortured over wanted to do it justice??

Those all make sense. Putting new songs into Wildflowers, even a special edition of WF could be a jarring experience for people, new tracks on a 20+ year album is a big risk. I love Waiting for Tonight but don't want it on a re-released FMF.

If Tom didn't leave plans on how to sequence a double album then just release All The Rest as its own record. Isn't this the 25th year anniversary? Maybe that will be the big selling point and if they knew BOE and AAT were going to happen, held back on it for this year in particular.

Maybe I'm being naive but I think this will be the year it finally comes out; All The Rest.

ciao

 

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I have to be honest, as much as I want All The Rest, I have at best mixed feelings about releasing alternate lyrics.  I find it incredibly jarring hearing certain tracks with additional choruses.  'Last Dance' off the vinyl greatest hits like a slap each time I hear the "round and round" bit, and Don't Fade on Me was perfect as released the first time-  the new version is jarring.  The Best of Everything isn't as harsh on my ears but it will take a lot of time for me to really enjoy it.  I love acoustic versions of songs but trying to put these new verse versions in rotation on my iPod, I think Tom put it best with Don't do me like that....   

Strangely 'walking the fire' is one of my new favorite tracks despite borrowing so heavily...

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