WEBVTT

00:00:10.879 --> 00:00:13.759
Welcome to My Weekly Mixtape, a podcast that

00:00:13.759 --> 00:00:16.640
takes the classic mixtape approach to building

00:00:16.640 --> 00:00:19.300
a modern playlist. I'm your host, Brian Colburn.

00:00:19.440 --> 00:00:23.739
Today marks 95 episodes of My Weekly Mixtape,

00:00:23.800 --> 00:00:26.780
and while I've posted up a cover song dive bonus

00:00:26.780 --> 00:00:30.219
episode focused on Tom Petty and the Heartbreakers'

00:00:30.239 --> 00:00:32.880
refugee, coupled with the fact that I've talked

00:00:32.880 --> 00:00:35.829
about him on... countless episodes prior to this

00:00:35.829 --> 00:00:40.450
i've yet to record a full tom petty episode which

00:00:40.450 --> 00:00:43.710
is absolutely criminal as far as i'm concerned

00:00:43.710 --> 00:00:47.469
so what better time than now to remedy that and

00:00:47.469 --> 00:00:50.049
with that said i couldn't be more delighted to

00:00:50.049 --> 00:00:53.070
welcome this week's guest curator kevin brown

00:00:53.070 --> 00:00:56.950
host of the tom petty project podcast kevin thanks

00:00:56.950 --> 00:00:59.429
so much for joining me man yeah thanks so much

00:00:59.429 --> 00:01:01.659
this is Found you recently after you reached

00:01:01.659 --> 00:01:03.100
out and I've been enjoying getting back into

00:01:03.100 --> 00:01:05.459
the back castle. Like I loved the refugee episode.

00:01:05.540 --> 00:01:06.939
I heard a couple of versions on there that I'd

00:01:06.939 --> 00:01:08.840
never heard before. And especially the lullaby

00:01:08.840 --> 00:01:10.959
one. I was like, this is so super cool. I could

00:01:10.959 --> 00:01:12.260
see why people would hate it, but I love it.

00:01:12.299 --> 00:01:16.400
So that is awesome. So as a first time guest

00:01:16.400 --> 00:01:18.599
on the show, I'd like to start by asking you,

00:01:18.680 --> 00:01:22.890
what does the word mixtape mean to you? It means

00:01:22.890 --> 00:01:25.510
my entire youth. I mean, that's all I did as

00:01:25.510 --> 00:01:27.150
a kid, right, is make mixtapes, tape things off

00:01:27.150 --> 00:01:30.430
the radio, tape things from vinyl or from other

00:01:30.430 --> 00:01:32.269
people's cassettes. I'd be talking about this

00:01:32.269 --> 00:01:33.689
with someone, but this is how we shared music

00:01:33.689 --> 00:01:35.870
back in the old days before the internet. This

00:01:35.870 --> 00:01:37.569
is how music propagated among friend groups.

00:01:37.810 --> 00:01:40.010
And then also it means to me, you know, not getting

00:01:40.010 --> 00:01:42.769
laid because I put Foxtrot, put Suppers Ready

00:01:42.769 --> 00:01:44.909
from Foxtrot on a mixtape for a young lady who

00:01:44.909 --> 00:01:47.189
wasn't into 23 -minute prog rock. So I was like,

00:01:47.209 --> 00:01:51.359
okay, well, you know, lesson learned. Well, tonight

00:01:51.359 --> 00:01:54.379
you and I are curating the ultimate Tom Petty

00:01:54.379 --> 00:01:58.780
playlist, which consists of 16 studio albums.

00:01:58.819 --> 00:02:01.480
If you want to count the heartbreakers along

00:02:01.480 --> 00:02:05.280
with his solo work, his pairs of mud crutch and

00:02:05.280 --> 00:02:09.659
traveling Wilburys albums, live albums, box sets,

00:02:09.840 --> 00:02:13.620
greatest hits, compilations, EPs, and so much

00:02:13.620 --> 00:02:16.490
more. You and I are going to have to whittle

00:02:16.490 --> 00:02:20.189
that down to 20 songs. Now, to put that into

00:02:20.189 --> 00:02:24.969
even more perspective. His massive selling 1993

00:02:24.969 --> 00:02:29.610
greatest hits album has 18 songs on it. And you

00:02:29.610 --> 00:02:32.610
and I could easily just rattle off those songs

00:02:32.610 --> 00:02:36.150
one by one and make a case for a killer Tom Petty

00:02:36.150 --> 00:02:39.669
playlist because it worked back in 1993 and it

00:02:39.669 --> 00:02:43.509
could work again in 2024. But if I know your

00:02:43.509 --> 00:02:46.830
fandom and I think about my fandom, that's not

00:02:46.830 --> 00:02:49.469
going to be the case. So how did you approach?

00:02:50.270 --> 00:02:52.949
picking your bank of songs to choose from this

00:02:52.949 --> 00:02:56.129
evening it was really difficult i mean even picking

00:02:56.129 --> 00:02:58.449
20 would be hard and so when you only get half

00:02:58.449 --> 00:03:00.409
when you're only building 10 and you gotta then

00:03:00.409 --> 00:03:02.229
wonder about well what's the other person gonna

00:03:02.229 --> 00:03:03.770
pick and how are we gonna marry these up it is

00:03:03.770 --> 00:03:06.909
tricky so the approach i took was i wanted a

00:03:06.909 --> 00:03:09.270
blend of songs that people probably would know

00:03:09.270 --> 00:03:11.490
because this isn't a tom petty listenership but

00:03:11.490 --> 00:03:13.210
then blended with some stuff that i think is

00:03:13.210 --> 00:03:14.889
super cool and that i want people to hear and

00:03:14.889 --> 00:03:16.389
to fall in love with at the same time and i think

00:03:16.389 --> 00:03:18.270
that that's you know that's that's how i attacked

00:03:18.270 --> 00:03:21.259
it more or less For me, it was all about balance.

00:03:21.379 --> 00:03:24.080
There are some hit songs that I feel like you

00:03:24.080 --> 00:03:28.000
and I have to recognize in Tom's legacy. But

00:03:28.000 --> 00:03:30.020
I wanted to make this playlist something that

00:03:30.020 --> 00:03:32.919
maybe a newbie to Tom's music could take away

00:03:32.919 --> 00:03:34.919
something more than the songs that they've heard

00:03:34.919 --> 00:03:38.479
countless times on the radio. Give them a couple

00:03:38.479 --> 00:03:40.479
of things that they might not be familiar with

00:03:40.479 --> 00:03:43.330
and might. introduce them to the world of Tom

00:03:43.330 --> 00:03:46.770
Petty's music for whatever band or artist or

00:03:46.770 --> 00:03:50.229
solo aspect that is. And hopefully between you

00:03:50.229 --> 00:03:54.330
and I, we cover a wide spectrum of what Tom Petty's

00:03:54.330 --> 00:03:56.949
music is all about. Yeah. So it's going to be

00:03:56.949 --> 00:03:58.710
interesting because I'd got 10 songs and I don't

00:03:58.710 --> 00:04:00.789
know what your guys are going to look like. So,

00:04:00.789 --> 00:04:02.229
you know, I don't know if we've got a pecking

00:04:02.229 --> 00:04:04.050
order, we're going to have overlap, how the sequence

00:04:04.050 --> 00:04:06.090
is going to work. So I think the nice thing about

00:04:06.090 --> 00:04:09.569
a catalog like Petty's is it's so strong start

00:04:09.569 --> 00:04:12.349
to finish. that really you can cherry pick two

00:04:12.349 --> 00:04:14.009
or three songs off any of the albums and you'd

00:04:14.009 --> 00:04:15.689
come up with a pretty great list. I'll be curious

00:04:15.689 --> 00:04:17.750
to see how many greatest hits end up on our final

00:04:17.750 --> 00:04:22.149
20. And my biggest fear is there are so many

00:04:22.149 --> 00:04:26.310
great albums that we're talking about here. I

00:04:26.310 --> 00:04:29.730
have a sneaking suspicion an album or two might

00:04:29.730 --> 00:04:33.509
get left out entirely and other Tom Petty fans

00:04:33.509 --> 00:04:39.389
might be like, whoa! Well, guaranteed. people

00:04:39.389 --> 00:04:40.990
are going to say, well, how could you not include

00:04:40.990 --> 00:04:42.990
song X or songs Y? That's definitely going to

00:04:42.990 --> 00:04:45.230
happen in this playlist, right? Oh, by God, by

00:04:45.230 --> 00:04:47.850
all means. So with that, let's not waste any

00:04:47.850 --> 00:04:50.089
more time and get right down to business. As

00:04:50.089 --> 00:04:52.430
I mentioned at the top of the show, Kevin and

00:04:52.430 --> 00:04:55.350
I will be curating the ultimate Tom Petty mixtape,

00:04:55.389 --> 00:04:57.589
and we'll use the old cassette deck approach.

00:04:58.029 --> 00:05:00.769
Kevin, as my special guest, will begin side A

00:05:00.769 --> 00:05:03.189
with his first song choice, and then I'll add

00:05:03.189 --> 00:05:05.910
a song that I feel best follows up that choice.

00:05:06.129 --> 00:05:08.490
We'll then flip -flop choosing songs until we...

00:05:08.519 --> 00:05:11.959
mapped out 10 songs for side A. We'll then give

00:05:11.959 --> 00:05:14.459
our mixtape a proverbial flip and we'll map out

00:05:14.459 --> 00:05:16.600
side B. Only this time, I'll kick things off

00:05:16.600 --> 00:05:19.819
with Kevin choosing second. And our overall goal

00:05:19.819 --> 00:05:23.000
for this episode is to craft the best Tom Petty

00:05:23.000 --> 00:05:26.879
mixtape possible through only 20 songs. At the

00:05:26.879 --> 00:05:28.540
end of the show, you can take our conversation

00:05:28.540 --> 00:05:31.519
to the next level by visiting the episode page

00:05:31.519 --> 00:05:35.060
at myweeklymixtape .com to give our final mixtape

00:05:35.060 --> 00:05:38.329
a listen. via the embedded playlist. And if you

00:05:38.329 --> 00:05:39.810
like what you're hearing on the show, you can

00:05:39.810 --> 00:05:42.290
help me out by either telling a friend, leaving

00:05:42.290 --> 00:05:44.290
the show a five -star review wherever you're

00:05:44.290 --> 00:05:47.730
tuning in, or becoming a Patreon mixtaper at

00:05:47.730 --> 00:05:52.050
patreon .com forward slash myweeklymixtape. There

00:05:52.050 --> 00:05:54.970
you can find ad -free episodes of the show, gain

00:05:54.970 --> 00:05:58.129
early access to upcoming episodes, chime in on

00:05:58.129 --> 00:06:01.230
future topics, become a guest curator, and so

00:06:01.230 --> 00:06:04.089
much more. And a few of the Patreon mixtapers

00:06:04.089 --> 00:06:06.129
chimed in with the songs they would use to kick

00:06:06.129 --> 00:06:08.170
things off tonight, and I want to give a quick

00:06:08.170 --> 00:06:11.569
shout out to a few of those. Philip Bergman chimed

00:06:11.569 --> 00:06:14.839
in saying, and I quote, I'm nervous about this

00:06:14.839 --> 00:06:18.100
one, Brian. I feel this is holy ground for you,

00:06:18.199 --> 00:06:21.379
which means if I answer wrong, you'll cancel

00:06:21.379 --> 00:06:26.220
my Patreon membership. I won't do that. But as

00:06:26.220 --> 00:06:28.819
he was the guest on the Weird Al episode, he

00:06:28.819 --> 00:06:32.360
felt duty bound to start with Stop Dragging My

00:06:32.360 --> 00:06:35.420
Heart Around, though he'd thoroughly enjoy kicking

00:06:35.420 --> 00:06:38.839
it off with Learning to Fly. But he also wanted

00:06:38.839 --> 00:06:41.819
to include the Traveling Wilburys cover of Nobody's

00:06:41.819 --> 00:06:44.740
Child and close it out with the all -star jam

00:06:44.740 --> 00:06:48.139
that Petty was a part of on My Back Pages for

00:06:48.139 --> 00:06:51.720
the Bob Dylan 30th anniversary concert to display

00:06:51.720 --> 00:06:54.259
the echelon of musicians that Petty is a part

00:06:54.259 --> 00:06:57.480
of. Sean Goff chimed in saying that this was

00:06:57.480 --> 00:07:00.220
kind of an easy choice for him to start his mixtape

00:07:00.220 --> 00:07:03.319
off as Refugee gets him amped up every time.

00:07:03.500 --> 00:07:07.060
But with that being said, Finishing said mixtape

00:07:07.060 --> 00:07:11.000
with any other cut is not so easy. Brandon from

00:07:11.000 --> 00:07:13.819
Virginia chimed in saying he was introduced to

00:07:13.819 --> 00:07:16.600
Tom by the You Got Lucky video, and he thinks

00:07:16.600 --> 00:07:19.040
that's the perfect opening song. And he also

00:07:19.040 --> 00:07:22.439
loves Mike Campbell's solo in the song. applauding

00:07:22.439 --> 00:07:26.339
its haunting sound. Chad LaMassa said he can't

00:07:26.339 --> 00:07:29.240
decide between American Girl and Mary Jane's

00:07:29.240 --> 00:07:33.300
Last Dance, and Seeker is also undecided between

00:07:33.300 --> 00:07:36.699
Don't Come Around Here No More and Stop Dragging

00:07:36.699 --> 00:07:39.300
My Heart Around. Once again, if you'd like to

00:07:39.300 --> 00:07:41.480
chime in for future My Weekly Mixtape episodes,

00:07:41.860 --> 00:07:44.899
come join the fellow mixtapers at patreon .com

00:07:44.899 --> 00:07:48.699
forward slash My Weekly Mixtape. Now, Kevin,

00:07:48.779 --> 00:07:50.800
with all of those chimings out of the way, I'm

00:07:50.800 --> 00:07:52.819
officially pressing the record button on our

00:07:52.819 --> 00:07:55.920
mixtape and passing the mic to you. How will

00:07:55.920 --> 00:07:59.540
you kick off the ultimate Tom Petty playlist?

00:08:00.240 --> 00:08:02.279
Well, you've got to open with something that's

00:08:02.279 --> 00:08:04.920
immediately memorable, immediately hummable,

00:08:05.079 --> 00:08:07.139
sticks in your brain. So I think for me, the

00:08:07.139 --> 00:08:09.339
opening chords of Listen to Her Heart from You're

00:08:09.339 --> 00:08:12.040
Going to Get It, the second album, quintessential

00:08:12.040 --> 00:08:14.699
70s Petty. I think it's even more so than Refugee

00:08:14.699 --> 00:08:16.870
for me. So I'm going to listen to it hard. They

00:08:16.870 --> 00:08:19.430
opened with quite a few shows, live shows with

00:08:19.430 --> 00:08:21.709
that one. Comes out of the gate hard. Hits them

00:08:21.709 --> 00:08:23.529
hard. Hits them quick. I think it's the perfect

00:08:23.529 --> 00:08:26.170
opener. I think you're going to get it introduces

00:08:26.170 --> 00:08:29.480
the... punkier side at least across the album

00:08:29.480 --> 00:08:31.800
as a whole for tom petty and the heartbreakers

00:08:31.800 --> 00:08:34.419
and i say punk and i don't mean like ramones

00:08:34.419 --> 00:08:37.600
punk but there is definitely a punk spirit to

00:08:37.600 --> 00:08:41.620
that album as a whole the single reached number

00:08:41.620 --> 00:08:45.179
59 on the billboard us hot 100 and number 66

00:08:45.179 --> 00:08:49.580
on the canadian rpm top singles chart a big hit

00:08:49.580 --> 00:08:52.259
for them obviously like you said opened many

00:08:52.259 --> 00:08:55.759
shows i was lucky enough to catch the 2010 mojo

00:08:55.759 --> 00:08:58.100
tour as it rolled through New Jersey. And this

00:08:58.100 --> 00:09:01.340
was the opening track on it. Absolutely incredible

00:09:01.340 --> 00:09:04.440
way to kick things off. And I think to follow

00:09:04.440 --> 00:09:07.059
that up, let's stay with the stuff people know.

00:09:07.120 --> 00:09:09.419
Let's lure them in. Let's take the fishing rod,

00:09:09.580 --> 00:09:13.100
cast the lure way out into the water and lure

00:09:13.100 --> 00:09:15.840
people in with songs they're familiar with. So

00:09:15.840 --> 00:09:18.720
I'm going to go off of his 1989 solo album, Full

00:09:18.720 --> 00:09:21.159
Moon Fever, and I'm going to go with Running

00:09:21.159 --> 00:09:24.379
Down a Dream. Reached number 23 on the Billboard

00:09:24.379 --> 00:09:28.500
US Hot 100 and Canadian RPM Top Singles Charts.

00:09:28.720 --> 00:09:32.220
Number one on the Billboard US Album Rock Tracks

00:09:32.220 --> 00:09:35.980
Chart. Number 68 on the Australia Aria Singles

00:09:35.980 --> 00:09:39.580
Chart. And number 55 on the UK Singles Chart.

00:09:40.509 --> 00:09:43.490
This year alone has seen two cover versions of

00:09:43.490 --> 00:09:46.190
Running Down a Dream get dropped, being Luke

00:09:46.190 --> 00:09:49.990
Combs from the Petty Country compilation and

00:09:49.990 --> 00:09:54.029
female blues rockers Larkin Poe, who did a gender

00:09:54.029 --> 00:09:56.649
flipped version for the Bad Monkey soundtrack,

00:09:56.830 --> 00:10:00.070
which is absolutely killer. I love Larkin Poe.

00:10:00.070 --> 00:10:02.710
If you haven't heard them, please remedy that.

00:10:02.769 --> 00:10:05.250
They're incredible. But I do want to bring up

00:10:05.250 --> 00:10:07.409
my personal favorite performance of this song

00:10:07.409 --> 00:10:11.950
because. Not only did it win me $20, I was lucky

00:10:11.950 --> 00:10:15.549
enough to see the New York Giants win Super Bowl

00:10:15.549 --> 00:10:18.929
42 against the undefeated New England Patriots.

00:10:18.929 --> 00:10:22.169
Sorry to my New England family. However, Tom

00:10:22.169 --> 00:10:24.070
Petty and the Heartbreakers were the halftime

00:10:24.070 --> 00:10:27.090
show. And during the second quarter, they kept

00:10:27.090 --> 00:10:30.350
making announcements. Stay tuned for the halftime

00:10:30.350 --> 00:10:32.870
show where Tom Petty will be playing these hits.

00:10:33.169 --> 00:10:36.409
American Girl, I Won't Back Down, Free Fallin',

00:10:36.409 --> 00:10:40.129
Running Down a Dream. So I called my father and

00:10:40.129 --> 00:10:43.529
bet him $20 that I could guess Tom Petty's set

00:10:43.529 --> 00:10:49.009
list in chronological order. Needless to say,

00:10:49.009 --> 00:10:50.909
I won, but he called me at the beginning of the

00:10:50.909 --> 00:10:52.909
third quarter saying, A, I should have known

00:10:52.909 --> 00:10:55.250
to never gamble with you because you'll only

00:10:55.250 --> 00:10:59.230
gamble on a sure thing. But how great was that

00:10:59.230 --> 00:11:03.769
performance? Unfortunately, we were behind Tom

00:11:03.769 --> 00:11:06.210
Petty and the band. So when they lowered the

00:11:06.210 --> 00:11:10.509
screen, we basically saw the sparkles. If I have

00:11:10.509 --> 00:11:12.330
a picture of it, I'll post it on the episode

00:11:12.330 --> 00:11:15.889
page. But one of the most memorable Tom Petty

00:11:15.889 --> 00:11:18.610
concerts for me because I got to combine my love

00:11:18.610 --> 00:11:21.350
of football and my favorite artist of all time

00:11:21.350 --> 00:11:25.029
all in one day. Kind of greatest day ever. That's

00:11:25.029 --> 00:11:27.929
awesome, man. And it was a great performance,

00:11:28.009 --> 00:11:29.690
too, and a great live band performance, right?

00:11:29.730 --> 00:11:32.090
No miming, no lip syncing, no other guests. They

00:11:32.090 --> 00:11:34.210
didn't need anyone. Those four songs can support

00:11:34.210 --> 00:11:38.090
a halftime show in its entirety. Is that the

00:11:38.090 --> 00:11:42.309
greatest ever solo in the outro of a song? Between

00:11:42.309 --> 00:11:45.210
that one and Sultan's A Swing, for me, maybe,

00:11:45.350 --> 00:11:49.289
I think. I'd say Sultan's A Swing usually hits

00:11:49.289 --> 00:11:52.840
that mark for me just because... God, Mark Knopfler

00:11:52.840 --> 00:11:55.159
is just a frigging genius. But Mike Campbell,

00:11:55.440 --> 00:11:59.279
I would say, goes down as one of the most underrated

00:11:59.279 --> 00:12:03.240
guitarists of all time. I really think that people

00:12:03.240 --> 00:12:06.259
overlook the brilliance of Mike Campbell. And

00:12:06.259 --> 00:12:07.940
I think we're going to talk about that a lot

00:12:07.940 --> 00:12:10.779
tonight. At least in my songs, we are. I suspect

00:12:10.779 --> 00:12:13.820
so, yeah. underrated like we talk about that

00:12:13.820 --> 00:12:15.360
a lot right he wasn't underrated by his peers

00:12:15.360 --> 00:12:17.440
because you just look at the laundry list of

00:12:17.440 --> 00:12:20.259
people he wrote with played for supported went

00:12:20.259 --> 00:12:22.679
and worked with the people in the industry and

00:12:22.679 --> 00:12:24.519
the people who are at his level everyone respected

00:12:24.519 --> 00:12:26.440
campbell right and everyone still does and it's

00:12:26.440 --> 00:12:27.659
great to see him back out on the road now with

00:12:27.659 --> 00:12:30.539
the like dirty knobs still doing it's the 74

00:12:30.539 --> 00:12:32.860
74 years old and he's still kicking ass i love

00:12:32.860 --> 00:12:35.799
mike absolutely and you know that's the problem

00:12:35.799 --> 00:12:37.919
that people when they say rattle off your top

00:12:37.919 --> 00:12:40.879
10 guitarists I feel like he should be included

00:12:40.879 --> 00:12:43.139
in that conversation. And he wouldn't have been

00:12:43.139 --> 00:12:45.120
for me until I started this podcast, until I

00:12:45.120 --> 00:12:47.019
really started getting deep on this guy's a musician.

00:12:47.299 --> 00:12:48.559
Because like you're talking about, he writes

00:12:48.559 --> 00:12:50.720
for the song always. And I mean, this might be

00:12:50.720 --> 00:12:53.039
an outlier on Ring Down a Dream where he just

00:12:53.039 --> 00:12:54.799
hunkers over the guitar and Tom Petty says that

00:12:54.799 --> 00:12:56.080
him and Jeff Lynne were just staring at each

00:12:56.080 --> 00:12:57.940
other like, is this guy really doing this for

00:12:57.940 --> 00:12:59.720
real right now? Because that song was supposed

00:12:59.720 --> 00:13:02.080
to be about 45 seconds shorter, right? But they

00:13:02.080 --> 00:13:03.279
said, well, we've got to include all of this

00:13:03.279 --> 00:13:06.529
because it's gold. Of course, by all means. So

00:13:06.529 --> 00:13:09.450
we've got two massive hits to kick things off.

00:13:09.570 --> 00:13:12.309
Listen to her heart running down a dream. Where

00:13:12.309 --> 00:13:14.610
do we go from here? Well, I'm going to go with

00:13:14.610 --> 00:13:16.490
the queen adage of deafening and blind them to

00:13:16.490 --> 00:13:17.730
start a show. So I think we've got to hit them

00:13:17.730 --> 00:13:19.830
with one more, one more big one before we get

00:13:19.830 --> 00:13:21.669
into something a little bit deeper. And I think

00:13:21.669 --> 00:13:26.370
the waiting is as perfect as a pop song as. Waterloo

00:13:26.370 --> 00:13:28.450
sunset, somebody to love dancing queen, all those

00:13:28.450 --> 00:13:30.909
great pop songs. I put the waiting up there.

00:13:30.970 --> 00:13:32.509
It's one of those lightning in a bottle moments

00:13:32.509 --> 00:13:34.789
for me. Great riff, great hook, killer chorus.

00:13:35.210 --> 00:13:36.909
And then everything coalesces perfectly. And

00:13:36.909 --> 00:13:39.570
I love the, we just had the, um, the new documentary

00:13:39.570 --> 00:13:41.629
that came out. I don't know if you saw that,

00:13:41.669 --> 00:13:43.769
but he remembers calling up Jimmy Iovine saying,

00:13:43.850 --> 00:13:46.539
Jimmy, Jimmy, I wrote a song, but. It wasn't

00:13:46.539 --> 00:13:48.720
easy because he just had that riff, right? And

00:13:48.720 --> 00:13:51.440
he's playing it over and over and over again.

00:13:51.500 --> 00:13:53.039
And he said that people would bang on the wall

00:13:53.039 --> 00:13:57.620
and say, don't play that anymore. Well, I think

00:13:57.620 --> 00:13:59.919
those people probably regret it because thankfully

00:13:59.919 --> 00:14:02.419
he did continue playing that riff and it turned

00:14:02.419 --> 00:14:05.779
into a song that reached number 19 on the Billboard

00:14:05.779 --> 00:14:09.740
US Hot 100, number one on the Billboard Top Tracks

00:14:09.740 --> 00:14:13.299
chart, number six on the Canadian RPM Top Singles

00:14:13.299 --> 00:14:16.500
chart, and number 27. on the New Zealand singles

00:14:16.500 --> 00:14:19.840
chart. It's an absolute fan favorite. I mean,

00:14:19.879 --> 00:14:23.419
it's a top 20 hit. I feel like that doesn't do

00:14:23.419 --> 00:14:26.980
the song justice. It's an absolute staple. And

00:14:26.980 --> 00:14:29.820
cover versions, there are just so many of them.

00:14:29.840 --> 00:14:33.629
Linda Ronstadt. doing a folk Americana version

00:14:33.629 --> 00:14:38.029
for her 1995 album Feels Like Home. In 2015,

00:14:38.429 --> 00:14:41.169
Natalie Imbruglia, if you remember the song Torn

00:14:41.169 --> 00:14:45.629
from the 90s, does a breezy island -like rendition

00:14:45.629 --> 00:14:48.690
on her male album. And I'm going to mention that

00:14:48.690 --> 00:14:51.350
Bad Monkey soundtrack again and probably a couple

00:14:51.350 --> 00:14:55.440
other times tonight. Marcus King. reinvented

00:14:55.440 --> 00:14:59.940
the song as a piano gospel ballad. Very moving,

00:15:00.100 --> 00:15:03.799
very emotional, really makes you pay attention

00:15:03.799 --> 00:15:08.340
to the lyrics. And to me, for this song to be

00:15:08.340 --> 00:15:10.960
able to be interpreted in three different ways

00:15:10.960 --> 00:15:13.899
like that, similar to what I said with Refugee,

00:15:13.899 --> 00:15:15.600
that I did that episode with seven different

00:15:15.600 --> 00:15:19.360
versions, the song has to be strong to make that

00:15:19.360 --> 00:15:21.679
possible. And the waiting is one of his strongest.

00:15:22.680 --> 00:15:26.559
Absolutely love the pick. You did two heartbreakers

00:15:26.559 --> 00:15:28.559
tracks. I don't know why, but I'm going to stick

00:15:28.559 --> 00:15:31.259
solo here and I'm going to keep the hit fest

00:15:31.259 --> 00:15:36.019
going one more time. Technically, you could say

00:15:36.019 --> 00:15:39.799
this is a lesser hit. I'm going to use big quote

00:15:39.799 --> 00:15:42.379
marks when I say that because it reached number

00:15:42.379 --> 00:15:46.200
two on the Billboard mainstream chart and number

00:15:46.200 --> 00:15:50.440
72 on the Australia ARIA chart, number 88. On

00:15:50.440 --> 00:15:54.139
the UK singles chart. So it's not necessarily.

00:15:54.940 --> 00:15:58.039
A massive hit. But to me it's a song. That coming

00:15:58.039 --> 00:16:01.080
out of the waiting. And the songs that we've

00:16:01.080 --> 00:16:03.419
had leading up to it. I just want to keep the

00:16:03.419 --> 00:16:06.279
pedal to the metal. And go you wreck me. From

00:16:06.279 --> 00:16:09.740
my favorite Tom Petty album. 1994's Wildflowers.

00:16:10.120 --> 00:16:13.039
And once again. There's been covers of this one.

00:16:13.399 --> 00:16:15.840
George Strait contributed a live version. For

00:16:15.840 --> 00:16:18.759
that Petty Country compilation. And the War on

00:16:18.759 --> 00:16:22.049
Drugs released. Fairly faithful rendition for

00:16:22.049 --> 00:16:25.250
the Bad Monkey soundtrack. But my favorite version,

00:16:25.389 --> 00:16:29.429
besides Tom's, of course, is Taking Back Sunday's

00:16:29.429 --> 00:16:34.029
punk -infused take from 2009's Covered, a revolution

00:16:34.029 --> 00:16:37.250
in sound compilation. Because like I said earlier,

00:16:37.950 --> 00:16:41.110
Tom Petty has that punk spirit. And hearing Taking

00:16:41.110 --> 00:16:44.750
Back Sunday amp that punk spirit up just a little

00:16:44.750 --> 00:16:48.379
bit more. And make it work without going overboard.

00:16:48.519 --> 00:16:51.700
And keeping the spirit of the song alive. I absolutely

00:16:51.700 --> 00:16:56.559
love it. And this song to me. It's just. Wildflowers

00:16:56.559 --> 00:17:00.779
is such a diverse. Eclectic. Masterpiece of an

00:17:00.779 --> 00:17:05.160
album. This to me takes his 70s era. And brings

00:17:05.160 --> 00:17:08.660
it into the 90s. So you wreck me. To follow up

00:17:08.660 --> 00:17:10.599
the waiting. Yeah and does it on the back of

00:17:10.599 --> 00:17:13.119
another phenomenal riff. When you think about

00:17:13.119 --> 00:17:17.210
that. It's 1994 when this song comes about, so

00:17:17.210 --> 00:17:19.569
rock and roll's been around for 20 -plus years,

00:17:19.690 --> 00:17:22.750
25, 30 years maybe. How has that descending three

00:17:22.750 --> 00:17:25.009
-chord riff never been used? You know what I

00:17:25.009 --> 00:17:27.190
mean? It's so epic and so brilliant, but so simple.

00:17:27.470 --> 00:17:29.390
And again, that's one thing that the Heartbreakers

00:17:29.390 --> 00:17:30.849
are really, really good at, and if you listen

00:17:30.849 --> 00:17:32.970
to or talk to a lot of musicians and songwriters,

00:17:32.990 --> 00:17:35.730
they say that you learn simplicity from Tom Petty,

00:17:35.730 --> 00:17:38.150
and simplicity isn't easy. But boiling something

00:17:38.150 --> 00:17:40.410
down and taking away until you've got just exactly

00:17:40.410 --> 00:17:42.690
what the song needs, and I think that the drum

00:17:42.690 --> 00:17:45.319
pattern, The guitar riff and that bass line as

00:17:45.319 --> 00:17:46.960
well in You Wreck Me is so simple. It just follows

00:17:46.960 --> 00:17:49.299
the root notes, but it's so, so effective. And

00:17:49.299 --> 00:17:51.319
then, of course, that one change from rock to

00:17:51.319 --> 00:17:54.259
wreck. You rock me? Eh, it's a little bit Kiss.

00:17:54.400 --> 00:17:56.059
It's a little bit on the nose. You know, let's

00:17:56.059 --> 00:17:57.619
change it. It doesn't work. And Tom goes away

00:17:57.619 --> 00:17:59.279
and finds wreck. And then, of course, it becomes

00:17:59.279 --> 00:18:01.619
the song that we all know and love. Yeah, I couldn't

00:18:01.619 --> 00:18:03.819
picture it as You Rock Me. That would have been

00:18:03.819 --> 00:18:06.279
way down the... And you know what? For Kiss...

00:18:06.680 --> 00:18:08.960
If Kiss Did You Wreck Me, I'd almost be disappointed

00:18:08.960 --> 00:18:11.920
on that end of the spectrum, too. So I feel like

00:18:11.920 --> 00:18:13.859
everyone stayed in their lanes with this one.

00:18:14.400 --> 00:18:18.140
Absolutely. So we got four, I'd say, massive

00:18:18.140 --> 00:18:20.400
crowd pleasers. If this was a Tom Petty concert,

00:18:20.500 --> 00:18:23.240
the roof would already be blown off the building.

00:18:23.339 --> 00:18:25.519
Where are we going from here? Well, we're going

00:18:25.519 --> 00:18:27.640
to go to the last album, the last Heartbreakers

00:18:27.640 --> 00:18:29.759
album, at least anyway, for Hypnotic Eye. I'm

00:18:29.759 --> 00:18:32.700
going to a song that features one of my favorite

00:18:32.700 --> 00:18:35.339
Steve Ferroni drum patterns, Fault Lines. which

00:18:35.339 --> 00:18:36.619
has got that, you know, Steve Ferroni really

00:18:36.619 --> 00:18:39.049
puts the boss in bossing over. And he's got that

00:18:39.049 --> 00:18:40.710
little bossin' over beat that he's keeping. He's

00:18:40.710 --> 00:18:42.430
just keeping it on the ride bell and everything

00:18:42.430 --> 00:18:45.069
else is fairly 4 -4. So that little syncopation

00:18:45.069 --> 00:18:46.750
between what he's doing with his right hand and

00:18:46.750 --> 00:18:48.829
his left, I just love that. And Steve Ferroni,

00:18:48.890 --> 00:18:50.970
again, is another guy who I think is massively

00:18:50.970 --> 00:18:53.450
underrated. But he's played with everyone. He

00:18:53.450 --> 00:18:55.450
comes in, he nails every single song he plays

00:18:55.450 --> 00:18:57.829
on second, third take. He'll give you three or

00:18:57.829 --> 00:18:59.109
four different looks, three or four different

00:18:59.109 --> 00:19:00.910
options. Pick your favorite one because they're

00:19:00.910 --> 00:19:02.789
all going to be amazing. And some of the lyrics

00:19:02.789 --> 00:19:04.630
in this song too. See those fault lines laid

00:19:04.630 --> 00:19:07.259
out like landmines. It's hard to relax. And then

00:19:07.259 --> 00:19:09.559
in the last verse, on the high wire, above the

00:19:09.559 --> 00:19:12.740
wildfire, an old acrobat, on faulty cables, still

00:19:12.740 --> 00:19:15.680
he's able not to fall flat. So that, to me, has

00:19:15.680 --> 00:19:18.400
always been him talking about an aging rock star

00:19:18.400 --> 00:19:21.140
who's kind of, you know, there's danger below

00:19:21.140 --> 00:19:22.559
because there's all these acts coming up below

00:19:22.559 --> 00:19:23.920
you and you've got to kind of stay on your toes.

00:19:24.220 --> 00:19:27.299
And yet Petty did manage to rise above into 2014's

00:19:27.299 --> 00:19:29.980
Hypnotic Eye and produce another masterwork with

00:19:29.980 --> 00:19:32.759
his last album. Yeah. Bittersweet album to me

00:19:32.759 --> 00:19:35.900
because I think the album is an absolute masterpiece.

00:19:36.920 --> 00:19:40.500
I might catch some flack for this, but this might

00:19:40.500 --> 00:19:44.119
be a top three album for me. Maybe it is the

00:19:44.119 --> 00:19:46.460
bittersweet fact that it is their swan song.

00:19:46.539 --> 00:19:49.619
And I listened to it with a little bit of awe

00:19:49.619 --> 00:19:53.390
because. This is the last output officially as

00:19:53.390 --> 00:19:55.710
a band. Obviously there's the vaults and I'm

00:19:55.710 --> 00:19:58.190
sure we're going to see plenty of material coming

00:19:58.190 --> 00:20:00.569
down the pike over the years. So I feel like

00:20:00.569 --> 00:20:03.250
the Tom Petty cup is always going to be filled,

00:20:03.390 --> 00:20:06.089
but with him on this earth, this was the last

00:20:06.089 --> 00:20:08.930
album. So to me, it's what a strong statement

00:20:08.930 --> 00:20:12.470
for an album. This is the only song on hypnotic

00:20:12.470 --> 00:20:14.450
guy that Tom didn't write on his own. Mike Campbell

00:20:14.450 --> 00:20:17.799
co -wrote this one with him. I have to agree

00:20:17.799 --> 00:20:20.460
100 % about Ferroni's drums on it. That ride

00:20:20.460 --> 00:20:23.440
cymbal, just like the name of the album, it's

00:20:23.440 --> 00:20:27.059
hypnotic. It just draws you in. It was nominated

00:20:27.059 --> 00:20:30.640
for a 2015 Grammy Award for Best Rock Album.

00:20:30.920 --> 00:20:35.559
And I think, I love Beck, but Tom should have

00:20:35.559 --> 00:20:38.019
won this one. Morning Phase, which is a great

00:20:38.019 --> 00:20:40.559
album, did take home the prize, but I feel like

00:20:40.559 --> 00:20:43.619
Hypnotic Eye is a stronger album. Just apples

00:20:43.619 --> 00:20:47.349
to oranges. Tom Petty's my favorite artist, so

00:20:47.349 --> 00:20:50.150
I know I'm coloring that with a little bit of

00:20:50.150 --> 00:20:54.170
favoritism, and I'm totally okay with that. I

00:20:54.170 --> 00:20:57.269
actually had Playing Dumb in my bank of songs

00:20:57.269 --> 00:20:59.130
for tonight, and I'm not sure if we're going

00:20:59.130 --> 00:21:02.450
to get to Hypnotic Eye twice because we only

00:21:02.450 --> 00:21:05.849
have 20 songs, but even though that song is only

00:21:05.849 --> 00:21:10.069
featured on the vinyl version of the album, how

00:21:10.069 --> 00:21:13.329
great is it that that song is so stellar that

00:21:13.329 --> 00:21:17.079
I even put it in my bank? And you can't get it

00:21:17.079 --> 00:21:19.640
on the CD version. That's how great of an album

00:21:19.640 --> 00:21:22.839
Hypnotic Eye is. And you've got to go buy vinyl,

00:21:22.900 --> 00:21:25.400
folks. We were talking about mixtapes here, and

00:21:25.400 --> 00:21:27.339
of course we all have playlists. I do still have

00:21:27.339 --> 00:21:29.099
mixtapes. I've still got cassettes kicking around.

00:21:29.619 --> 00:21:31.539
But if I'm going to sit down and listen to music

00:21:31.539 --> 00:21:33.160
these days, if I'm not driving around or I'm

00:21:33.160 --> 00:21:36.069
not running or walking... I put vinyl, I put

00:21:36.069 --> 00:21:37.589
a piece of plastic on a turntable, man, and I

00:21:37.589 --> 00:21:39.650
spin it up. And, you know, Hypnotic Eye is one

00:21:39.650 --> 00:21:41.470
of those albums that you've got to listen to

00:21:41.470 --> 00:21:43.349
front to back because it is superb. And, man,

00:21:43.410 --> 00:21:45.670
what about the guitar tone on Fault Lines? Oh,

00:21:45.670 --> 00:21:48.029
it's unbelievable. If Dirty Axle Grease was a

00:21:48.029 --> 00:21:49.710
guitar tone, that's what it would sound like.

00:21:49.730 --> 00:21:52.910
It's incredible. Just dirty. And the one thing

00:21:52.910 --> 00:21:55.930
I like about Fault Lines is it truly sticks out

00:21:55.930 --> 00:21:58.390
on that album as an outlier, that bossa nova

00:21:58.390 --> 00:22:00.990
sound you talked about. And I think that's what

00:22:00.990 --> 00:22:04.529
I'm going to stick with. For my next pick, and

00:22:04.529 --> 00:22:06.289
I'm going to go with a song that I think is another

00:22:06.289 --> 00:22:10.890
outlier song from Tom Petty on an album where

00:22:10.890 --> 00:22:13.549
maybe it feels like it doesn't quite fit in.

00:22:14.069 --> 00:22:16.849
But again, yes, I am going to go with a hit here.

00:22:17.730 --> 00:22:20.650
But when you get Dave Stewart of the Eurythmics

00:22:20.650 --> 00:22:23.750
and Tom Petty writing together, you get the lead

00:22:23.750 --> 00:22:26.670
single from 1985's Southern Accents, Don't Come

00:22:26.670 --> 00:22:30.279
Around Here No More. And this song was apparently

00:22:30.279 --> 00:22:33.259
written about Stevie Nicks breakup with Joe Walsh.

00:22:33.259 --> 00:22:35.559
I'm not getting into the TMZ part of all this,

00:22:35.660 --> 00:22:38.660
but it reached number 12 on the Billboard US

00:22:38.660 --> 00:22:41.640
Hot 100, number two on the US Album Rock Tracks

00:22:41.640 --> 00:22:45.160
chart, number 20 on the Canadian Top 100 Singles,

00:22:45.160 --> 00:22:48.720
number 50 on the UK Singles chart, and hit number

00:22:48.720 --> 00:22:52.819
61 in Australia, number 42 in New Zealand. worldwide

00:22:52.819 --> 00:22:56.160
hit. In 2020, Rolling Stone ranked at number

00:22:56.160 --> 00:22:59.720
three on their list of the 50 greatest Tom Petty

00:22:59.720 --> 00:23:03.539
songs. For me personally, this song is all about

00:23:03.539 --> 00:23:06.740
the Alice in Wonderland inspired music video.

00:23:06.880 --> 00:23:11.619
This is when I was glued to MTV as a kid and

00:23:11.619 --> 00:23:13.759
getting to go to the Rock and Roll Hall of Fame

00:23:13.759 --> 00:23:17.759
and get a photo with the hat from the video was

00:23:17.759 --> 00:23:20.259
truly a highlight of the Rock and Roll Hall of

00:23:20.259 --> 00:23:23.119
Fame for me because I remember staring at that

00:23:23.119 --> 00:23:27.619
hat and watching that video just completely mesmerized

00:23:27.619 --> 00:23:29.859
by it. What is going on? Like, what is this?

00:23:30.319 --> 00:23:34.279
Exactly. And like Fault Lines, this song has

00:23:34.279 --> 00:23:37.900
a different sound from what you'd expect from

00:23:37.900 --> 00:23:41.900
a typical quote unquote Tom Petty song. Yet I

00:23:41.900 --> 00:23:44.779
couldn't picture this song performed by anybody

00:23:44.779 --> 00:23:49.250
else but Tom. So even though it pivots from what

00:23:49.250 --> 00:23:54.109
the sound is across Southern accents as an album,

00:23:54.309 --> 00:23:57.309
I couldn't picture Southern accents without it.

00:23:57.369 --> 00:23:59.289
And I have to end by also giving another shout

00:23:59.289 --> 00:24:01.809
out to Patreon mixtape or seeker who also chimed

00:24:01.809 --> 00:24:04.150
in with this one, but don't come around here

00:24:04.150 --> 00:24:07.029
no more. I'm actually surprised that Dave Stewart

00:24:07.029 --> 00:24:09.529
and Tom didn't do more after this because it

00:24:09.529 --> 00:24:13.730
just works so well together. Well, I mean, you

00:24:13.730 --> 00:24:15.829
know, the three songs on Southern Accents, we're

00:24:15.829 --> 00:24:17.109
talking about an album there that was originally

00:24:17.109 --> 00:24:19.069
supposed to be a concept album about the South.

00:24:19.230 --> 00:24:21.170
There was just, you know, Rebels, Trailer, all

00:24:21.170 --> 00:24:23.289
these single words spike, all these single words

00:24:23.289 --> 00:24:24.750
that Tom had been putting together and trying

00:24:24.750 --> 00:24:26.809
to write around the experiences of living in

00:24:26.809 --> 00:24:28.250
the South and, you know, predominantly a white

00:24:28.250 --> 00:24:31.490
South. So this kind of derails it. And Dave Stewart

00:24:31.490 --> 00:24:33.410
coming in and they go buy rhinestone suits and

00:24:33.410 --> 00:24:34.910
they're cutting around town and they're drinking

00:24:34.910 --> 00:24:37.990
and helling it up. So it definitely is. Southern

00:24:37.990 --> 00:24:41.880
Accents is. What would the word? Not a train

00:24:41.880 --> 00:24:44.099
wreck, but in terms of consistency. There's no

00:24:44.099 --> 00:24:45.839
consistency on an album, right? It's incoherent

00:24:45.839 --> 00:24:48.519
is the word I would use. It's brilliant and its

00:24:48.519 --> 00:24:50.839
highs are high, but it's just very confusing

00:24:50.839 --> 00:24:52.700
and very difficult to listen to as an album.

00:24:52.839 --> 00:24:55.019
I should shout out quickly, I don't know if you've

00:24:55.019 --> 00:24:58.339
ever read Michael Washburn's brilliant book on

00:24:58.339 --> 00:25:00.380
Southern accents. I have not. It's part of the

00:25:00.380 --> 00:25:02.579
33 and a Third series. I had him on my podcast,

00:25:02.799 --> 00:25:05.519
fantastic writer, a brilliant sort of essay about...

00:25:05.690 --> 00:25:08.029
How does Southern Accents stand up? And especially

00:25:08.029 --> 00:25:09.450
sort of the subsequent tour with the Confederate

00:25:09.450 --> 00:25:11.130
imagery and that kind of stuff. Very, very interesting.

00:25:11.190 --> 00:25:13.589
Very, very cool. And he's obviously a huge Petty

00:25:13.589 --> 00:25:15.630
fan. But my favorite version of this song is

00:25:15.630 --> 00:25:17.289
definitely the version from the Take the Highway

00:25:17.289 --> 00:25:19.369
tour. And you can find this online. I'll put

00:25:19.369 --> 00:25:23.250
a link in my episode notes when I push this out

00:25:23.250 --> 00:25:26.039
on my shares. When Mike Campbell... starts out

00:25:26.039 --> 00:25:28.059
playing that guitar, puts it on the guitar stand,

00:25:28.180 --> 00:25:29.660
and it's got that big delay on it, so they've

00:25:29.660 --> 00:25:31.599
got the loop going. It's on the loop. Then he

00:25:31.599 --> 00:25:33.220
gets the next guitar, that bouzouki thing that

00:25:33.220 --> 00:25:35.160
he plays. Then he gets his third guitar. Then

00:25:35.160 --> 00:25:37.539
Tom walks down the stairs, opens the chest, puts

00:25:37.539 --> 00:25:40.059
the hat on, and the song begins. I mean, as theater

00:25:40.059 --> 00:25:42.480
and as performance, it doesn't get any better

00:25:42.480 --> 00:25:46.359
than that. Not at all. So what are we going to

00:25:46.359 --> 00:25:48.900
follow up Don't Come Around Here No More with?

00:25:49.640 --> 00:25:52.119
Well, I'm going deep again. This is a song that

00:25:52.119 --> 00:25:54.170
I think... pretty much every Petty fan or everyone

00:25:54.170 --> 00:25:55.789
I know really loves. And it's, again, getting

00:25:55.789 --> 00:25:57.690
a bit more attention because of the Long After

00:25:57.690 --> 00:25:59.730
Dark re -release and the subsequent documentary

00:25:59.730 --> 00:26:01.529
that they've released, Straight Into Darkness.

00:26:01.970 --> 00:26:05.630
Nice. Not just one of the great Petty deep cuts.

00:26:05.690 --> 00:26:07.690
I think it's one of the great Petty songs. And

00:26:07.690 --> 00:26:09.710
I almost went with either Change of Heart or

00:26:09.710 --> 00:26:11.430
You Got Lucky from Long After Dark because I

00:26:11.430 --> 00:26:13.569
love those two songs too. But I wanted to get

00:26:13.569 --> 00:26:15.430
a little bit broader. And I think, you know...

00:26:15.609 --> 00:26:17.210
believe the good times are over. I don't believe

00:26:17.210 --> 00:26:19.650
all this is gone. The end sort of verse, everyone

00:26:19.650 --> 00:26:22.289
sort of latches onto that. But for me, the thing

00:26:22.289 --> 00:26:24.470
that struck me about this song really hard when

00:26:24.470 --> 00:26:26.630
I first heard it on my re -listen through for

00:26:26.630 --> 00:26:29.269
the podcast was, wait a minute, that piano intro

00:26:29.269 --> 00:26:32.309
and the tempo and the chord structure, that's

00:26:32.309 --> 00:26:34.980
King of Pain. sting borrowed this he lifted that

00:26:34.980 --> 00:26:37.220
little intro for king of pain but it's brilliant

00:26:37.220 --> 00:26:39.579
and i love it um but it's definitely sort of

00:26:39.579 --> 00:26:42.119
influenced by this song um and it's one of the

00:26:42.119 --> 00:26:43.660
first songs in the heartbreaks catalog where

00:26:43.660 --> 00:26:46.319
ben mont does really open that song with a piano

00:26:46.319 --> 00:26:48.940
phrase rather than it being a guitar like uh

00:26:48.940 --> 00:26:51.319
so yeah straight into darkness fantastic song

00:26:51.319 --> 00:26:53.900
could not agree more and this is one where i

00:26:53.900 --> 00:26:57.359
actually when i was listening to this album as

00:26:57.359 --> 00:26:59.940
the re -release came out and kind of really diving

00:26:59.940 --> 00:27:03.829
into the french tv version which Holy shit. The

00:27:03.829 --> 00:27:07.049
clarity on that TV recording. Think about this.

00:27:07.089 --> 00:27:11.230
This is like 1982 TV. The clarity between the

00:27:11.230 --> 00:27:14.130
instruments, the separation on those French TV

00:27:14.130 --> 00:27:17.410
recordings is absolutely brilliant. And if you

00:27:17.410 --> 00:27:20.089
listen to it on Blu -ray, you feel like they're

00:27:20.089 --> 00:27:22.630
in the room with you. Yeah. But straight into

00:27:22.630 --> 00:27:26.730
darkness. How the hell did this song not reach

00:27:26.730 --> 00:27:29.450
the stratospheric heights of the waiting and

00:27:29.450 --> 00:27:32.750
everything else? And why wasn't it included on

00:27:32.750 --> 00:27:36.190
the 1993 Greatest Hits comp or the Best of Everything

00:27:36.190 --> 00:27:40.609
compilation albums? It's overlooked in the catalog.

00:27:41.089 --> 00:27:43.690
And I'm glad that we're representing it tonight

00:27:43.690 --> 00:27:48.069
because to me, it's an absolute classic. And

00:27:48.069 --> 00:27:49.430
there's another book tie too, if you're ever

00:27:49.430 --> 00:27:51.049
interested in reading the book by an author named

00:27:51.049 --> 00:27:53.910
Megan Volpert. She talks about how this song

00:27:53.910 --> 00:27:56.670
actually, she credits it with saving her life.

00:27:57.099 --> 00:27:58.460
She was standing on a train station platform,

00:27:58.700 --> 00:28:00.720
feeling like she was almost at the end of her

00:28:00.720 --> 00:28:03.220
rope, listening to music. This song comes on.

00:28:03.420 --> 00:28:05.400
And when that last verse kicks in, she sort of,

00:28:05.400 --> 00:28:08.519
it gave her just that little bit of sort of confidence

00:28:08.519 --> 00:28:10.720
to think, to step back from the ledge, step back

00:28:10.720 --> 00:28:11.960
away, step away, and just sort of give herself

00:28:11.960 --> 00:28:14.180
a little bit of time to think. And she's, you

00:28:14.180 --> 00:28:15.299
know, gone on from strength to strength from

00:28:15.299 --> 00:28:17.380
there. So music does have healing properties.

00:28:17.500 --> 00:28:19.339
And, you know, we, we, we overstate that. I think

00:28:19.339 --> 00:28:20.839
we're under overstating it sometimes, but it's,

00:28:20.839 --> 00:28:24.220
it's really true sometimes. No, it's 100 % true

00:28:24.220 --> 00:28:26.480
for me. I've gone through a lot this year. I

00:28:26.480 --> 00:28:30.660
had heart surgery earlier this year. And I'll

00:28:30.660 --> 00:28:35.200
be honest, music is a huge part besides, obviously,

00:28:35.200 --> 00:28:37.799
the important aspect of my family being by my

00:28:37.799 --> 00:28:41.460
side. But when they weren't there and I was trying

00:28:41.460 --> 00:28:44.960
to go to sleep at night, music was. the thing

00:28:44.960 --> 00:28:47.799
that helped keep me strong and guide me through

00:28:47.799 --> 00:28:51.180
it. And I listened to a lot of Tom Petty during

00:28:51.180 --> 00:28:54.500
my recovery because Tom Petty's music, even in

00:28:54.500 --> 00:28:57.339
the darkest moments still finds a way to hit

00:28:57.339 --> 00:28:59.480
me in the fields and put a smile on my face.

00:28:59.779 --> 00:29:02.640
And I think following up straight in the darkness,

00:29:02.740 --> 00:29:06.500
I'm going to go with another single and I'm using

00:29:06.500 --> 00:29:09.160
quote marks because it technically was a single.

00:29:10.250 --> 00:29:13.190
And I'm going to also file this under how the

00:29:13.190 --> 00:29:16.910
hell was this not a massive hit? And I'm going

00:29:16.910 --> 00:29:19.890
to go off of 1991's Into the Great Wide Open.

00:29:20.329 --> 00:29:23.230
I think it's just like Straight Into Darkness,

00:29:23.329 --> 00:29:26.230
one of Tom Petty's most underrated tracks. It's

00:29:26.230 --> 00:29:28.809
a fan favorite. They've been playing it live

00:29:28.809 --> 00:29:31.049
for years. We're going to go with King's Highway.

00:29:32.190 --> 00:29:35.880
There's a reason. that country and rock artists

00:29:35.880 --> 00:29:40.079
name drop Tom Petty. There's that phrase, listening

00:29:40.079 --> 00:29:43.420
to Tom Petty on the radio. I could probably rattle

00:29:43.420 --> 00:29:47.960
off 90 country songs that say that line. And

00:29:47.960 --> 00:29:50.480
if I were to guess what song they were talking

00:29:50.480 --> 00:29:53.720
about, I think it's King's Highway. Because to

00:29:53.720 --> 00:29:56.750
me. How can you not put that song on and not

00:29:56.750 --> 00:29:59.730
want to put the top down in your car and drive

00:29:59.730 --> 00:30:02.890
and just have the breeze in your hair? It's the

00:30:02.890 --> 00:30:07.569
perfect summer road trip song. Hell, James Bay

00:30:07.569 --> 00:30:10.210
covered it for the Cars 3 soundtrack, obviously

00:30:10.210 --> 00:30:15.890
about driving in cars. But this to me is a perfect

00:30:15.890 --> 00:30:19.930
Tom Petty song that gets overshadowed by the

00:30:19.930 --> 00:30:22.910
brilliant title track with the Johnny Depp video.

00:30:23.680 --> 00:30:27.059
and learning to fly which was the big lead single

00:30:27.059 --> 00:30:30.240
from the album i feel like this should have gotten

00:30:30.240 --> 00:30:33.519
a lot more love than it did so following up straight

00:30:33.519 --> 00:30:35.799
in the darkness i feel like they go really well

00:30:35.799 --> 00:30:38.380
back and forth one is the great wide open such

00:30:38.380 --> 00:30:40.980
a great driving album front to back i mean when

00:30:40.980 --> 00:30:43.180
you get into that one too you you sort of i think

00:30:43.180 --> 00:30:44.759
it's easy to overlook that one as well because

00:30:44.759 --> 00:30:47.200
there's a couple of really big hitters on it

00:30:47.200 --> 00:30:49.920
but some of the deep was dark of the sun Mike

00:30:49.920 --> 00:30:51.940
Campbell's guitar solo in that one is one of

00:30:51.940 --> 00:30:54.019
my favorite things he ever did with six strings

00:30:54.019 --> 00:30:56.859
and a fretboard. You know, Two Gunslingers is

00:30:56.859 --> 00:30:59.920
on that record. It's just front to back. It's

00:30:59.920 --> 00:31:02.059
stacked. And I've said on my podcast before that

00:31:02.059 --> 00:31:04.240
I think that that one, it's not Full Moon Fever.

00:31:04.420 --> 00:31:06.599
I think it's Into the Great Wide Open that actually

00:31:06.599 --> 00:31:09.339
signals the start of the second half of Petty's

00:31:09.339 --> 00:31:10.900
career because there's something that happens

00:31:10.900 --> 00:31:12.839
with his songwriting, specifically his lyric

00:31:12.839 --> 00:31:15.319
writing on Into the Great Wide Open. And King's

00:31:15.319 --> 00:31:18.309
Highway has that sort of... wistfulness and that

00:31:18.309 --> 00:31:21.029
sort of nostalgia to it which almost as if okay

00:31:21.029 --> 00:31:23.150
i'm just going to get this one last time out

00:31:23.150 --> 00:31:25.269
of my system and then we go forward so it's got

00:31:25.269 --> 00:31:26.650
that little turning point to me that i always

00:31:26.650 --> 00:31:29.410
think about and i'll tell you to me all or nothing

00:31:29.410 --> 00:31:32.609
is tom petty's james bond theme song that never

00:31:32.609 --> 00:31:35.529
got released in the james bond love it love it

00:31:35.529 --> 00:31:40.859
all right so We have a one -two punch of, I'd

00:31:40.859 --> 00:31:43.799
say, underrated quote -unquote singles, if they

00:31:43.799 --> 00:31:46.140
were officially, straight in the darkness in

00:31:46.140 --> 00:31:48.619
King's Highway. We each have one more song to

00:31:48.619 --> 00:31:52.000
close out Side A. What do you got? Well, I want

00:31:52.000 --> 00:31:55.920
to go live because the Heartbreakers were a superb

00:31:55.920 --> 00:31:58.200
live outfit, one of the best cover bands of all

00:31:58.200 --> 00:32:00.880
time, one of the great American live bands. And

00:32:00.880 --> 00:32:02.619
I also wanted to go with something that wasn't

00:32:02.619 --> 00:32:04.900
released on an album. So I'm going to hit you

00:32:04.900 --> 00:32:07.599
with the live anthology version of... Melinda,

00:32:07.720 --> 00:32:10.720
the call right with Ben Montench. Nice. So that's

00:32:10.720 --> 00:32:12.839
my killing two birds with one stone there. Mike's

00:32:12.839 --> 00:32:15.420
lead playing on this song is amazing. Ben Mont's

00:32:15.420 --> 00:32:17.460
piano. You know, we talk about Mike Campbell

00:32:17.460 --> 00:32:19.420
being underrated. Ben Montench is the ultimate

00:32:19.420 --> 00:32:21.279
color commentator. He's the ultimate guy who

00:32:21.279 --> 00:32:23.119
just sits in the background and then throws in

00:32:23.119 --> 00:32:25.279
every now and again. This one, he takes the lead

00:32:25.279 --> 00:32:27.319
for a good sort of minute and a half, two minute

00:32:27.319 --> 00:32:30.859
boogie woogie jazz kind of stride piano solo

00:32:30.859 --> 00:32:32.700
that's just out of this world and reminds you

00:32:32.700 --> 00:32:35.440
if you need Ben Mont to tear it up, Ben Mont

00:32:35.440 --> 00:32:38.900
can tear it up. And he does also on the 2004

00:32:38.900 --> 00:32:43.880
soundstage presents live Blu -ray DVD. There's

00:32:43.880 --> 00:32:46.599
a it's a shorter version. Personally, I think

00:32:46.599 --> 00:32:49.119
the live anthology one is the ultimate. It's

00:32:49.119 --> 00:32:52.500
Ben Mott's opus. As far as I'm concerned, the

00:32:52.500 --> 00:32:54.859
sound that he gets out of that grand piano for

00:32:54.859 --> 00:32:58.200
eight minutes is he goes from breathtaking to

00:32:58.200 --> 00:33:01.299
spellbinding to mind blowing. And it's just like,

00:33:01.339 --> 00:33:04.539
what's happening here? And then Mike Campbell,

00:33:04.599 --> 00:33:08.029
that guitar part is so. eerie and haunting i

00:33:08.029 --> 00:33:09.930
actually have a question for you because i've

00:33:09.930 --> 00:33:12.849
read arguments about this online and i want to

00:33:12.849 --> 00:33:16.369
get your two cents on this some people have said

00:33:16.369 --> 00:33:19.670
that lyrically this song is about tom going to

00:33:19.670 --> 00:33:23.210
visit a prostitute and other people said that

00:33:23.210 --> 00:33:26.890
this is a song about murder is the four hundred

00:33:26.890 --> 00:33:31.630
dollars his travel costs the cost for melinda

00:33:32.329 --> 00:33:35.390
the cost to buy a weapon. There's also that lyric

00:33:35.390 --> 00:33:37.990
and one dark night, I'm going to crawl through

00:33:37.990 --> 00:33:41.210
a window. Is that to sneak around? So him and

00:33:41.210 --> 00:33:43.910
the prostitute don't get caught or is there something

00:33:43.910 --> 00:33:46.789
more nefarious here? Because for me, I don't

00:33:46.789 --> 00:33:51.549
see Tom as the dark murderous type, but you could

00:33:51.549 --> 00:33:53.890
take those lyrics in two different directions,

00:33:53.930 --> 00:33:57.549
which just show what a strong songwriter he is,

00:33:57.690 --> 00:33:59.950
especially because of the arguments I've seen.

00:34:00.029 --> 00:34:02.279
So I'm curious what you think about that. This

00:34:02.279 --> 00:34:04.579
is the beauty of so much of Petty's writing lyrically.

00:34:04.859 --> 00:34:07.259
I always describe this as what he does is he

00:34:07.259 --> 00:34:10.039
puts a brilliant line drawing in front of you,

00:34:10.099 --> 00:34:12.800
but then he lets you color it in. All the sort

00:34:12.800 --> 00:34:14.860
of the interpretation of what does he mean, it

00:34:14.860 --> 00:34:16.539
leaves it ambiguous. I mean, you look at something

00:34:16.539 --> 00:34:18.750
like something big. There's something, you know

00:34:18.750 --> 00:34:20.369
what the story is, but you don't know what the

00:34:20.369 --> 00:34:22.070
ending is, and you don't really know all the

00:34:22.070 --> 00:34:25.010
little parts of that song. Spike is similar where

00:34:25.010 --> 00:34:26.510
it's quite narrative, and you've got this very

00:34:26.510 --> 00:34:28.130
definite character, but you don't really know

00:34:28.130 --> 00:34:30.150
exactly what's going on. So this one, again,

00:34:30.329 --> 00:34:31.590
could be any one of those things. I like the

00:34:31.590 --> 00:34:33.989
idea of the murder. I like the hitman angle on

00:34:33.989 --> 00:34:35.329
that. That's kind of cool. I haven't read that

00:34:35.329 --> 00:34:38.070
one. But I wanted to ask you, when we talk about

00:34:38.070 --> 00:34:40.289
songs, the original songs, because this was an

00:34:40.289 --> 00:34:42.070
original composition, a co -write between Tom

00:34:42.070 --> 00:34:44.489
and Ben, that never was, or we don't have at

00:34:44.489 --> 00:34:46.559
the moment, a studio recording of it. And so

00:34:46.559 --> 00:34:48.340
it fits in the same. There's two others that

00:34:48.340 --> 00:34:50.380
I can think of. Black Leather Woman, which would

00:34:50.380 --> 00:34:52.340
be from roughly around about the same time as

00:34:52.340 --> 00:34:54.360
this one, too. And then Dog on the Run, which

00:34:54.360 --> 00:34:56.400
was from the official live leg released after

00:34:56.400 --> 00:34:58.880
the first album. We don't have studio recordings.

00:34:58.960 --> 00:35:01.539
And you think, why was this never recorded? Melinda,

00:35:01.559 --> 00:35:03.800
especially out of all three of those. This one,

00:35:03.800 --> 00:35:05.579
you think this is crying out for a studio version.

00:35:05.880 --> 00:35:09.440
I couldn't agree more. And I almost wonder if

00:35:09.440 --> 00:35:13.170
because Benmont. I have read that he used to

00:35:13.170 --> 00:35:15.550
cringe whenever he saw Melinda on the set list

00:35:15.550 --> 00:35:18.670
because he knew he had to bring the fire at that

00:35:18.670 --> 00:35:21.590
point. And he could take that song either to

00:35:21.590 --> 00:35:24.570
stratospheric heights or if he doesn't hit it

00:35:24.570 --> 00:35:27.489
the right way, it could fall apart quickly. So

00:35:27.489 --> 00:35:30.050
that one always gave him a little bit of nerves

00:35:30.050 --> 00:35:33.110
and a little bit of pause. God, I really hope

00:35:33.110 --> 00:35:36.650
there. To me, that should have been either on.

00:35:37.280 --> 00:35:40.320
the playlist box set or the American treasure.

00:35:40.519 --> 00:35:44.039
But I, I really have a feeling the, the vault

00:35:44.039 --> 00:35:46.900
is deep and I think it's coming. I just don't

00:35:46.900 --> 00:35:49.539
know when. I hope so. And it's one of those weird

00:35:49.539 --> 00:35:52.780
ones too, because it sits in, I think it's before

00:35:52.780 --> 00:35:56.460
mojo, but it wouldn't have fit on the last DJ,

00:35:56.460 --> 00:35:57.940
but I don't know if it was written in the last

00:35:57.940 --> 00:35:59.900
DJ sessions, but it doesn't really fit thematically

00:35:59.900 --> 00:36:01.780
with the last DJ. So it could have just been

00:36:01.780 --> 00:36:03.619
one of those where. we don't have a home for

00:36:03.619 --> 00:36:04.860
this. We don't really have a record that we can

00:36:04.860 --> 00:36:06.239
put this on because that happens too sometimes,

00:36:06.420 --> 00:36:08.320
right? Where if Highway Companion is the next

00:36:08.320 --> 00:36:10.119
solo album, definitely doesn't fit on there.

00:36:10.420 --> 00:36:13.199
And that's a complete solo. The only album on

00:36:13.199 --> 00:36:15.420
which there's no co -writes. So it sort of doesn't

00:36:15.420 --> 00:36:16.599
fit on there either. So it might've just been

00:36:16.599 --> 00:36:17.880
one of those that got lost in the shuffle too.

00:36:18.699 --> 00:36:21.820
Yeah. And I'm going to stick with the live anthology.

00:36:22.360 --> 00:36:25.219
I want to go live too. And I want to do something

00:36:25.219 --> 00:36:29.599
that I talked about how cover bands reinterpret

00:36:29.599 --> 00:36:32.659
Tom's songs. But I want to take this moment to

00:36:32.659 --> 00:36:37.179
talk about how Tom can reinterpret Tom's songs.

00:36:37.539 --> 00:36:41.619
And I am going to go from their 2006 Bonnaroo

00:36:41.619 --> 00:36:46.239
Music and Arts Festival performance and go with

00:36:46.239 --> 00:36:50.300
the slowed down, nearly gospel -esque version

00:36:50.300 --> 00:36:53.199
of Learning to Fly that they took with them into

00:36:53.199 --> 00:36:58.869
the 2010 tour, only on this version. They got

00:36:58.869 --> 00:37:01.110
somebody named Stevie Nicks doing background

00:37:01.110 --> 00:37:05.489
vocals. The unofficial female member of the Heartbreakers.

00:37:05.949 --> 00:37:09.769
We talked about Ben Montz piano playing on Melinda.

00:37:10.070 --> 00:37:14.090
The grand piano solo in Learning to Fly is just,

00:37:14.289 --> 00:37:17.389
it brings a tear to my eye. And then I'm going

00:37:17.389 --> 00:37:21.170
to give a little spoiler. Episode 66, the ultimate

00:37:21.170 --> 00:37:23.929
spellbinding songs playlist. I chose this one.

00:37:24.409 --> 00:37:27.170
along with Ben from Records Revisited Podcast.

00:37:27.590 --> 00:37:29.769
And as much as I love the original from Into

00:37:29.769 --> 00:37:33.730
the Great Wide Open, this version gives me goosebumps

00:37:33.730 --> 00:37:36.510
every time I hear it. At the end of the song

00:37:36.510 --> 00:37:38.789
where the crowd is just singing the chorus over

00:37:38.789 --> 00:37:42.230
and over again, and Tom has his arms out and

00:37:42.230 --> 00:37:45.789
he's doing the preacher thing, kind of just doing

00:37:45.789 --> 00:37:51.429
his vocal runs over it. It's literally Heartbreakers

00:37:51.429 --> 00:37:55.860
Church in musical form. And I love this version

00:37:55.860 --> 00:37:59.739
so, so much. And I think to close out Side A,

00:37:59.780 --> 00:38:03.300
it's just a beautiful way to kind of put an exclamation

00:38:03.300 --> 00:38:05.559
point at the end of an amazing side of music.

00:38:06.000 --> 00:38:08.179
I love too, though, your take on it's a cover

00:38:08.179 --> 00:38:10.500
version of your own song. I think that's the

00:38:10.500 --> 00:38:12.039
perfect way of putting it. I've got a very good

00:38:12.039 --> 00:38:14.119
friend of mine who's a working musician, sound

00:38:14.119 --> 00:38:16.420
engineer, producer. And he says that that's quite

00:38:16.420 --> 00:38:18.900
often the really good bands, at least. You record

00:38:18.900 --> 00:38:20.699
it in the studio and then you figure out how

00:38:20.699 --> 00:38:22.929
to cover it. So you cover your own song because

00:38:22.929 --> 00:38:24.989
live, you've got to change things up. And of

00:38:24.989 --> 00:38:27.289
course, Jeff Lynn's production style was we record

00:38:27.289 --> 00:38:29.769
one instrument at a time. There's 68 million

00:38:29.769 --> 00:38:32.050
guitar tracks on that record all over the place.

00:38:32.070 --> 00:38:34.530
So you can't do a lot of that stuff live. But

00:38:34.530 --> 00:38:36.210
this one, when it's slowed down, I mean, it does

00:38:36.210 --> 00:38:37.769
just take it to another emotional and spiritual

00:38:37.769 --> 00:38:41.110
level that the studio version doesn't hit. The

00:38:41.110 --> 00:38:43.170
studio version is a great pop song. This is an

00:38:43.170 --> 00:38:45.010
anthem once he does it in this configuration,

00:38:45.309 --> 00:38:48.460
right? Could not agree more. And that, Mixtapers,

00:38:48.539 --> 00:38:52.079
concludes Side A of the ultimate Tom Petty mixtape,

00:38:52.139 --> 00:38:54.800
which consists of Listen to Her Heart from You're

00:38:54.800 --> 00:38:57.159
Gonna Get It, Running Down a Dream from Full

00:38:57.159 --> 00:39:00.699
Moon Fever, The Waiting from Hard Promises, You

00:39:00.699 --> 00:39:04.219
Wreck Me from Wildflowers, Fault Lines from Hypnotic

00:39:04.219 --> 00:39:06.840
Eye, Don't Come Around Here No More from Southern

00:39:06.840 --> 00:39:09.539
Accents, Straight in the Darkness from Long After

00:39:09.539 --> 00:39:12.349
Dark, King's Highway from Into the Great Wide

00:39:12.349 --> 00:39:15.090
Open, and then a one -two shot from the live

00:39:15.090 --> 00:39:18.610
anthology of Melinda and Learning to Fly. Head

00:39:18.610 --> 00:39:21.170
over to myweeklymixtape .com to hear all the

00:39:21.170 --> 00:39:23.809
songs we've discussed in this mix through the

00:39:23.809 --> 00:39:28.030
playlist embedded on the episode page. And now

00:39:28.030 --> 00:39:32.230
to start side B, I'm actually going to tap into

00:39:32.230 --> 00:39:35.050
something I said at the end of side A. We had

00:39:35.050 --> 00:39:37.989
Stevie Nicks, the unofficial female member of

00:39:37.989 --> 00:39:42.639
the Heartbreakers. And Patreon mixtapers Philip

00:39:42.639 --> 00:39:45.699
Berkman and Seeker both chimed in with this one,

00:39:45.760 --> 00:39:49.900
and I have to go there. 1981's Stevie Nicks album

00:39:49.900 --> 00:39:53.320
Belladonna, Stop Dragging My Heart Around, the

00:39:53.320 --> 00:39:57.380
duet of duets. It was also included on the 2008

00:39:57.380 --> 00:40:00.360
re -release of Tom Petty's Greatest Hits, which

00:40:00.360 --> 00:40:03.139
replaced their cover of Thunderclap Newman's

00:40:03.139 --> 00:40:05.039
Something in the Air. I don't know why they did

00:40:05.039 --> 00:40:07.449
that, but... I think they both could have been

00:40:07.449 --> 00:40:09.510
included on the re -release, but maybe it was

00:40:09.510 --> 00:40:11.389
something with the licensing. I have no idea.

00:40:11.730 --> 00:40:14.829
And it was also included on the 2019 The Best

00:40:14.829 --> 00:40:18.409
of Everything compilation. Stevie and Tom's voices

00:40:18.409 --> 00:40:21.469
are just magic together. They should have done

00:40:21.469 --> 00:40:24.710
more. Obviously, you got Insider from Hard Promises,

00:40:24.989 --> 00:40:27.329
The Learning to Fly. I feel like there should

00:40:27.329 --> 00:40:29.289
have been more. I feel like we got cheated out

00:40:29.289 --> 00:40:32.570
of more between the two of them. The song hit

00:40:32.570 --> 00:40:34.889
number three on the U .S. Billboard Hot 100.

00:40:35.659 --> 00:40:39.119
Number 10 in Australia, number five on Canada's

00:40:39.119 --> 00:40:42.079
top singles chart, and also charted in the Netherlands,

00:40:42.219 --> 00:40:45.219
New Zealand, South Africa, and the UK. Another

00:40:45.219 --> 00:40:49.139
worldwide hit. I mean, cover versions. I mean,

00:40:49.179 --> 00:40:51.659
it's not a cover. It's a parody. But anytime

00:40:51.659 --> 00:40:53.639
Weird Al gets involved, I got to mention it.

00:40:53.800 --> 00:40:56.420
Stop dragging my car around. The only time that

00:40:56.420 --> 00:40:59.559
he really messed around with Tom Petty in a way.

00:40:59.719 --> 00:41:03.900
And I will say Lady A does a. incredible version

00:41:03.900 --> 00:41:06.460
on the petty country tribute album because they

00:41:06.460 --> 00:41:09.420
do three -part harmony on the vocals which adds

00:41:09.420 --> 00:41:12.079
a different layer of depth to it and i know i've

00:41:12.079 --> 00:41:15.099
mentioned that one a lot but hell it was probably

00:41:15.099 --> 00:41:17.539
one of my favorite country albums of the year

00:41:17.539 --> 00:41:19.559
so yeah stop dragging my heart around to kick

00:41:19.559 --> 00:41:22.760
off side b and i think what's always incredible

00:41:22.760 --> 00:41:25.219
with petty and nicks together is that they're

00:41:25.219 --> 00:41:28.800
both so distinctive and so unique vocally But

00:41:28.800 --> 00:41:30.300
sometimes that doesn't work, right? Sometimes

00:41:30.300 --> 00:41:33.599
you don't get the right blend, but for some reason,

00:41:33.639 --> 00:41:35.460
those two together, they just know how to sing

00:41:35.460 --> 00:41:38.000
with each other. And I love the video for Insider

00:41:38.000 --> 00:41:39.800
when you can see them watching each other just

00:41:39.800 --> 00:41:42.320
so they can get the phrasing exactly right. And

00:41:42.320 --> 00:41:43.760
of course, when Stevie comes on stage and sings

00:41:43.760 --> 00:41:45.900
this with him live, and the cool thing about

00:41:45.900 --> 00:41:48.420
Insider is a different song, obviously, but they

00:41:48.420 --> 00:41:50.139
never played that live without Stevie Nicks.

00:41:50.539 --> 00:41:53.940
And same thing, you know, you can't do it, right?

00:41:54.019 --> 00:41:55.920
But I think Stevie does do Stop Dragging My Heart

00:41:55.920 --> 00:41:58.380
Around. But I do think it's interesting, right?

00:41:58.539 --> 00:42:00.659
The Insider was the song that he actually wrote

00:42:00.659 --> 00:42:03.019
for Stevie. Stevie came in, sang it, and said,

00:42:03.099 --> 00:42:04.739
yeah, dude, I can't take this from you. I can

00:42:04.739 --> 00:42:06.280
tell you don't want to give it to me. Is there

00:42:06.280 --> 00:42:08.480
anything else you can give to me? And so the

00:42:08.480 --> 00:42:10.619
heartbreak is already recorded, Stop Dragging

00:42:10.619 --> 00:42:12.780
My Heart, around four hard promises. And Tom

00:42:12.780 --> 00:42:14.840
said, but what about this one? We've got the

00:42:14.840 --> 00:42:16.420
footage of them singing it and figuring out their

00:42:16.420 --> 00:42:18.440
vocal parts together in the new documentary.

00:42:18.539 --> 00:42:20.300
And it's just like, okay, well, yeah, that actually,

00:42:20.420 --> 00:42:23.699
Stop Dragging My Heart, works way better on Belladonna

00:42:23.699 --> 00:42:25.340
than Insider would have done, in my opinion.

00:42:25.690 --> 00:42:28.449
I completely agree. And then also to this day,

00:42:28.469 --> 00:42:30.389
I know there's a studio version. It's on her

00:42:30.389 --> 00:42:33.409
Enchanted box set. But Stevie does a beautiful

00:42:33.409 --> 00:42:36.329
version of Free Fall. And I mean, the way those

00:42:36.329 --> 00:42:39.090
two are intertwined over the years, you usually

00:42:39.090 --> 00:42:42.510
pair Stevie Nicks with Fleetwood Mac, obviously,

00:42:42.570 --> 00:42:45.250
because that's where her legacy was carved before

00:42:45.250 --> 00:42:49.030
Solo. But to me, her legacy with the Heartbreakers

00:42:49.030 --> 00:42:52.050
is just as strong, even though it's not as prominent.

00:42:52.889 --> 00:42:54.650
Absolutely. And, you know, Mike worked with her

00:42:54.650 --> 00:42:56.969
on three or four different studio albums after

00:42:56.969 --> 00:43:00.030
Balladonna. Benmont, I think, has played on almost

00:43:00.030 --> 00:43:02.349
every album she's ever put out. So that relationship

00:43:02.349 --> 00:43:04.730
with the Heartbreakers, just musically, you know,

00:43:04.730 --> 00:43:06.610
there's always the scurrilous rumors that her

00:43:06.610 --> 00:43:08.269
and Tom had something going on, which they didn't.

00:43:08.269 --> 00:43:10.050
But musically, there's just their hand in glove,

00:43:10.150 --> 00:43:12.469
right? They just fit together perfectly. Well,

00:43:12.510 --> 00:43:15.449
what are you going to follow up Stop Dragging

00:43:15.449 --> 00:43:17.849
My Heart Around with? Well, I'm kind of following

00:43:17.849 --> 00:43:19.869
your lead here, and I'm going to take us away

00:43:19.869 --> 00:43:21.610
from the Heartbreakers. And I'm going to take

00:43:21.610 --> 00:43:23.210
us away from Solo and I'm going to go to the

00:43:23.210 --> 00:43:25.869
super group of all super groups, Travelling Wilburys,

00:43:25.889 --> 00:43:28.210
but I'm not going for one of the big ones from

00:43:28.210 --> 00:43:30.269
Volume 1. I'm going to hit you with Cool Dry

00:43:30.269 --> 00:43:35.349
Place from Volume 3. Awesome! So I had to pick

00:43:35.349 --> 00:43:37.190
that one. I mean, End of the Line is one of my

00:43:37.190 --> 00:43:39.710
favorite songs ever recorded. I love that tune.

00:43:39.969 --> 00:43:41.929
Orbison's voice on it is just majestic. You got

00:43:41.929 --> 00:43:44.030
the blend is perfect, the bounce of it and the

00:43:44.030 --> 00:43:48.650
ease of it. Jim Keltner's drum part in that never

00:43:48.650 --> 00:43:50.750
hits a cymbal, you know, but it's too easy to

00:43:50.750 --> 00:43:52.989
pick one of those. I think Cool Dry Place shows

00:43:52.989 --> 00:43:55.710
off Tom Petty's sense of humor and that sort

00:43:55.710 --> 00:43:57.530
of interplay between him and Dylan. You can tell

00:43:57.530 --> 00:43:59.170
this is a core act between the four of them at

00:43:59.170 --> 00:44:01.480
that point and they're just having fun. You know,

00:44:01.480 --> 00:44:04.239
talking about old athletic shoes and DX7s and

00:44:04.239 --> 00:44:07.380
reverbs and things, all the moldy. It's got such

00:44:07.380 --> 00:44:11.260
a relaxed, loose feel to it. And just that warmth

00:44:11.260 --> 00:44:13.219
and that sense of humor that I think really underscored

00:44:13.219 --> 00:44:15.940
everything that the Wilburys did. And talk about,

00:44:16.039 --> 00:44:18.659
you know, the Wilburys. I remember that was my

00:44:18.659 --> 00:44:20.960
entry into Petty. It wasn't Full Moon Fever.

00:44:20.960 --> 00:44:22.420
I'm sure I heard Full Moon Fever around the time,

00:44:22.440 --> 00:44:24.679
but I hadn't really latched on. But being a huge

00:44:24.679 --> 00:44:26.300
Beatles fan growing up and my dad being a big

00:44:26.300 --> 00:44:28.730
Harrison fan especially. it was the Wilburys.

00:44:28.730 --> 00:44:29.710
And then, you know, you look at it, it's okay.

00:44:29.710 --> 00:44:31.869
Well, Bob Dylan, I'm a huge fan of. It's got

00:44:31.869 --> 00:44:34.010
a Beatle in there. You got Roy Orbison, who's

00:44:34.010 --> 00:44:36.030
just elite level, sort of untouchable. And then

00:44:36.030 --> 00:44:37.449
Jeff Lynn, who if you're English and you're an

00:44:37.449 --> 00:44:39.849
ELO fan, he's also on that level. Who's this

00:44:39.849 --> 00:44:42.550
petty kid, this scruffy blonde Californian dude,

00:44:42.670 --> 00:44:45.329
right? At the table. And as you think, it was

00:44:45.329 --> 00:44:47.809
37 when the Wilburys got together. But of course,

00:44:47.809 --> 00:44:50.230
as we know now, like he was every bit there equal

00:44:50.230 --> 00:44:51.909
in terms of songwriting, in terms of productivity

00:44:51.909 --> 00:44:54.090
and the contribution to the band. So, Cool Dry

00:44:54.090 --> 00:44:56.650
Place from Wilburys Volume 3. It's funny, when

00:44:56.650 --> 00:44:58.329
they first came out, people were like, who are

00:44:58.329 --> 00:45:00.289
all these old guys? But if you think about what

00:45:00.289 --> 00:45:02.210
their ages were when these albums came out, they

00:45:02.210 --> 00:45:05.190
were not old at all. And I love the fact that

00:45:05.190 --> 00:45:06.829
you mentioned that these songs were written from

00:45:06.829 --> 00:45:10.150
a fun place, because from what I've read, both

00:45:10.150 --> 00:45:14.190
Handle With Care and Cool Dry Place were written

00:45:14.190 --> 00:45:16.150
based on they were sitting in a room and they

00:45:16.150 --> 00:45:19.590
were stickers on a box. Handle With Care and

00:45:19.590 --> 00:45:22.289
Store in a Cool Dry Place. So coming from a place

00:45:22.289 --> 00:45:25.570
of humor. I also love the wink, wink, nudge,

00:45:25.590 --> 00:45:28.769
nudge reference to Jeff Lynn in the lyrics. I

00:45:28.769 --> 00:45:31.650
paid my first subscription. Then I joined the

00:45:31.650 --> 00:45:35.650
Idol Race. Idol Race was Jeff Lynn's pre -Electric

00:45:35.650 --> 00:45:38.909
Light Orchestra band. Yep. So that was them kind

00:45:38.909 --> 00:45:42.570
of like poking fun and having fun at the expense

00:45:42.570 --> 00:45:45.889
of the lyrics. And while Handle With Care will

00:45:45.889 --> 00:45:49.110
always be a... personal highlight and favorite

00:45:49.110 --> 00:45:52.309
for me i talked about that soundstage performance

00:45:52.309 --> 00:45:55.809
they do an incredible version on that that one

00:45:55.809 --> 00:45:58.670
was more of everybody getting a little bit of

00:45:58.670 --> 00:46:00.829
vocals in that and i feel like tom took front

00:46:00.829 --> 00:46:03.989
and center on cool dry place so i think for this

00:46:03.989 --> 00:46:08.010
playlist this one makes more sense okay well

00:46:08.010 --> 00:46:09.329
what are you following it with because we've

00:46:09.329 --> 00:46:11.900
had two now that aren't aren't heartbreakers

00:46:11.900 --> 00:46:13.739
songs so are you getting us back to the heartbreakers

00:46:13.739 --> 00:46:16.019
are we going solo where are we going i'm gonna

00:46:16.019 --> 00:46:18.860
trifecta this and keep us outside of the heartbreaker

00:46:18.860 --> 00:46:22.500
range because for the true tom petty fans out

00:46:22.500 --> 00:46:24.659
there if we don't touch on mud crutch we're doing

00:46:24.659 --> 00:46:28.480
a disservice so i'm gonna go off the 2008 album

00:46:28.480 --> 00:46:31.900
and first i just want to say me being a bass

00:46:31.900 --> 00:46:35.090
player seeing tom pick up the bass for an entire

00:46:35.090 --> 00:46:37.550
album when i heard he was doing that i'm like

00:46:37.550 --> 00:46:40.369
okay you've got my attention here and when i

00:46:40.369 --> 00:46:41.989
first listened to the album i'm like what is

00:46:41.989 --> 00:46:45.050
this is this a country album is this americana

00:46:45.050 --> 00:46:48.710
what's going on here and you could tell it's

00:46:48.710 --> 00:46:53.969
fun and eclectic and it kind of fits in with

00:46:53.969 --> 00:46:56.969
where we're going with this side so far fun eclectic

00:46:56.969 --> 00:46:59.650
it's a different mix i thought about going with

00:46:59.650 --> 00:47:02.929
crystal river And honestly, if I wanted to close

00:47:02.929 --> 00:47:05.449
out Side A following up Melinda, considering

00:47:05.449 --> 00:47:08.789
that was showing Tom Petty and the Heartbreakers

00:47:08.789 --> 00:47:11.889
jamming, Crystal River is mud crutch jamming.

00:47:12.389 --> 00:47:15.550
But I couldn't resist the double shot of the

00:47:15.550 --> 00:47:18.170
live anthology for Side A. So coming at a cool,

00:47:18.170 --> 00:47:22.090
dry place, I want to go with that same vibe and

00:47:22.090 --> 00:47:25.329
I'm going to go with the wrong thing to do. Now,

00:47:25.409 --> 00:47:28.730
to me, this feels. like a heartbreakers album

00:47:28.730 --> 00:47:30.829
because you've got mike campbell ben montench

00:47:30.829 --> 00:47:33.750
and tom all together but when you bring in tom

00:47:33.750 --> 00:47:38.250
leaden and randall marsh to the sound it is mud

00:47:38.250 --> 00:47:41.090
crutch it it does change it's a different place

00:47:41.090 --> 00:47:44.010
but there's something about the groove and the

00:47:44.010 --> 00:47:47.369
wrong thing to do coming out of cool dry place

00:47:47.369 --> 00:47:50.750
that i think just marries really well together

00:47:50.750 --> 00:47:56.849
it's got that very stonesy blues rock slightly

00:47:56.849 --> 00:48:00.570
country -tinged sleaze to it. It's swampy. It's

00:48:00.570 --> 00:48:02.989
swampy, absolutely. It's a southern rock song,

00:48:03.070 --> 00:48:05.090
right? But again, it's got a bit of Keith in

00:48:05.090 --> 00:48:06.929
there, which Mike could bring to the table when

00:48:06.929 --> 00:48:09.849
he needed to. I do think that the Mudcrutch stuff

00:48:09.849 --> 00:48:11.389
does lean a little bit further country as well,

00:48:11.449 --> 00:48:13.809
right? I mean, Randall Marsh doesn't play like

00:48:13.809 --> 00:48:15.289
Steve Ferroni. He definitely doesn't play like

00:48:15.289 --> 00:48:17.530
Stan Lynch. But let's talk for a second. I mean,

00:48:17.530 --> 00:48:19.989
for people who don't know this story, Mudcrutch

00:48:19.989 --> 00:48:22.389
was the precedent band to the Heartbreakers.

00:48:22.590 --> 00:48:24.309
That's the band that went out to LA to try to

00:48:24.309 --> 00:48:27.869
get a deal. got signed. Denny Cordell, you know,

00:48:27.929 --> 00:48:29.469
who ended up sort of producing the first Heartbreakers

00:48:29.469 --> 00:48:31.250
album, signed them, but it just wasn't working

00:48:31.250 --> 00:48:33.570
out. And he kind of saw Petty Moore as a solo

00:48:33.570 --> 00:48:36.150
artist, so Mudcrush disbands, the Heartbreakers

00:48:36.150 --> 00:48:38.070
end up forming, the rest, as they say, is history.

00:48:38.530 --> 00:48:41.750
But which arena rock star, at the height of their

00:48:41.750 --> 00:48:44.590
powers, in their right mind, competes with themselves

00:48:44.590 --> 00:48:48.070
and reforms the band before they hit the big

00:48:48.070 --> 00:48:49.710
time? I've never heard of anyone doing this.

00:48:49.750 --> 00:48:51.590
I've asked lots of people. No one can really...

00:48:52.159 --> 00:48:54.079
Point to anyone who did it at this level. Petty

00:48:54.079 --> 00:48:56.519
reforms Mud Crutch and just goes out and plays,

00:48:56.679 --> 00:48:59.860
you know, small 1 ,200 -seater amphitheaters,

00:48:59.900 --> 00:49:02.500
those kinds of things. And it shows that these

00:49:02.500 --> 00:49:04.480
guys love music first and foremost. It's not

00:49:04.480 --> 00:49:06.099
about the lifestyle. It's not about the money.

00:49:06.239 --> 00:49:07.960
It's about getting up with an instrument in front

00:49:07.960 --> 00:49:09.480
of a crowd and having that connection with a

00:49:09.480 --> 00:49:11.760
bunch of people through song. And I love that

00:49:11.760 --> 00:49:14.199
about Tom. I always have done. And, you know,

00:49:14.260 --> 00:49:17.780
Mud Crutch 2 is technically, we talked about

00:49:17.780 --> 00:49:20.739
Hypnotic Eye being the final Tom Petty album.

00:49:20.760 --> 00:49:23.599
Technically, Mud Crutch 2 is the final album

00:49:23.599 --> 00:49:27.519
that he put out. And I was debating going with

00:49:27.519 --> 00:49:31.409
I Forgive It All. But to go from Cool Dry Place

00:49:31.409 --> 00:49:33.730
to I Forgive It All, I felt like it would just

00:49:33.730 --> 00:49:38.289
go, I Forgive It All crushes me. It is such a

00:49:38.289 --> 00:49:40.889
beautiful song. It puts a tear in my eye every

00:49:40.889 --> 00:49:43.429
time I hear it. And I felt like that would have

00:49:43.429 --> 00:49:48.389
been like skidding our playlist into a wall musically.

00:49:48.730 --> 00:49:51.210
And I wanted to kind of keep the fun upbeat vibe

00:49:51.210 --> 00:49:53.670
going right now. So I do want to give a shout

00:49:53.670 --> 00:49:56.510
out to I Forgive It All because it's just a beautiful

00:49:56.510 --> 00:50:00.150
frigging song. To represent Mud Crutch tonight,

00:50:00.309 --> 00:50:05.309
the wrong thing to do. Beautiful. So we've got

00:50:05.309 --> 00:50:08.090
a couple of outliers here to start off Side B.

00:50:08.150 --> 00:50:10.869
We're going deep on Side B so far, except for

00:50:10.869 --> 00:50:13.510
Stop Dragging My Heart Around, which was a massive,

00:50:13.550 --> 00:50:16.230
massive hit. Well, I'm keeping us deep. We're

00:50:16.230 --> 00:50:18.590
going to the, like I said, the only true solo

00:50:18.590 --> 00:50:19.889
album. Well, I should say true. It was still

00:50:19.889 --> 00:50:22.489
Tom Petty wrote every song on Highway Companion.

00:50:22.630 --> 00:50:24.949
And the only three people on that record are

00:50:24.949 --> 00:50:27.449
Tom. Mike Campbell and Jeff Lynn. Tom plays drums

00:50:27.449 --> 00:50:30.110
on the album, front to back. So I'm going to

00:50:30.110 --> 00:50:32.010
keep us in a fun territory as well, and we're

00:50:32.010 --> 00:50:35.070
going to listen to Big Weekend. Nice! So again,

00:50:35.150 --> 00:50:36.869
it goes back a little bit to what we've talked

00:50:36.869 --> 00:50:38.590
about already, where Petty had that brilliant

00:50:38.590 --> 00:50:42.289
knack of writing specifically, but with universality.

00:50:42.889 --> 00:50:44.989
So he's got the line, they live in a brick house

00:50:44.989 --> 00:50:46.769
painted white and brown. That's the hook for

00:50:46.769 --> 00:50:49.130
me in that song because it's got a very specific

00:50:49.130 --> 00:50:51.510
visual image and yet he fits it into this thing

00:50:51.510 --> 00:50:53.449
that we can all relate to about going back to

00:50:53.449 --> 00:50:55.349
maybe our hometown or someplace just to visit

00:50:55.349 --> 00:50:57.309
friends and I'm going to hook up with them later,

00:50:57.349 --> 00:51:00.489
go and hit the bar. It's just a fun jam. I would

00:51:00.489 --> 00:51:02.469
love to play this live. I've got my drum kit

00:51:02.469 --> 00:51:04.909
back here. You can see this is one I play all

00:51:04.909 --> 00:51:06.309
the time if I'm just sitting around on a Sunday

00:51:06.309 --> 00:51:08.829
afternoon doing nothing but jamming. This song

00:51:08.829 --> 00:51:11.639
to me... When you think about Highway Companion

00:51:11.639 --> 00:51:15.599
as a solo album, Jeff Lynn did three albums with

00:51:15.599 --> 00:51:17.719
Tom Petty, Full Moon Fever, Into the Great Wide

00:51:17.719 --> 00:51:21.119
Open, and Highway Companion. And I feel like

00:51:21.119 --> 00:51:24.099
they're three different statements. Normally,

00:51:24.159 --> 00:51:27.420
you would think Jeff Lynn has a sound and a vibe

00:51:27.420 --> 00:51:31.179
and a production style, which you do hear on

00:51:31.179 --> 00:51:33.880
the Traveling Wilburys albums. You hear it on

00:51:33.880 --> 00:51:37.590
the ELO stuff. But for the three times he worked

00:51:37.590 --> 00:51:39.989
with Tom, you get three different experiences.

00:51:40.010 --> 00:51:44.250
Because I feel like Full Moon Fever is a vibe

00:51:44.250 --> 00:51:46.789
in and of itself, as is Into the Great Wide Open,

00:51:46.849 --> 00:51:50.050
as is Highway Companion. And if you're lucky

00:51:50.050 --> 00:51:53.230
enough to have the leather -bound deluxe edition

00:51:53.230 --> 00:51:57.230
of the CD version of Highway Companion, there's

00:51:57.230 --> 00:51:59.670
actually a really cool demo version of Big Weekend

00:51:59.670 --> 00:52:01.449
that's worth a listen if you haven't heard it.

00:52:02.170 --> 00:52:05.289
To me, this song has this campfire Americana

00:52:05.289 --> 00:52:09.230
vibe to it. It's something that when the Petty

00:52:09.230 --> 00:52:10.989
Country album, I know I've mentioned it a lot

00:52:10.989 --> 00:52:13.130
tonight because it's still kind of hot on the

00:52:13.130 --> 00:52:16.409
tails this year with two Petty tributes coming

00:52:16.409 --> 00:52:19.610
out in the same year. People were saying, oh,

00:52:19.670 --> 00:52:22.230
country musicians playing Tom Petty music sounds

00:52:22.230 --> 00:52:26.170
wrong. I always wonder how far. past the radio

00:52:26.170 --> 00:52:29.309
hits those people got because when you dive into

00:52:29.309 --> 00:52:32.530
tom petty's catalog it's always been woven in

00:52:32.530 --> 00:52:35.150
the fabric of his music and big weekend to me

00:52:35.150 --> 00:52:38.210
is an example of that absolutely it's got it's

00:52:38.210 --> 00:52:39.929
got a swing to it it's got a groove i mean you

00:52:39.929 --> 00:52:42.449
could this is a country song i mean it's got

00:52:42.449 --> 00:52:44.429
tom petty skin and bones on it but it is a country

00:52:44.429 --> 00:52:46.409
song i was gonna say that highway companion i

00:52:46.409 --> 00:52:48.550
love that sort of talking about the three pack

00:52:48.550 --> 00:52:50.050
with jefflin obviously did three with iovine

00:52:50.050 --> 00:52:52.630
three with ruben three with lynn except lynn's

00:52:52.630 --> 00:52:55.920
was were broken up but this is the least Jeff

00:52:55.920 --> 00:52:58.800
Lynne sounding album that I might have ever heard

00:52:58.800 --> 00:53:02.579
by anyone ever yeah it has a live -ish feel to

00:53:02.579 --> 00:53:04.559
it that Jeff Lynne doesn't tend to go to but

00:53:04.559 --> 00:53:06.940
I think it does show that's why he's a genius

00:53:06.940 --> 00:53:09.179
because if the album needs this production aesthetic

00:53:09.179 --> 00:53:11.360
we'll use that if it needs this production aesthetic

00:53:11.360 --> 00:53:13.239
we'll use that and he gets it dead right on Highway

00:53:13.239 --> 00:53:16.500
Companion for me yeah he nails it Well, coming

00:53:16.500 --> 00:53:19.780
out of that, I feel like now we are on to track

00:53:19.780 --> 00:53:22.960
five. I feel like we need to balance the scale

00:53:22.960 --> 00:53:24.519
a little bit here. So we're going to go with

00:53:24.519 --> 00:53:26.820
another big hit. And being we're talking about

00:53:26.820 --> 00:53:29.239
Jeff Lynn and I've got this all up in my system

00:53:29.239 --> 00:53:31.519
right now, I'm going to go back to Full Moon

00:53:31.519 --> 00:53:33.980
Fever because this was the album that I'll never

00:53:33.980 --> 00:53:36.159
forget my father brought it home. And for probably

00:53:36.159 --> 00:53:39.239
a month, we listened to this album over and over

00:53:39.239 --> 00:53:41.760
and over again. And I'm going to go with a song

00:53:41.760 --> 00:53:44.139
that reached number 12 on the Billboard US Hot

00:53:44.139 --> 00:53:47.619
100. Number one on the Billboard Mainstream Rock

00:53:47.619 --> 00:53:50.739
Charts. Number five on the Canada Top Singles

00:53:50.739 --> 00:53:53.880
Chart. Number 16 on the Australia Aria Chart.

00:53:54.139 --> 00:53:57.900
Number 28 on the UK Singles Chart. And also hit

00:53:57.900 --> 00:54:01.579
number 66 in West Germany. Number 49 in New Zealand.

00:54:01.599 --> 00:54:05.639
Worldwide hit. One of the anthems. This is the

00:54:05.639 --> 00:54:07.920
song that's going to get everybody singing along.

00:54:08.139 --> 00:54:12.400
Arm in arm together. Even on the album. The chorus

00:54:12.400 --> 00:54:17.280
of Tom. Jeff Lynn, Howie Epstein, and George

00:54:17.280 --> 00:54:20.659
Harrison singing the chorus to I Won't Back Down

00:54:20.659 --> 00:54:24.920
in harmony. Always puts a smile on my face. Their

00:54:24.920 --> 00:54:28.679
voices work so, so well together. You get a little

00:54:28.679 --> 00:54:31.840
bit of that Wilburys touch because of Harrison's

00:54:31.840 --> 00:54:35.239
voice being in the fold on this song. It just

00:54:35.239 --> 00:54:37.840
invites everybody to sing along. That's why they

00:54:37.840 --> 00:54:40.719
play it in stadiums. It's the stadium anthem.

00:54:41.260 --> 00:54:43.460
But on the flip side to those happier moments,

00:54:43.579 --> 00:54:46.639
it's also used in sadder moments and powerful

00:54:46.639 --> 00:54:49.840
moments like the weeks after 9 -11 when they

00:54:49.840 --> 00:54:52.199
played it at the America A Tribute to Heroes

00:54:52.199 --> 00:54:56.320
concert. Again, same song, same lyrics, but it

00:54:56.320 --> 00:54:59.280
just takes on a whole new meaning in that type

00:54:59.280 --> 00:55:02.079
of situation. So to me, I feel like it's an important

00:55:02.079 --> 00:55:04.579
song to include tonight just because of the fact,

00:55:04.679 --> 00:55:08.519
like Learning to Fly, it has that just perfect

00:55:08.519 --> 00:55:12.119
songwriting. versatility it's i i used the word

00:55:12.119 --> 00:55:14.760
a couple times but i can't think of another word

00:55:14.760 --> 00:55:17.420
to describe it it is great songwriting i mean

00:55:17.420 --> 00:55:19.019
that's what it comes down to and that's again

00:55:19.019 --> 00:55:21.219
what i've learned through really digging into

00:55:21.219 --> 00:55:23.079
petty's catalog and digging into it critically

00:55:23.079 --> 00:55:25.199
too right not just sort of listening as a fan

00:55:25.199 --> 00:55:27.219
or listening casually but when you start dissecting

00:55:27.219 --> 00:55:29.239
things there's a reason why these songs are as

00:55:29.239 --> 00:55:30.420
good as they are it's because there's care and

00:55:30.420 --> 00:55:32.420
attention been taken over them they've been labored

00:55:32.420 --> 00:55:34.460
over in a way to make sure that they're as good

00:55:34.460 --> 00:55:36.840
as they can be but like i said all truly great

00:55:36.840 --> 00:55:39.920
songs can be played really pretty much any way

00:55:39.920 --> 00:55:41.659
you want. And if you've got the right sort of

00:55:41.659 --> 00:55:43.099
set of musicians or you've got the right angle

00:55:43.099 --> 00:55:44.920
on it and you can bring something new and unique

00:55:44.920 --> 00:55:46.699
to it, I think that's why it works in those types

00:55:46.699 --> 00:55:48.460
of situations because it's not exactly the type

00:55:48.460 --> 00:55:50.739
of song you would think of in that. I mean, obviously

00:55:50.739 --> 00:55:53.400
the sentiment is there, but this is quite a big

00:55:53.400 --> 00:55:55.099
song. Like it's got a big, like I said, it's

00:55:55.099 --> 00:55:56.960
anthemic. It's the song that the Gators sing

00:55:56.960 --> 00:55:59.139
between the third and fourth periods, you know,

00:55:59.179 --> 00:56:01.019
and you've got 70, 80 ,000 people singing this

00:56:01.019 --> 00:56:03.559
song. So it's about unity and it is about sort

00:56:03.559 --> 00:56:05.949
of... you know pushing back against oppression

00:56:05.949 --> 00:56:07.849
and those kinds of things so you can see why

00:56:07.849 --> 00:56:09.550
it's a natural fit for that kind of situation

00:56:09.550 --> 00:56:11.349
for sure but i i would have sworn to god you

00:56:11.349 --> 00:56:12.789
were giving us free falling you were talking

00:56:12.789 --> 00:56:14.389
about anthemic you were talking about lynn i

00:56:14.389 --> 00:56:17.309
was like three fallings coming so hell honestly

00:56:17.309 --> 00:56:19.570
if it were up to me i would have also put you're

00:56:19.570 --> 00:56:21.769
so bad in that mix because to me that was another

00:56:21.769 --> 00:56:25.929
just absolute classic and coming out of big weekend

00:56:26.860 --> 00:56:29.480
You're So Bad has that country vibe to it that

00:56:29.480 --> 00:56:32.179
really could have worked. But again, with I Won't

00:56:32.179 --> 00:56:34.420
Back Down, you get bands like Everclear that

00:56:34.420 --> 00:56:38.039
do kind of this 90s alternative punk version

00:56:38.039 --> 00:56:40.460
of it. And then you've got Eddie Vedder that

00:56:40.460 --> 00:56:42.719
sits down with an acoustic guitar on stage with

00:56:42.719 --> 00:56:46.219
Pearl Jam. Versatility, versatility, versatility.

00:56:47.079 --> 00:56:49.340
So what are you following up I Won't Back Down

00:56:49.340 --> 00:56:52.500
with? Well, I want to rip your heart out a little

00:56:52.500 --> 00:56:55.099
bit more, and we're going to go to the album

00:56:55.099 --> 00:56:57.059
that was very difficult for Tom. This is when

00:56:57.059 --> 00:57:00.980
he was at his lowest point in his life. His divorce

00:57:00.980 --> 00:57:02.980
had gone through. He was living out at the chicken

00:57:02.980 --> 00:57:05.559
shack on his own. He was isolated. But the songs

00:57:05.559 --> 00:57:08.260
we got for the album Echo, I think, are among

00:57:08.260 --> 00:57:10.099
some of his strongest. So we've got to go with

00:57:10.099 --> 00:57:12.420
the lead track from Echo, Room at the Top. I

00:57:12.420 --> 00:57:14.780
mean, even if it's just that one line at the

00:57:14.780 --> 00:57:18.139
end, I love you, please love me. that sort of

00:57:18.139 --> 00:57:21.360
just beseeching you to, you know, it's devastating.

00:57:21.900 --> 00:57:23.659
You know, we all know those people in our lives

00:57:23.659 --> 00:57:26.440
who've been at that low moment and all they really

00:57:26.440 --> 00:57:28.260
want is acceptance. All they want is that love

00:57:28.260 --> 00:57:30.780
and support. And so to hear it come through from

00:57:30.780 --> 00:57:32.300
an artist who's singing it from the bottom of

00:57:32.300 --> 00:57:34.800
his soul, when you get to that part of that song,

00:57:34.880 --> 00:57:37.019
it's tough, man. But I mean, again, that's juxtaposed,

00:57:37.019 --> 00:57:40.880
this beautiful lyric against an unexpected, hard,

00:57:41.019 --> 00:57:43.500
jagged. electric guitar riff that comes in halfway

00:57:43.500 --> 00:57:45.900
through that you don't expect so again that sort

00:57:45.900 --> 00:57:48.480
of originality and sort of approach to music

00:57:48.480 --> 00:57:50.980
that the heartbreakers had i don't see through

00:57:50.980 --> 00:57:52.980
most of the people's songwriting i don't think

00:57:52.980 --> 00:57:54.280
anyone else would have done that and made that

00:57:54.280 --> 00:57:57.739
choice in this song no and the fact that tom

00:57:57.739 --> 00:58:00.760
refused to play the song after the echo tour

00:58:00.760 --> 00:58:03.300
shows how hard it was for him i looked it up

00:58:03.300 --> 00:58:06.780
on setlist .fm so take this with a grain of salt

00:58:06.780 --> 00:58:09.260
you never know how exact it is but according

00:58:09.260 --> 00:58:12.800
to setlist .fm the song was only played 39 times

00:58:12.800 --> 00:58:16.199
yeah which that's not a lot if you compare it

00:58:16.199 --> 00:58:19.559
to any other song in the catalog and i'll I just

00:58:19.559 --> 00:58:21.639
mentioned Eddie Vedder doing I Won't Back Down.

00:58:21.920 --> 00:58:24.559
Eddie Vedder's version on the Bad Monkey soundtrack

00:58:24.559 --> 00:58:28.400
that came out in 2024 is truly one of the highlights

00:58:28.400 --> 00:58:31.639
of that album because Eddie is able to bring

00:58:31.639 --> 00:58:35.440
that pain and that suffering out in his version.

00:58:35.500 --> 00:58:39.639
It's gut -wrenching and very emotional. And following

00:58:39.639 --> 00:58:42.579
that up, here's where I'm going to go deep, deep,

00:58:42.760 --> 00:58:44.199
deep, deep, deep, because I went with I Won't

00:58:44.199 --> 00:58:47.480
Back Down. This is as deep as I'm going to go.

00:58:47.579 --> 00:58:50.019
I don't think you could get much deeper than

00:58:50.019 --> 00:58:54.500
this cut because this version, the studio version,

00:58:54.639 --> 00:58:58.820
because you mentioned Room at the Top, actually

00:58:58.820 --> 00:59:04.500
appears only on the German import CD single of

00:59:04.500 --> 00:59:08.400
Room at the Top. And a live version appears on

00:59:08.400 --> 00:59:12.420
2011's Kiss My Amps album. I'm going to go with

00:59:12.420 --> 00:59:17.079
Sweet William. To me, it's easily Tom Petty and

00:59:17.079 --> 00:59:19.800
the Heartbreakers' most bluesy song. And yes,

00:59:20.019 --> 00:59:24.760
I'm comparing that to Mojo. I understand that

00:59:24.760 --> 00:59:28.900
Mojo leans very heavy on the blues. And I know

00:59:28.900 --> 00:59:31.260
there were people that were quote unquote surprised

00:59:31.260 --> 00:59:35.219
at the blues direction of Mojo. Anytime I hear

00:59:35.219 --> 00:59:37.579
someone say that, I immediately point at this

00:59:37.579 --> 00:59:40.480
song because this song is almost a decade earlier.

00:59:40.880 --> 00:59:44.400
And I said, I'm sorry. Tom Petty and the Heartbreakers

00:59:44.400 --> 00:59:48.159
dabbled in the blues long before Mojo. How Sweet

00:59:48.159 --> 00:59:50.920
William didn't appear on Mojo actually surprises

00:59:50.920 --> 00:59:53.519
me because I feel like it would have fit perfectly

00:59:53.519 --> 00:59:57.619
on the album. But we talked about how Ben Montench

00:59:57.619 --> 01:00:00.360
got his moment in the sun with Melinda on Side

01:00:00.360 --> 01:00:03.699
A. And you talked about the guitar solo at the

01:00:03.699 --> 01:00:06.179
end of Running Down a Dream from Mike Campbell.

01:00:06.239 --> 01:00:10.960
To me, Sweet William is Mike Campbell's... opus

01:00:10.960 --> 01:00:15.780
he absolutely steals the show with the blistering

01:00:15.780 --> 01:00:18.300
guitar solos and after the band just goes and

01:00:18.300 --> 01:00:24.679
then he just hits that guitar solo as if he's

01:00:24.679 --> 01:00:28.539
angus young who was just set on fire and it just

01:00:28.539 --> 01:00:30.940
shows a side to this band that they could rock

01:00:30.940 --> 01:00:35.420
like no other and i adore this song and again

01:00:35.420 --> 01:00:38.179
i don't think it would have fit on echo it really

01:00:38.179 --> 01:00:40.679
wouldn't have no but i do think it would have

01:00:40.679 --> 01:00:43.039
fit on mojo and i'm shocked they didn't revisit

01:00:43.039 --> 01:00:46.400
it in some facets so my deep deep deep pick of

01:00:46.400 --> 01:00:48.920
the night sweet william you wonder about that

01:00:48.920 --> 01:00:51.219
too right because the heartbreakers didn't do

01:00:51.219 --> 01:00:53.579
that very often taking an old song and trying

01:00:53.579 --> 01:00:55.559
you know they did it surrender they tried three

01:00:55.559 --> 01:00:56.980
different times they recorded that a bunch of

01:00:56.980 --> 01:00:58.599
times because they knew there was a good song

01:00:58.599 --> 01:01:00.929
that they just couldn't get it but usually it

01:01:00.929 --> 01:01:03.050
was okay well we tried that then it doesn't fit

01:01:03.050 --> 01:01:04.730
there and we talked about melinda didn't fit

01:01:04.730 --> 01:01:06.309
anywhere and black leather woman didn't fit anywhere

01:01:06.309 --> 01:01:07.849
i think this is another one of those songs it's

01:01:07.849 --> 01:01:11.710
like okay it definitely doesn't fit on echo we'll

01:01:11.710 --> 01:01:12.989
put it on the b -side because that'll be cool

01:01:13.639 --> 01:01:15.960
But do you then recycle it, or do you try and

01:01:15.960 --> 01:01:19.119
rearrange it? I think there's a signpost toward

01:01:19.119 --> 01:01:21.059
Mojo. You're absolutely right. And of course,

01:01:21.119 --> 01:01:22.960
anyone who went to any of those Fillmore shows,

01:01:23.179 --> 01:01:25.099
and obviously we have the box set now, if you

01:01:25.099 --> 01:01:26.659
want more signposts, if you think the Heartbreakers

01:01:26.659 --> 01:01:28.139
can't do blues, you're not paying attention.

01:01:28.360 --> 01:01:30.599
These guys were born in the blues. Deep in the

01:01:30.599 --> 01:01:33.139
blues, right? That's who they listen to. You

01:01:33.139 --> 01:01:35.260
got a deep cut to come out of now, so you can

01:01:35.260 --> 01:01:38.400
go any direction with this. Well, I always feel

01:01:38.400 --> 01:01:40.519
like this isn't a deep cut because it's... For

01:01:40.519 --> 01:01:42.579
my money, and I'll ask you the question, I think

01:01:42.579 --> 01:01:45.300
one of the greatest things Tom ever wrote, but

01:01:45.300 --> 01:01:48.059
it wasn't released as a single, and it sits at

01:01:48.059 --> 01:01:51.380
track 14 on Wildflowers, so a lot of people might

01:01:51.380 --> 01:01:53.780
miss this one crawling back to you. I don't think

01:01:53.780 --> 01:01:57.239
any Tom Petty mixtape playlist, whatever conversation

01:01:57.239 --> 01:01:58.940
we're talking about, this has to be on there.

01:01:59.199 --> 01:02:00.860
It's one of the greatest things he ever wrote,

01:02:00.920 --> 01:02:02.500
and of course it's got that line in it, most

01:02:02.500 --> 01:02:05.699
things I worry about never happen anyway. It's

01:02:05.699 --> 01:02:10.139
just incredible. You just saying the line made

01:02:10.139 --> 01:02:12.780
the hair on my arm stand up the penultimate track.

01:02:13.099 --> 01:02:15.679
I mean, Wildflowers is my favorite Tom Petty

01:02:15.679 --> 01:02:18.059
album. I know that might sound cliche, but it

01:02:18.059 --> 01:02:21.820
is an absolute masterpiece. As somebody who struggled

01:02:21.820 --> 01:02:24.139
with anxiety over the years talking about myself

01:02:24.139 --> 01:02:27.280
here, the line, I'm so tired of being tired.

01:02:27.559 --> 01:02:29.940
Sure as night will follow day. And then like

01:02:29.940 --> 01:02:32.960
you said. Most things I worry about never happen

01:02:32.960 --> 01:02:35.559
anyway. That hits home for me. And I'm not even

01:02:35.559 --> 01:02:38.159
100 % sure that he's even singing about anxiety

01:02:38.159 --> 01:02:42.199
there. But as far as I'm concerned, when I first

01:02:42.199 --> 01:02:45.019
heard that song in 1994 and I was in high school

01:02:45.019 --> 01:02:47.920
listening to it, he was singing to me about what

01:02:47.920 --> 01:02:50.780
I was feeling. He reached me with this song.

01:02:51.199 --> 01:02:53.860
And it's a beautiful moment on the album. And

01:02:53.860 --> 01:02:56.980
it's lyrical perfection as far as I'm concerned.

01:02:57.119 --> 01:02:59.610
So I love it. I mean, on an album, though, too,

01:02:59.670 --> 01:03:01.630
and I talked about this lots when I did the Wildflowers

01:03:01.630 --> 01:03:04.769
season. You talk about eclecticism. Wildflowers

01:03:04.769 --> 01:03:07.349
is wildly different. I mean, it's got peaks and

01:03:07.349 --> 01:03:08.969
troughs, and there's lots of different angles.

01:03:08.989 --> 01:03:11.269
There's lots of different types of songs. And

01:03:11.269 --> 01:03:14.989
it's good to be king. It sits in a similar tonal

01:03:14.989 --> 01:03:18.389
vein as this one. But Crawling Back to You, musically,

01:03:18.489 --> 01:03:21.010
again, is just perfection. And it's funny, when

01:03:21.010 --> 01:03:22.829
I started digging into this song, I always thought

01:03:22.829 --> 01:03:25.250
that that little bit of noise at the beginning,

01:03:25.349 --> 01:03:27.349
I thought that was the orchestra pit warming

01:03:27.349 --> 01:03:30.039
up. but it's not. It's Ben Montench on that Mellotron.

01:03:30.099 --> 01:03:31.719
It's those little, but it's got that kind of

01:03:31.719 --> 01:03:33.480
reed patch on the Mellotron. So when I learned

01:03:33.480 --> 01:03:35.760
that, just as that little bit of special source

01:03:35.760 --> 01:03:38.179
again, like Wildflowers is a work of genius.

01:03:38.219 --> 01:03:39.860
It's my favorite album too. And I think it's

01:03:39.860 --> 01:03:41.400
one of the best albums ever recorded. Definitely

01:03:41.400 --> 01:03:43.800
my favorite sounding record of all time. And

01:03:43.800 --> 01:03:45.320
very different to Jeff Lynne, who had done the

01:03:45.320 --> 01:03:47.480
album before Into the Great Wide Open. Jeff Lynne

01:03:47.480 --> 01:03:49.559
can't make Wildflowers. You don't get Wildflowers

01:03:49.559 --> 01:03:51.539
if it's still Jeff Lynne. And this song has so

01:03:51.539 --> 01:03:53.900
much emotional impact. And yet at the same time,

01:03:54.320 --> 01:03:55.760
The first two verses, we're talking about the

01:03:55.760 --> 01:03:57.840
chambermaid and the Indian, and we've got this

01:03:57.840 --> 01:04:00.579
sidekick. So it kind of takes us all over the

01:04:00.579 --> 01:04:03.739
map in one song. But we get, again, the coup

01:04:03.739 --> 01:04:06.139
de grace at the end of the song. I'm so tired.

01:04:06.760 --> 01:04:08.340
Sure as night will follow day, most things I

01:04:08.340 --> 01:04:10.320
will. All that kind of imagery, it just wraps

01:04:10.320 --> 01:04:11.380
everything up in a nice little bow. And then,

01:04:11.420 --> 01:04:13.579
of course, the album finishes with Wake Up Time.

01:04:13.860 --> 01:04:15.599
So it was a one -two punch to finish an album.

01:04:16.239 --> 01:04:18.730
Peerless. I mean, thank God they didn't, as much

01:04:18.730 --> 01:04:20.929
as I love the song, thank God they didn't close

01:04:20.929 --> 01:04:23.309
it with Girl on LSD. Let's just go with that.

01:04:24.030 --> 01:04:27.670
That would have been a move. I love that from

01:04:27.670 --> 01:04:30.170
the single of You Don't Know How It Feels. Believe

01:04:30.170 --> 01:04:33.630
it or not, I was actually shocked that the version

01:04:33.630 --> 01:04:36.170
on the cassette single to You Don't Know How

01:04:36.170 --> 01:04:39.230
It Feels and the CD single wasn't on the All

01:04:39.230 --> 01:04:41.769
The Rest box set. I actually had to go back to

01:04:41.769 --> 01:04:45.090
my CD single. And that was, to me, that was shocking.

01:04:45.210 --> 01:04:46.900
I don't know why they put an alternate. version

01:04:46.900 --> 01:04:49.900
but not the version from the cd single i'm going

01:04:49.900 --> 01:04:52.000
really deep and nerdy here on that i apologize

01:04:52.000 --> 01:04:56.079
but again favorite album that happens okay we

01:04:56.079 --> 01:04:59.039
each have one song left here we've gone deep

01:04:59.039 --> 01:05:01.619
we've gone into outside bands we've gone into

01:05:01.619 --> 01:05:04.860
other things i did a whole episode about this

01:05:04.860 --> 01:05:09.300
so i'll keep this brief but 1979's damn the torpedoes

01:05:09.300 --> 01:05:13.349
we haven't even touched on it yet refugee Number

01:05:13.349 --> 01:05:16.010
15 on the Billboard U .S. Hot 100. Number two

01:05:16.010 --> 01:05:18.449
on the Canada's Top Singles Chart. Number 24

01:05:18.449 --> 01:05:21.889
in Australia. 23 in Belgium. And number three

01:05:21.889 --> 01:05:24.750
in New Zealand. Tell me why you want to lay there

01:05:24.750 --> 01:05:28.429
and revel in your abandon. This is the song that

01:05:28.429 --> 01:05:31.650
introduced me to Tom Petty. Well, if you listen

01:05:31.650 --> 01:05:34.380
to that. cover song dive episode it's actually

01:05:34.380 --> 01:05:37.159
the alvin and the chipmunks version from chipmunk

01:05:37.159 --> 01:05:40.239
punk but my father said oh you you like this

01:05:40.239 --> 01:05:43.460
song brian maybe you'll like this version of

01:05:43.460 --> 01:05:46.380
it and that's when my love for tom petty was

01:05:46.380 --> 01:05:49.820
born so i would be remiss not to mention if you're

01:05:49.820 --> 01:05:52.159
enjoying this tom petty episode go check out

01:05:52.159 --> 01:05:54.659
the cover song dive episode because i go into

01:05:54.659 --> 01:05:57.860
seven different unique versions of refugee and

01:05:57.860 --> 01:06:00.699
yes spoiler alert one of them is alvin and the

01:06:00.699 --> 01:06:03.599
chipmunks because I gotta, because it's the song

01:06:03.599 --> 01:06:05.860
that got me and introduced me to Tom Petty. Like

01:06:05.860 --> 01:06:08.340
the traveling Wilburys introduced you to Tom

01:06:08.340 --> 01:06:11.139
Petty. How the hell did Tom Petty not introduce

01:06:11.139 --> 01:06:13.079
either one of us to Tom Petty? That's what I

01:06:13.079 --> 01:06:16.239
want to know. I love too, though, you shout out

01:06:16.239 --> 01:06:17.639
in that episode that, you know, don't forget

01:06:17.639 --> 01:06:20.019
about Simon and Theodore because they are Mike

01:06:20.019 --> 01:06:21.940
and Ben Mont in this equation. If Alvin is Tom,

01:06:22.039 --> 01:06:24.659
it's Alvin and the chipmunks. It's one thing.

01:06:26.619 --> 01:06:29.340
Yeah, I mean, if. It's the song that really kicked

01:06:29.340 --> 01:06:30.960
them into that next level, right? I mean, they

01:06:30.960 --> 01:06:33.260
come off the back of some great American Girl

01:06:33.260 --> 01:06:35.400
and Breakdown and Listen to Her Heart and I Need

01:06:35.400 --> 01:06:37.719
to Know, come off those first two records. But

01:06:37.719 --> 01:06:39.780
this one, when IO Bean comes in and really cleans

01:06:39.780 --> 01:06:42.239
up the studio sound and makes them sound professional

01:06:42.239 --> 01:06:44.920
and really gets them hitting hard. Refugee, and

01:06:44.920 --> 01:06:46.320
of course, obviously, it tortured Stan Lynch,

01:06:46.440 --> 01:06:48.780
the drummer, to death because they did 57 takes

01:06:48.780 --> 01:06:52.280
or something on this song. But I think at the

01:06:52.280 --> 01:06:53.539
end of the day, you've got to look back and say

01:06:53.539 --> 01:06:55.039
it was worth it, surely, because what they ended

01:06:55.039 --> 01:06:58.559
up with... is again a perfect take and i think

01:06:58.559 --> 01:07:00.780
it was more or less live off the floor with some

01:07:00.780 --> 01:07:03.199
vocal harmony overdose but i think for the most

01:07:03.199 --> 01:07:05.179
part that was the band playing that song live

01:07:05.179 --> 01:07:07.820
and you could feel it in that recording there's

01:07:07.820 --> 01:07:10.880
so much energy so much emotion this is an end

01:07:10.880 --> 01:07:13.159
of the night song to get people rallied up and

01:07:13.159 --> 01:07:17.280
going so i felt like it's a perfect spot it Because

01:07:17.280 --> 01:07:19.320
it's a song that introduced me and it's my last

01:07:19.320 --> 01:07:21.940
pick of the night, I'm kind of leaving you to

01:07:21.940 --> 01:07:26.000
either close us on a Grand Slam hit song or you

01:07:26.000 --> 01:07:28.099
might throw a curveball and take us real deep.

01:07:28.139 --> 01:07:29.980
Who the hell knows? What are you going to close

01:07:29.980 --> 01:07:32.699
with tonight? Well, I almost went with a cover

01:07:32.699 --> 01:07:34.880
version. I was really close to going with stories

01:07:34.880 --> 01:07:38.030
we could tell. Oh! From Pack Up the Plantation

01:07:38.030 --> 01:07:40.250
because that's got that sort of good night, let's

01:07:40.250 --> 01:07:42.230
all go home. You know, I'd get Tom and Stan to

01:07:42.230 --> 01:07:43.750
sit at the edge of the stage and just sing it

01:07:43.750 --> 01:07:46.510
on acoustic. But again, we're talking about Refugee.

01:07:46.510 --> 01:07:48.369
We talked about I Won't Back Down. Some of those

01:07:48.369 --> 01:07:51.150
songs that have to be on a Tom Petty mixtape.

01:07:51.309 --> 01:07:53.269
And I'm going to close with this last song Tom

01:07:53.269 --> 01:07:56.530
Petty ever played live. American Girl. It's got

01:07:56.530 --> 01:07:58.030
to be on there, man. You've got to close out

01:07:58.030 --> 01:08:00.630
with this. And I think that that ending. When

01:08:00.630 --> 01:08:02.389
you get the big rock ending and the big ba -dum.

01:08:02.429 --> 01:08:03.929
Thank you, ladies and gentlemen. Good night.

01:08:04.010 --> 01:08:06.130
Lights go out. Tom and the band walk off stage.

01:08:06.489 --> 01:08:09.130
You know, and then think about this. It's track

01:08:09.130 --> 01:08:12.130
10 on their debut album. I honestly think that

01:08:12.130 --> 01:08:14.110
if they led the album with this song, if you

01:08:14.110 --> 01:08:16.649
go American Girl Breakdown, I don't think this

01:08:16.649 --> 01:08:19.770
sits at the bottom of a closet. In MCA Studios,

01:08:20.069 --> 01:08:22.750
gathering dust with the label two weeks away

01:08:22.750 --> 01:08:24.670
from dumping the band. I don't think that happens.

01:08:24.789 --> 01:08:27.390
To bury this song at track 10 on an album is

01:08:27.390 --> 01:08:29.310
madness to me. It's incredible. I'd love to know

01:08:29.310 --> 01:08:32.310
the story about why that happened. The original

01:08:32.310 --> 01:08:35.710
release only charted in the UK. Hit number 40

01:08:35.710 --> 01:08:39.550
on the UK singles chart. But the 1994 reissue

01:08:39.550 --> 01:08:41.930
of the song, which coincided with that Greatest

01:08:41.930 --> 01:08:44.270
Hits album, reached number nine on the Billboard

01:08:44.270 --> 01:08:47.310
US Bubbling Under Hot 100s chart. Regardless

01:08:47.310 --> 01:08:50.289
of such. It is the anthem. It's the final song

01:08:50.289 --> 01:08:52.829
he ever played live, like you said. I know I've

01:08:52.829 --> 01:08:55.489
mentioned Petty Country a lot tonight. Dierks

01:08:55.489 --> 01:08:57.710
Bentley's version that appeared on the Petty

01:08:57.710 --> 01:09:00.829
Country album also charted, hitting number 49

01:09:00.829 --> 01:09:03.430
on the Billboard U .S. Hot Country Songs chart,

01:09:03.670 --> 01:09:06.770
number 23 on the Billboard U .S. Country Airplay

01:09:06.770 --> 01:09:09.970
chart, and number 38 on the Billboard Canada

01:09:09.970 --> 01:09:12.670
Country chart. And while I'm talking about cover

01:09:12.670 --> 01:09:15.409
songs, I mentioned Everclear's cover of I Won't

01:09:15.409 --> 01:09:19.199
Back Down. But Everclear also covered American

01:09:19.199 --> 01:09:23.739
Girl back in the 90s. And on episode 29, Art

01:09:23.739 --> 01:09:26.579
Alexakis from Everclear joined me for an interview.

01:09:26.819 --> 01:09:30.159
And I specifically asked him about both of those

01:09:30.159 --> 01:09:32.460
songs and his love for Tom Petty. So if you want

01:09:32.460 --> 01:09:36.680
to hear where Art Alexakis from Everclear feels

01:09:36.680 --> 01:09:38.760
about Tom Petty, I definitely recommend checking

01:09:38.760 --> 01:09:42.800
that episode out. But what a way to close Side

01:09:42.800 --> 01:09:46.279
B of the ultimate. Tom Petty mixtape. Side B

01:09:46.279 --> 01:09:50.119
consists of Stop Dragging My Heart Around from

01:09:50.119 --> 01:09:53.619
Stevie Nicks' Bella Donna. Cool Dry Place from

01:09:53.619 --> 01:09:56.659
Traveling Wilburys Volume 3. We didn't even mention

01:09:56.659 --> 01:09:59.220
that there never was a Volume 2, but I digress.

01:09:59.880 --> 01:10:03.600
The Wrong Thing to Do from Mud Crutch. Big Weekend

01:10:03.600 --> 01:10:06.640
from Highway Companion. I Won't Back Down from

01:10:06.640 --> 01:10:10.460
Full Moon Fever. Room at the Top from Echo. Sweet

01:10:10.460 --> 01:10:13.100
William from the Room at the Top import single

01:10:13.100 --> 01:10:16.380
or the live version from Kiss My Amps. Crawling

01:10:16.380 --> 01:10:19.859
Back to You from Wildflowers. Refugee from Damn

01:10:19.859 --> 01:10:23.279
the Torpedoes, and American Girl from Tom Petty

01:10:23.279 --> 01:10:26.460
and the Heartbreakers. Head over to myweeklymixtape

01:10:26.460 --> 01:10:28.720
.com to hear all the songs we've discussed in

01:10:28.720 --> 01:10:31.800
this mix through the playlist embedded on the

01:10:31.800 --> 01:10:36.039
episode page. Well, Kevin, there is no doubt

01:10:36.039 --> 01:10:39.020
among my mind or anybody listening that I couldn't

01:10:39.020 --> 01:10:40.659
have picked a more perfect guest for this Tom

01:10:40.659 --> 01:10:44.319
Petty episode. However... you have the Tom Petty

01:10:44.319 --> 01:10:47.760
project that you put out your podcast. Obviously

01:10:47.760 --> 01:10:50.100
people are not questioning your love for him

01:10:50.100 --> 01:10:52.500
after the end of this episode, but why don't

01:10:52.500 --> 01:10:55.039
you tell people where they can find the show

01:10:55.039 --> 01:10:57.699
more about what you do over at the Tom Petty

01:10:57.699 --> 01:11:00.720
project and where they could listen. Yeah. So,

01:11:00.779 --> 01:11:02.699
so the weekly podcast that digs into the entire

01:11:02.699 --> 01:11:04.920
Tom Petty catalog, song by song, album by album

01:11:04.920 --> 01:11:07.060
in order. And then I also have conversations

01:11:07.060 --> 01:11:09.260
with musicians, fans, and then different people

01:11:09.260 --> 01:11:11.439
connected with Tom along the way. So John Scott,

01:11:11.539 --> 01:11:14.220
the guy who, At MCA, found that vinyl record

01:11:14.220 --> 01:11:16.340
in the bottom of a locker and said, hey, we should

01:11:16.340 --> 01:11:18.260
be promoting this. This is good. Had him on.

01:11:18.279 --> 01:11:20.779
He was one of my first guests. Paul Zolo, who

01:11:20.779 --> 01:11:22.380
wrote the book, Conversation with Tom Petty.

01:11:22.420 --> 01:11:24.180
So I spoke to some of those guys, plus musicians

01:11:24.180 --> 01:11:27.300
like Jeff Slate, New York musician who does a

01:11:27.300 --> 01:11:28.779
lot of collaborations with Earl Slick. David

01:11:28.779 --> 01:11:30.699
Bowie and John Lennon's all guitarists. Jake

01:11:30.699 --> 01:11:32.439
Thistle, who's a new up -and -coming artist who's

01:11:32.439 --> 01:11:34.359
keeping the tradition of John Hyatt, Tom Petty,

01:11:34.399 --> 01:11:37.130
Jackson Browne alive. And then a new artist that

01:11:37.130 --> 01:11:39.250
I started in my Artist Conversation series, Amelia

01:11:39.250 --> 01:11:41.029
McLean, who's going to be putting out her album

01:11:41.029 --> 01:11:43.130
within the next two or three months. And I think

01:11:43.130 --> 01:11:45.729
that she could be a big, big hitter in world

01:11:45.729 --> 01:11:47.829
music for a long, long time. So I've got, yeah,

01:11:47.850 --> 01:11:51.090
190 -some episodes. I started out with Rockin'

01:11:51.090 --> 01:11:53.029
Around With You. It was on the August 18th, 2021.

01:11:53.369 --> 01:11:55.130
It's been going for just over three years. I'm

01:11:55.130 --> 01:11:56.750
having a great time. And you can come find me

01:11:56.750 --> 01:11:59.130
on Facebook, Instagram, Threads, and YouTube

01:11:59.130 --> 01:12:01.970
at The Tom Petty Project or on Twitter at Tom

01:12:01.970 --> 01:12:04.750
Petty Project. I'd love to have you along for

01:12:04.750 --> 01:12:07.130
the ride. Well, Kevin, I think it's safe to say

01:12:07.130 --> 01:12:11.170
that you and I just scratched the surface of

01:12:11.170 --> 01:12:14.770
Tom's musical legacy here. So I hope that you

01:12:14.770 --> 01:12:17.850
would consider coming back for a volume two episode

01:12:17.850 --> 01:12:20.029
sometime down the road, because tonight has been

01:12:20.029 --> 01:12:22.750
an absolute pleasure. Thank you so much for joining

01:12:22.750 --> 01:12:25.149
me on my weekly mixtape. Anytime. And thanks

01:12:25.149 --> 01:12:26.710
for having me. And like I said to you before

01:12:26.710 --> 01:12:28.109
we started recording, you've got to come over

01:12:28.109 --> 01:12:29.489
and be on the Tom Petty Project, because I think

01:12:29.489 --> 01:12:31.829
we've got a good two, three hours we could we

01:12:31.829 --> 01:12:34.560
could chat about Tom for easily. Oh my God. Yeah.

01:12:34.600 --> 01:12:37.159
Just mark it down. I'm in. I can't wait. Just

01:12:37.159 --> 01:12:40.079
let me know when. And to those listening, remember,

01:12:40.180 --> 01:12:42.439
you can find My Weekly Mixtape on almost all

01:12:42.439 --> 01:12:45.340
the social media haunts at My Weekly Mixtape.

01:12:45.420 --> 01:12:48.159
You can also head to MyWeeklyMixtape .com to

01:12:48.159 --> 01:12:50.720
check out the full catalog of My Weekly Mixtape

01:12:50.720 --> 01:12:52.859
episodes. And if you like what you're hearing

01:12:52.859 --> 01:12:54.699
on the show, you can help me out by either telling

01:12:54.699 --> 01:12:57.159
a friend, leaving the show a five -star review

01:12:57.159 --> 01:13:00.020
wherever you're tuning in, or becoming a Patreon

01:13:00.020 --> 01:13:03.880
mixtaper at Patreon .com forward slash My Weekly

01:13:03.880 --> 01:13:06.619
Mixtape. There you can enjoy ad -free episodes

01:13:06.619 --> 01:13:09.680
of the show, gain early. access to upcoming episodes,

01:13:09.939 --> 01:13:12.699
chime in on future topics, become a guest curator

01:13:12.699 --> 01:13:15.939
and so much more. That's all for this week. Thanks

01:13:15.939 --> 01:13:18.500
again for listening. And until next time, enjoy

01:13:18.500 --> 01:13:19.039
the tunes.