Tom Petty & The Heartbreakers - Angel Dream (She’s The One OST reissue)

I don't think either is a track sequence per se, but more of a list of what is being worked on. The titles themselves do match though.

 

I am really hoping I get a call from my local shop that it's in. Or maybe I'll just show up and hope for the best. I have the download on order already. I really love this record. I have a memory of the summer of '96 and falling for a girl that was out of my league, She was the one in my mind's eye back then. I had a part-time job that summer selling cellphones. I chased her and this record was there on that journey.

 

The two listings as it pertains to the twenty-five selections that were brought to completion for the "Wildflowers" project more or less align with the phases of the recording sessions themselves. For all intents and purposes they are listed in chronological order although there may be some anomalies in terms of sequence due to the fact that consecutively the selections also correspond to the reel to reels where the master of each particular song can be found. For example by and large the selections from phase one of the project can be found spread across the first two reels, appropriately labeled M1 and M2. As far as sequencing is concerned, given comments that TP made to Paul Zollo back in 1995 alongside revelations made by his daughter Adria to @CWillman last year, the placement of the final four tracks in the double-disc sequence are known. The song cycle for the double-disc would've ended much in the same way that the final single-disc sequence did with "House In The Woods", "Crawling Back To You" and "Wake Up Time" slotted as the final three selections. The only difference is that the double-disc sequence would've had a hidden track with "Girl On LSD" inserted in "Her Majesty"-style after the main programme had reached it's conclusion.

Additionally in terms of openers, I am aware of the fact that both "Time To Move On" and "Wildflowers" were given serious consideration for the opening slot of the record. Rick Rubin preferred "Time To Move On" and there have been a handful of different stories as to how TP came to prefer "Wildflowers" not only as the opening track of the album but also the title track with the most reasonable explanation being that engineer Jim Scott really campaigned for the track to be slotted into the pole position which of course it eventually was. Interestingly I have recently discovered a sequence of selections written in Tom Petty's hand where he had cordoned off five selections [mostly emanating from 1993] perhaps in an attempt to see how these selections paired with one another. FWIW these five selections were not sequenced in this manner on the single-disc issue of "Wildflowers" and two of the selections listed didn't even end up making the cut! Beyond that any attempt at a track sequence [including at least one which I hope to post up on the SHF shortly!] is open to a wide amount of conjecture and should be looked at as an exercise in fun rather than futility.

"Harry Green" and "Climb That Hill Blues" as heard on the box set are home recordings and as such retain a different ambiance to the rest of the "All The Rest" programme. I believe Ryan Ulyate mentions in the liner notes to the box set that one of the things he appreciated about Tom Petty's ability to sequence a record was that he retained the capability to think outside of the box where he sequenced the "All The Rest" programme beginning with a ballad with the next selection being a bit more mainstream and then dials it back with "Climb That Hill Blues" which is notably rougher than the two selections that preceded it. Personally I like that type of stuff where you have these sort of mini-suites within a larger sequence where the listener can gain some insight as to the creative behind why certain selections were slotted where. Some artists tend to sequence their entire records in terms of the key of the selections themselves and while I find that interesting as well, they are also more daring and imaginative ways of going about it.

Now "Somewhere Under Heaven" is a little bit more elaborate than Tom Petty's home recordings because as @Bonddm mentioned it has it's roots in a Mike Campbell production and Mike's way of working was slightly different from that of his co-captain in that more times that not, when he would present a song to TP he would have all of the parts blocked out on the tape giving TP a rough idea as to how the song could sound as a finished product. Then TP would take the tape away and add his embellishments, usually lyrics but sometimes musical ideas as well and through this process the basic structure of many of these collaborations would find their form. In fact I think a lot of the collaborations on "Let Me Up (I've Had Enough)" were constructed in this manner, where Mike Campbell would already have something extremely elaborate in his back pocket so to speak before TP even had the opportunity to add his contributions to the track. "Somewhere Under Heaven" seems to be another one of those where all of Mike's contributions existed as their own entity prior to any adornments that were added afterwards. TP began to work in this manner as well during the "Wildflowers" period where he put in a great amount of effort crafting home recordings that in and of themselves were elaborate productions. I believe this might have been the first time he put down demos in this manner though as I believe for the first half of his career, most of his home recordings were of a live-to-tape, one voice and either a piano or guitar where he would play the song down as a document of what he had written. I guess what I'm trying to say is that with "Wildflowers" came the production and the desire to map out these songs sometimes long before they were brought into the studio.

Thank you all for your comments and questions!

 

As I made mention last week, the highest resolution currently available through the official Tom Petty/Heartbreakers website in terms of digital media content as it pertains to "Angel Dream (Songs And Music From The Motion Picture: She's The One)" maxes out at 16/44 [or standard compact disc quality]. This is true regardless of which of the four options you select in terms of digital media format as there is one lossy option and three lossless options available but none of them present in hi-resolution. The outfit who are handling the digital media distribution for this project is Single Music. I made contact with them last week regarding the availability of a hi-resolution [24/96] option for this release and they have not yet been in contact. This is possibly because they are either unaware of what options will be provided as of release date or they are unable to comment on these matters at the moment. It should be noted however, that the official Tom Petty/Heartbreakers website has been sending out emails to those who pre-ordered digital media packages and those emails do detail the availability of a hi-resolution option for those consumers who purchase a digital media package through the website.

That stated, if you are concerned in terms of what formats will be available to consumers upon release date, I would encourage you to make contact with Single Music directly and/or wait for feedback from other SHF members as to what formats they are able to pull from the official Tom Petty/Heartbreakers website once the entire album is available for consumers to download.

Cheers!

Linkage: Single Music | Artist & Record Label Tools for Shopify

 

Thanks! Sorry if I didn’t catch this earlier. Lots of pages to wade through in this thread…

 

A polite disagreement here.

LAD has always been the poor stepchild of this era in the TP&tHB catalogue for me. I think the "missing" songs are some of the best Tom and Tom/Mike wrote during this period. I remember Keeping... from a bootleg tape way back (a German TV show called Houba Houba IIRC) but it was fragmentary. I think Keep A Little Soul could have worked on the album but I understand why the others were kept off. The album, to my ears, has quite a consistent sound, which is quite hard-edged, shiny metallic, and the acoustic tones would have taken the album in a different direction entirely.

A Wasted Life is probably the weakest song to my ears. I tend to skip You Got Lucky because I have heard it too much and I don't much like the synthesizers so high in the mix.

Between Two Worlds is perhaps the least appreciated Petty/Campbell song on the most under-appreciated album. I have eulogised it before. It has a rawness and intensity - in the tangled guitar lines, the descending piano, and the tortured vocal - that captures the anguish of illicit desire in the lyric. Self-disgust and at the same time surrendering to its thrall. And the ambitious song structure wasn't really like anything else they did, maybe until Good To Be King.

I had a short exchange with Benmont a little while back on Instagram about the song and he mentioned they rehearsed it for the final tour. What a treat that would have been.

Straight into Darkness is way up there in my personal top 10. No surprise that both Dylan and Springsteen over the years singled out that song for particular praise.

 

"Straight Into Darkness" is one of my all-time favorite TP songs.

 

... And in terms of ambitious song structures... should never forget Dog on the Run (as opposed to Dogs...) from the early days. Where did THAT come from?!

 

How can you tell the difference?

 

I will have to go back and listen to the album again, this is all from memory...

I always thought You Got Lucky stuck out like a sore thumb on this album. Almost every other track is "solid rock" [perhaps in reaction to the perceived more "poppy" tracks on Hard Promises...] but this one is just ... different with its pumping synths .. and overplayed on MTV back in the day, making the band sound like some sort of synth-rock combo...

I think I remember reading somewhere [maybe Playback liner notes] that Turning Point [or maybe Keeping Me Alive] was actively lobbied against by Stan, because it was too pop and he wanted to rock more. Yea, adding any of those three track would've alterned the character of LAD significantly [and maybe even given it better visibility if they had been pulled as singles... I can dream.]

I am among those who happen to like A Wasted Life. It always struck me as a nice "palate-cleanser".. a little funky backbeat... [brushes!] ...ending the album on a softer note, continuing the tradition of Hard Promises [You Can Still Change Your Mind] and DTP [Louisiana Rain] ... and then it just drifts off with those last keyboard notes wafting into the ether........

 

I agree that most of the songs on LAD are "solid rock." I think the new wave associations owe more to "You Got Lucky" than anything. I mean, songs like "Straight Into Darkness," "Change of Heart," and "Same Old You" don't sound any more glossy or new wave than most of the songs on Damn the Torpedoes to my ears.

But I also wouldn't call Hard Promises a "poppy" sounding album by any stretch of the imagination. I mean, it did have a genuine ballad in "Insider." But otherwise, songs like "Nightwatchman," "Kings Road" and "A Thing About You" actually sound less polished and less commercially-geared than most of DTT. They hearken back to the kind of raw, edgy rock and roll of the first two albums, IMHO. YMMV.

Back to Angel Dream, though, I'm glad to hear that Ryan Ulyate has "damned the torpedoes" in going full-steam ahead with higher DR numbers from here on out. I already have AD on vinyl, but I want it to listen to on-the-go, and I want it to sound as good as possible. Especially since the original She's the One CD was a bit compressed for my tastes. And based on the Wildflowers rerelease, I expect great things. Bring it on.

 

just a reminder there is a general discussion thread where a lot of the recent things may be better served.

Tom Petty/Heartbreakers: 2019 - 2020 - 2021 Thread

 

Not to belabor the point any further, but I thought there were enough "pop-ish" songs like The Waiting, A Woman In Love, Letting You Go, Insider, and You Can Still Change Your Mind to make some [internally if not externally] feel like maybe the band had lost its "punk" edge and were going for the "hits". Sure, the album also has good rockers, but back in 1979-1980 there seemed to be a perception the TP&HBs aligned nicely with the punk rock movement. [Maybe it was just a happenstance of timing, but there was a perception out there...] Hard Promises [at the time] seemed much more to embrace full-on pop music, having tasted it with four singles pulled from Torpedoes, and possibly hoping for a similar performance this time out [until the momentum was killed by Stevie Nicks... with TP&HBs]... but only two singles were pulled from the LP and it didn't happen. Personally, when the album was first released I was fully expecting Letting You Go to be released as a single. They even made a video for it...

Anyway, to Angel Dream (Songs From The Soundtrack To She's The One And A Few Other Songs That Make It A Tom Petty And The Heartbreakers Album And Not A Soundtrack), I'm super looking forward to getting this on CD. I can't wait to hear the new tracks and the remixed other tracks...! And, yes, I am already looking forward to what else Ryan & company have cooking in the wings...

 

It looks like the CD version is being released in one of those terrible cardboard sleeves. Has Warner abandoned jewel cases?

 

great.........i hate the crappy cardboard cases that get used....cheap crap that scratches the cd and is easier to damage but harder to replace....lovely

 

Seems like almost everyone has gone to cardboard sleeves these days. There was even a recent SHF thread titled - I kid you not - "What was the last new CD you bought in a jewel case?" If the new Weezer CD hadn't arrived in the mail the day before, I really would have had to wrack my brain.

They've just become the default. They're cheaper. They're easier to produce. And they allow the record companies to pay lip service to environmentalism, by using more biodegradable materials and less plastic. It's a win for everybody. Except the consumer.

I would love to see Ryan Ulyate convince the record companies to make all future TP releases available in jewel box format. But I'm not altogether sure exactly how much leeway he would have in something that has become practically company policy. But, Ryan, if you're listening...

 

Tempest in a teapot.

 

Same here. Will order this one tomorrow. Really hope it's "Echo". Would be a logical step. I love that album and it looks like there's many songs from those sessions that never made the album.

 

Is cardboard packaging just lipservice to environmentalism? There's nothing good, environmentally, about jewel cases.

 

TP didn't like the plastic jewel cases for environmental reasons.

 

@ryan de topanga - Just received my copy, and once again, y'all have exceeded any expectations I might've had.
Right off the bat, love the vintage labels on the record. Nice touch.
The team of you and Chris Bellman never disappoint.
The drums sound great !!!
Still on side one, just had to thank y'all.

 

Yes as I can recall, Tom Petty/Heartbreakers got on board with cardboard sleeves long before many of their contemporaries did. For example, back in the nineties when artists were still issuing box sets in the traditional top-loader fashion with the box housing five or six jewel cases inside, "Playback" was issued in cardboard sleeves with an individual paper sleeve insert to protect the disc. I think the band switched over for good beginning in 2002 with "The Last DJ" and have come up with some pretty creative ways of packaging their physical media while still being environmentally conscious, most notably with "The Live Anthology" which contains five mini-sleeves inside a sturdier cardboard box.

 

I think Echo was the last Petty album released in a jewel case so it's been well over 20 years.

I think Highway Companion and Last DJ were in a Digipak.

 

I love 13 days!!