Saratoga Performing Arts Center, Saratoga Springs, NYĪudience master recording, excellent qualityĪvailable in both Lossless (FLAC) and Mp3 (320 kbps) versionsĬontinuing with Tom Petty's Musical History. Wishing everyone a very Happy New Year, and a hope that 2018 is better than 2017.īonus tracks ( Capitol Studios, Hollywood)įLAC - Tom Petty_Santa Monica CA_FLAC.rar Since this show was relatively short (about an hour), I've added a couple more songs from the Capitol Studios show (in superb quality - 4 songs from this show were previously featured with the 1977 Record Plant post). So, here is a great NYE show featuring some rarely played gems in addition to the usual high-quality Petty songs and jams from this time. Another rarely played song featured at this show was 'Mystery Man' from their first album. This show features previews of 2 new songs that would be on the new album (which would not be released until late 1979), 'Casa Dega' and 'Refugee', and of special note is that this is one of the only times 'Casa Dega' was ever played live at a Petty show (it was not included in the setlists of any shows post-album release). Remember, this came at a time when Petty was still working on the album that would be his real breakthrough, Damn the Torpedoes, but also would be much delayed in its release due to Petty's issues and legal problems with his record company (resulting in lawsuits, Petty's bankruptcy, and refusal to back down - see previous story related to this time). This one goes back to 1978, and, in addition to it being a NYE show, it has some unique features that make it extra special. But, as always, their music will be remembered and live on, and for the rest of us, time keeps moving, and we must keep moving on too, to the new year.Ĭontinuing the tradition of featuring classic New Year's Eve shows for New Year's Eve, and this year also continuing with our Tom Petty tribute, here is the only Petty NYE show recording I know of, and it is a great one. From Fats Domino, to more recently and unexpectedly, power pop sensation Tommy Keene, and Smithereens singer-songwriter and frontman, Pat DiNizio, all major losses to the music world. Just since October and the incomprehensibly tragic and unexpected death of Tom Petty, when I started this tribute to him and his fantastic contribution to rock music, there have been several more deaths of outstanding rock musicians. A year with much upheaval, and, once again, the loss of so many iconic rockers. Produced by Cheryl Pawelski with mastering by Mike Graves at Osiris Studio and Jeff Powell at Take Out Vinyl/Sam Phillips Recording Service in Memphis, who brings it all right back to where it started.Available in both Lossless (FLAC) and Mp3 (320kbps) versions
Previously unseen photos included in the package are drawn from the collections of Peter Holsapple and Pat Rainer. Liner notes by Peter Holsapple tell the story of these recordings firsthand and author/filmmaker/Memphian, Robert Gordon, helps pull the time and place into focus. Holsapple was off to New York to audition for The dB’s and enter the world of “sweet pop.”
Chilton moved toward punk/psychobilly as he began playing with Tav Falco’s Panther Burns and produced The Cramps debut, Songs The Lord Taught Us, within a few months of these recordings. What we have in these newly discovered tapes, is a fascinating pivot point with both artists moving past each other headed in distinctly different directions. The results? Alex’s tracks definitely line up with the chaos found on Flies, while several of Peter’s songs found homes on The dB’s albums (“Bad Reputation” and “We Were Happy There”) and on an album by The Troggs (“The Death Of Rock” retooled as “I’m In Control”), so not a loss at all.
He told Peter, “I heard some of that stuff you’re working on with Richard… and it really sucks.” Alex promised to come by and show Peter “how it’s done.” Together Richard and Peter started laying down tracks during the off hours at the studio.Ĭhilton meanwhile, was knee deep in the making of Like Flies On Sherbert, also being tracked at Phillips. He hooked up with musician/engineer/friend-of-Big-Star, Richard Rosebrough after approaching, and being turned down by, Chris Bell who Holsapple had hoped might be interested in producing him. Peter Holsapple had rolled into town chasing the essence of Big Star. It’s 1978 at Sam Phillips Recording Service in Memphis, TN.
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