Ruminations on TV Shows, Comics, And Music
I was inspired to do a reimagined Tom Petty discography by the release of Wildflowers And All The Rest a few weeks ago. Wildflowers has consistently been my favorite Petty album since it came out. Before the new version of the album was released, my own personal mix had the original album, the two new cuts from Greatest Hits and "Walls" from the She's The One Soundtrack. Many of the cuts released from the new album are from the recording sessions for those two albums, as well as the original Wildflowers album. I had debated just making my versoin of Wildflowers and then tacking on a new album's worth of material, but (and it's a big but) the additional songs are great for enhancing the feel of the album, but I don't know how often I'd listen to just the non-album tracks, even if I attached them to the Greatest Hits and She's The One Soundrack songs. So I've integrated them into a double album, which is what Petty originally intended Wildflowers to be.
Unlike most of my reimagined albums, this isn't relentless tracks that flow into each other and crossfade. Petty's music doesn't really lend itself to that. So, unlike the other albums, this you could just take this playlist, listen to it in the same order, and your listening experience would be the same as mine.
Embarrassing aside to start this off: I thought I finished this project a couple of weeks ago, but I forgot to upload the post before my computer shut down. No big deal. I came back to the project a few days later and it didn't feel right, and I couldn't put my finger on it. I eventually gave up trying to figure out what was wrong, and appreciated the reimagined album. Then I realized, I think what's missing is the song that led me to buy the album. I mean, sure, I already loved Full Moon Fever and Into The Great Wide Open but I was also starting to expand my musical horizons, and was tossing away artists I'd loved in middle school. Billy Joel, gone. Michael Jackswho? I have no idea where those Mariah Carey CDs even came from. But then I saw the video for You Don't Know How It Feels, and there was something about that drum beat. The relaxed guitar solo near the end. The clearly stoned harmonica. And the other people in the dorm I lived in seemed to also like it. Petty was cool. Ok.
I was living in an all-boys dorm in high school, watching MTV when the video for Mary Jane's Last Dance came on. I wasn't the sort of music fan who bought a Greatest Hits album if I liked a band. I wanted the experience of their albums. But I figured I was going to have to have to buy this particular album if just for this song. That opening riff is one of Petty's absolute best.The background woo-ooo-ooohs are delicious icing on Petty's pot brownie. It's a perfect hint at what Wildflowers was to be, and just sounds crunchier and more fun than anything from Into The Great Wide Open.
If there's a Tom Petty song that sounds like it could have been a part of The Beatles discography, it's Keep Crawling Back To You. It's vaguely orchestral sounding opening with extra flute. The piano's ascension and then camoflauge within the melody is not the sort of expected melding of instruments you get on a Heartbreakers album. I love it.
The title track, Wildflowers is a happy-go-lucky song that sounds like it was written for a guitarist sitting by a campfire, trying to impress everyone with how cool and retro he is. It shouldn't work. It's pretty hokey. But it's also pretty, and the bounciness between verses just makes me want to smile and bop my head like a muppet.
The first of the non-album tracks is There Goes Angela (Dream Away), a straight-forward narrative. It definitely has the breezy acoustic feel of many of the ballads from the original Wildflowers. Petty has a dreamy harmonica solo between verses. It's the sort of song I wouldn't want to hear in a stadium, but would love to hear in a private concert setting with less than fifty people.
It's Good To Be King was one of the reasons that I bought this on cassette. I already owned the album on CD but I was staying with my grandparents for a week or so, and I had record/cassette deck there to transfer my favorite musicals from their collection but no CD player. From the opening piano chords to the haunting background oooooohs and the Hammond organ barely audible during the transition from bridge to chorus. Plus the sincerely delivered lyrics about how great rock stardom is are so hilariously self-effacing. I doubt I picked up on that the first fifty or so times I listened to this, being in the prime of teenage angst as I was. It also has a killer string outro.
How many millions of pop singers and folk singers and rock and roll lyricists have made a song about being sad that includes "the rain". So. So. So so many. There's A Break In The Rain embraces its triteness. Yea, it's another acoustic ballad, this one reprising a lyric from "You Don't Know How It Feels". (This is actually how I realized that I had somehow forgotten the opening track to this disc.)
There's an impassioned piano chord jamming throughout Hungup And Overdue. A halfhearted guitar strums over it. The lyrics float breezily over the song. This is somewhere between The Beatles and The Hives for Lazy Rock. It sounds great, but it sounds effortless, and I don't mean Effortlessly Genius, I mean it sounds like people just happened to be playing instruments and singing these songs when there as a microphone and a sound engineer around. In no way does the song blow my mind, but I like it. It's an open window threatening to scatter papers but never following through.
At one of my previous jobs, we had The Last CD player. Oh, I'm sure they're still making a small amount of CD players somewhere in the world. But in a few hundred years after we've blown ourselves to smithereens, an alien race will find some CD players and try to recreate them. They'll be sort of successful but it will be all kinds of quirky, and they'll get so angry that they'll zap it back into the past, where my boss, in the mid-90s will find it and bring it into the store. It will mainly be used to play James Brown, Bruce Springsteen, and some fantastic funk records. But one day, I will show up, and I'll start making mixes of my favorite songs. I'll give the albums goofy names. And the first track on the first album of family friendly rock and R&B will be Honey Bee by Tom Petty. I know this because, of course, it's already happened. Time travel is complex, yo. This song is pure silly fuzzy blues riff. It sounds more bumble bee than honey bee to me. But what do I know?
"Honey Bee" fades out directly into Climb That Hill, a rarity for this album. This is an inspirational song with a beat and a basic guitar scale exercise that makes me forget the inspiration. Like, okay Tom, we didn't back down already, what else do you want from us? That hill doesn't even look that tall, I'm just not into climbing this morning.
Back in high school again, and my junior year, we were all trying to figure out what Beck was singing in "Loser" because none of our dumb asses spoke Spanish. We loved the song, and some of us went back and bought the two previous Beck albums and were Very Confused. It wasn't electric now music, it was folky indie rock. For the most part, I couldn't get into it, but I did love Asshole. So when I put in the She's The One Soundtrack, and realized that Petty was covering the song, I smiled. He really doesn't do anything exceptionally exciting about it. It definitely sounds like he got stoned and thought "What if I covered this song, but, like, added some piano to it. Would that be funny? Oh shit, I think I'm supposed to turn in that sountrack album, uhhh, I'm short a few tracks. Should I? Hmmm. Hehehe. Yeeea. I'm so subversive."
The most surprising thing about It's Only A Broken Heart is that it took Petty twenty years to write and release it. It's the gentlest of the gentle ballads on this album. You can definitely hear George Harrison on the song. I mean, he's not actually involved in it, other than his incredible influence on this phase of Petty's career. It's gorgeous. I believe "lilting" would probably show up in a professional's review. Spare use of piano. Wire brush on the drums. Acoustic guitar solo that sounds like it came off of Eric Clapton's Unplugged. It was made for soft rock radio.
Walls, on the other hand, crashes out of the She's The One Soundtrack. I adore this song. It's in my top ten Petty songs. Probably much higher than it should be. I love 50s style background woahs, I love the really stupid lyrics. It's the most Mad Hatter Petty since "Don't Come Around Here No More". The picadilly resurgence at the end is gorgeous and unexpected.
More expected is the sad, introspective breakup ballad, Hard On Me. Like the best Petty songs, it's catchy as all hell, even though it's not doing anything terribly original, and isn't as great as the other songs on the album, but it's still so damned catchy.
Closing off the first side is another non-album acoustic ballad. Harry Green, a rare narrative song about someone who isn't one of Petty's exes. It comes to a perfect dwindling close to taper off Disc One.
Tom Petty's follow-up to Full Moon Fever, Into The Great Wide Open, was one of the last cassette tapes I bought, and I played it until it sounded warped. I loved it. I learned all the lyrics. Because I had bought it when it was new, as opposed to When I Heard It An Adult's House, it felt more like My Tom Petty Album than Full Moon Fever. But after the back to back releases of Greatest Hits and Wildflowers, I hardly ever went back to it.
It's a solid album, but, looking back through all of Petty's discography, it does feel like a really Safe version of Full Moon Fever. There are no weird tracks on this album, they all sound like radio friendly single attempts. I love the title track, and a few other songs, but it's not as magic. I didn't cut anything, though, because there aren't any Bad Songs. I even added the final Traveling Wilburys track for this discography. And, with its new order, I like it a bit better as I've tried my best to space out the songs that sounded too similar. As an album, I think it's more solid than my Southern Accents (which, again, is a pre-Full Moon Fever Greatest Hits collection) but I'd file it with 21st century Petty, albums I love from beginning to end, but am rarely compelled to listen to.
Much like the frequently mentioned, Full Moon Fever, this album was formatted to highlight the singles. The first two tracks were the first two singles. They're good songs. They're not really openers, though. Makin' Some Noise is a declaration (that the rest of the album doesn't live up to) that this is going to be more rock than adult contemporary. The lyrics are completely forgettable. It's all about the guitar riff and the occasional Petty screech. It also follows the trend of laying down some interesting rockabilly piano that it fades out on far too quickly.
Into The Great Wide Open was the first Petty single that I was into at the same time that it was getting major radio play. I love its narrative flow, and the open strumming before the chorus hits. The final verse flow from jingle to mingle to single is probably my favorite verse he ever wrote. I love that the story ends there.
It's time to say goodbye to the Traveling Wilburys with The Devil's Been Busy, a takedown of rich, entitled White people (which is probably not quite how they would have described it in 1990, but that is what it's about). It's not their greatest track, but I do love the chorus and the unmistakable George Harrison sitar.
Another actual rock riff screams out of All Or Nothin', which sees raw Petty emerge in the chorus breaking up Mature Petty's verses. My skin is thicker / my heart is tougher / I don't mind working / but I'm scared to suffer has always seemed super relatable to me, even if it is Incredibly Trite. There's also hella wammy bar in the solo.
Too Good To Be True is the quintissential sound of this album. It's very strummy. The background harmonies are very basic but work well. The lyrics are bumper sticker philosophy (as are the lyrics in "All Or Nothin'"). It's a good song, in that it seems like a song you already know all the words to. Even the fake ending before the almost soft jazz electric guitars seem like Oh Yea, I Remember This.
Continuing the trend of the strummy familiar songs is For All The Wrong Reasons. The lyrics are a step up from the previous two, even if I wouldn't exactly call it challenging. It's the kind of song that if you heard it at a concert, you wouldn't feel bad about singing along with it, as everyone at the show likes it, but nobody was super psyched and waiting for This Song to experience live.
King's Highway is almost a Cars song with Tom Petty on vocals. I think it's the drums that just scream Early 80s, even though this is an early 90s song. Part of me thought about plucking this song off this album and dropping it on to Highway Companion, it would have sounded instrumentally out of place, but lyrically perfect. My favorite part of the entire song is the exhausted drum finale.
For the second album in a row, I've pulled the first track, also the first single out of its place because it didn't sound like an opener, and placed it where I felt it naturally belonged. Both times, I've ended up placing it at what would be the first track of Side Two for records or tapes. Learning To Fly is a perfectly great Tom Petty song. But I loved it So Much when it came out, and now I wouldn't put it in my top twenty-five Petty songs.
Out In The Cold attempts to bring back the rock a bit. The drums do most of the work. Though the lower octaved guitars help give it a more menacing feel than most of the tracks on this album. It also has a spare narrative that evokes all sorts of Feeling Lost Because I Don't Know Where I'm At In My Relationship, even though it never really addresses that that's what's happening.
I spent more time than should have been necessary to find a logical place for You And I Will Meet Again. Its opening strum sounds like it's already the middle of a song but not in such a way that I wanted to try and fade into it. Instead I placed the "What's In Here? / Ohhhh" skit just before it. I like the idea of the Petty that was wondering around in the snow during the last poem, opening a door and a monster...not just any monster but a big, fuzzy Muppet monster that represented his failed relationship...begins singing him this song. For the fourth or fifth time in the discography we fade out on rockabilly piano that I wish was more present in the song.
The Dark Of The Sun could have been the closing track of the album. It's low-key but not quite a ballad, and there's a hint of optimism in the lyrics.
I think I liked Two Gunslingers so much when it came out because I was reading The Waste Land by Stephen King at the time. And I always pictured the A stranger / told his missus / that's the last one / of these gunfights / you're ever going to drag me to taking place in Lud.
Closing out the album is the actual closer from Into The Great Wide Open. Built To Last is a literal banger, if the bass drum is to be believed. It's a cheesy love song with some cool background effects, 50s harmonies, and it's a nice farewell to this familiar Petty, as the next album brings the last Interesting Change to Petty's repertoire.
If you are not a diehard Tom Petty fan (and I'm not, I fall somewhere between casual and formal fandom) than you usually skip a bunch of tracks on Petty albums, and just listen to your favorites. With two exceptions: Full Moon Fever and Wildflowers.
The new release of the updated Wildflowers is the reason I'm doing this discography now, but that doesn't detract from the joy of toying with Full Moon Fever. I have not removed any songs, and have, in fact, added a couple of Travelling Wilburys songs to it.
The original album was mostly designed to showcasr singles. It starts hella strong and slowly fades in quality until the Obvious Closer for the album, and then it comes back and smacks you with the weirdest song on the album.
I appreciate that method, but have aimed for a more cohesive album, letting the singles pop up occasionally rather than throwing them all at you at once.
I don't care if it's sacrilege not to start with those five breezy strums that signal the opening of "Free Fallin'". This album has several songs that serve as great openers. For my money, I love the folk silliness of Yer So Bad. It's a signal that this album isn't like any previous Petty album. The production is cleaner. The jangle is still present but no longer the focus of songs. Jeff Lynne (the guy from ELO, and a fellow Traveling Wilbury) has pushed Petty's vocals to the front, and the whole album is better for it. Instead of rebellious Southern Rock with a screeching Petty, this is going to be a bright, shiny, happy Petty. It's a joy to listen to.
The first single comes crashing through with an incredible riffy opening. Runnin' Down A Dream is such a summer song, perhaps the second most summer song on this Very summer album. I love how they fade the rhythm guitars to the front for the silly strumming, and then push it back to the background. The woo-ooohs that swallow the ending of the song, as the sinister guitar riff is subdued by a Mike Campbell solo is also a new and welcome addition for a Heartbreakers song (it's true that this is Petty's first "solo" album, but many of the Heartbreakers and The Traveling Wilburys play on it).
This is silly. "Runnin' Down A Dream" was the final song from Side A of the original cassette, and Petty does a little skit about it being the end of Side A. I like keeping it at the end of the second track. Just because it's fun, and because it makes the fact that the next song, End Of The Line, starts with Roy Orbison vocals before Petty joins in. Yeup, it's a Traveling Wilburys song. Still summery. I just see the sun coming down while people do watersports (like kayaking and diving into a lake, pervs).
We slow things down a bit with A Face In The Crowd. I think it's a mandolin that strums throughout the song that helps this song stand out. It's only the second excellent ballad Petty has recorded (after "Southern Accents").
Fading in at the end of the previous track is a Very 80s synth beat that's soon overwhelmed by Very Tom Petty drums and guitars. Love Is A Long Road is the first track that would have fit on an early Petty album. Its production may be cleaner but it's a classic Petty song, and it's hard not to imagine this is just a really good regular Heartbreaker track. It has more of a late 70s than a late 80s feel, apart from those synths. Lord, those synths.
Zombie Zoo is such a ridiculous Petty song. The brief piano riffs. The floating background vocals (which include Roy Orbison). The lyrics you shaved off all your hair / you look like Boris Karloff / and you don't even care. The chorus uses the phrase painted in the corner and, for reasons I can't explain, it always finishes in my head with like you was Pointdexter from Young MC's "Bust A Move", which came out the same year. I don't know why I've always had this association.
Another light, fun song is Cool Dry Place, a Traveling Wilburys song with Petty completely at the forefront. Unlike the previous Wilbury tracks, this one keeps the other Wilburys in the background, rather than have them trade verses. So it really does sound like a Petty song. But with Orbinson, Bob Dylan, George Harrison, and Jeff Lynne as background singers. There's also a great low sax croaking, and some horn ribbits rounding out the bright instrumentation.
After a breath of silence, it finally comes in. Free Fallin'. I enjoy it as a change of pace, rather than the intro. I think it gives the song more weight on the album. Although, if this were a cassette or record, this would come at exactly the beginning of Side B.
I also want a cooldown after "Free Fallin'". The original album followed it up with "I Won't Back Down". I prefer putting The Apartment Song here. It's a solid song. A less weird "Yer So Bad" with more of a 1970s Heartbreakers vibe. And it has a great drum breakdown in the middle for a Southern Rock jam. I actualy wish there was more of the rockabilly piano before the song faded out.
Twanging out of the piano is A Mind With A Heart Of Its Own. Another strange set of lyrics (where on Earth does I slept in your treehouse / my middle name of Earl come from in this song?) but a more radio-friendly instrumentation. I like the slide guitar twang, and the weird rising background vocals that don't actually go anywhere after the false stop.
I Won't Back Down is the obvious second favorite song on this album. It's got the rebellious spirit of early Petty but with the more subdued delivery of the newly maturing Petty. It's catchy as all hell.
Jangle jangle jangle in the foreground. Sing-along-background vocals. Feel A Whole Lot Better is a great breakup song with 100% less misogyny than previous Petty breakup songs. The mandolin has it feeling somewhere between a country song and something off of REM's Out Of Time. I debated having this as the final track but I'm a sucker for ending an album with a ballad.
Probably the song I'm least familiar with on the album (though I know all the words) is Depending On You. It's another throwback to the earlier Heartbreakers sound, the ones where Petty sing-talks before falling back into the melody. If I had to lose a song on the album, it would be this. But I don't want to lose it, even if it structurally weakens the close of the album a bit with its reliance on someone else, which stands in start contrast with the message of every other song.
There's a false start to the wonderfully sleepy lullaby, Alright For Now. This song would have fit right in on Wildflowers. In fact, "Wake Up Time" is almost a response to this track. And, okay, this also has a bit of co-dependent feel that clashes with the album's overall theme. But it's such a perfect summer lullaby.
I've mentioined this before, but growing up, my parents were lost in the 50s and 60s. Almost all of the music they listened to was Motown, Doowop, Soul Music, and Nostalgic Country. There were Some 80s albums in our house (by the mid-80s anyway). But you were more likely to find a Mousercise album than anything New Wave or even pop. We did have a copy of Thriller mixed in with my Stories on Record (mostly Disney movie synopsies), but I'm pretty sure that was legally mandated at the time. We had more stand up comedy albums than we had top ten music albums.
While my parents' collections were all on vinyl, I eventually started using my newspaper route money to buy tapes. My collection was pretty much all Broadway musicals and Ronnie Milsap until, hanging out with friends I was introduced to Bruce Springsteen, Bon Jovi, Guns & Roses, Poison, and Def Leppard. One of those things was not like the others. But I kept listening to the music that my friends thought were cool. Until one day, visiting my neighbor's house, I heard two albums that I thought my friends might like, but also my parents might not hate. Because they Hated my tape collection from Phantom Of The Opera to Anthrax. Those two albums, Juice Newton's Juice (which was eight years old at that point) and Tom Petty's Full Moon Fever. I only ever bought the one Juice Newton album, but from Full Moon Fever, I built my Tom Petty collection backwards until I had every tape of his I could find, and I bought Into The Great Wide Open, Greatest Hits, Wildflowers, the Playback box set, She's The One, and Echo the weeks they came out. It took me longer to get his 21st century output, but I did get it all, usually within a few months of release.
I wore out several of his tapes. He was one of the first artists I bought on CD. Until I got all hopped up on buying bootleg albums in high school, I had more Tom Petty albums than any other artist.
Now, my Petty love is very specific. I *like* almost all Petty, but the era between Full Moon Fever and Wildflowers is my jam. The other eras of this discography will be akin to The Cars and Queen, where I smoosh a few albums together to make a super album, but the mid-era Petty will be similar to the U2 and Pearl Jam where I actually make the albums longer by including B-sides, rarities, and more.
The first album is definitely a pre-Full Moon Fever Greatest Hits. The radio definitely influenced which early Petty songs I learned, consumed, and sang along with. I don't think there are any true surprises on this album, it's just a really solid collection of Tom Petty writing catchy three-minutesish pop rock.
If you're going to start setting up tracks for a Tom Petty discography, and you don't start off with some jangly guitars, you're doing The Heartbreakers, Tom, and anyone listening to the project a huge disservice. There are going to be a ton of jangly riffs, so why not start off with one of his best? The title of American Girl may give you the impression that we're starting with something at least vaguely political but, no lyrically this song gets as deep as Oh yea / all right / take it easy baby / make it last all night / She was / an American girl. So, fun and jangly, not so much critiquing the mores of modern American society. It's a pretty sweet opener.
Similarly, you might take a look at the second track and think, Refugee? Is this going to be vague early U2-like political rock? Nahhhh. It's really just appropriative lyrics in a love song. But generically appropriative. You cold modernize the word and imagery of like a refugee to in the closet, and it would make more sense. You don't have to live in the closet just doesn't have the easy rhyming of the word refugee.
We manage to get to the third song of the album without any drug references, and shockingly, he's not talking about weed but the cocaine of the impending '80s jerk who's trying to steal the object of his affection in Listen To Her Heart. But if she's done any of that cocaine, you're not going to have to listen very hard to hear her heart. I wonder if the drumline in this song is meant to be her frantic heartbeat.
I love the lone drumbeat that starts Breakdown, as well as the way the guitar creeps in, politely, to take over the lead.
Another drum intro, followed by some more jangly guitar riffs, and then, one of my favorite rock tropes, the lead singer speaks the beginning of each verse before falling into the melody. Here Comes My Girl. Growing up, I thought the chorus was Yea, she looks all right / she's all I need tonight. Turns out it's Yea she looks so right, which is a much more complimentary line but makes me enjoy the song just a little less.
Fooled Again (I Don't Like It) is the first song on this album that wasn't a hit. It's vocals are too weirdly straining, almost like Bob Dylan doing a David Byrne impression, or vice-versa. This song wasn't on my radar until I started doing a writing project where I wrote a poem for the title of every Tom Petty track. Something about the alternating dark, spacey verse backing (for Tom Petty, this ain't The Cure) against the usual happy fuzzy Petty guitars just stands out against his other early work. I also love the I don't like it mantra outro.
Unlike most of my discographies, I don't blend the songs into each other much on Petty albums. His songs don't really lend themselves to fading. But I do like the progression from "Fooled Again" to this other Not A Hit track, You're Gonna Get It. I love the multiple breakdown structure, how it both does and doesn't sound like the 70s album rock that dominated the rock and roll that was being overshadowed by disco. The background vocals are pure disco, but his vocals and the piano and guitar are pure album rock. There's also the open spaceiness, spilling over from the previous track.
You Got Lucky brings us back to the classic Petty hits. But it's incredibly synthy. This could almost be a track from The Cars. The twangy bassline is also a nice touch.
The cover for this "album" is from the video for Don't Come Around Here No More, a lovely weird track that Dave Stewart, from the Eurythmics, wrote about and for Stevie Nicks. The background vocals are completely unlike anything Fleetwood Mac and add a surreal touch to what would otherwise be a pretty basic Petty song.
The natural pairing for "Don't Come Around Here No More" is Stop Dragging My Heart Around, another song by Dave Stewart, this one on a Stevie Nicks album. But the track is just drenched in Heartbreaker. Even without Petty's vocals, it would be hard not to hear the guitar on this song and not imagine Petty playing it.
The Waiting is the only song I've taken from Petty's Hard Promises album. It's not lyrically amazing. It's a song that I heard so many times on classic rock radio in the 90s that I may only enjoy it through some sort of Stockholm Syndrome. Petty's sound especially goofy during the verses, which makes the trite lyrics more palatable.
The drumline intro and building bassline, followed by the It's just the normal noises in here always throw me. What Tom Petty song is th---ahhh, Even The Losers. This is another song that I have heard so many times that I know all the lyrics. Is it one of his best? I don't know anymore. But it does make me want to do the White Guy Shoulder Dance.
It's been awhile since we've had a Billy Joelesque piano lead in. Don't Do Me Like That falls into the triumvirate of the Generic That songs, along with Hall & Oates's "I Can't Go For That" and Meatloaf's "I Would Do Anything For Love (But I Won't Do That)". Unlike those songs, I understand his Generic That.
I Need To Know feels a bit like Refugee but the vocals are buried a bit deeper between the jangle and the spare piano notes. Petty gives a great Waaaaaaaaaaah! before The Heartbreakers hit a guitar solo and keyboard sweep. Pure 70s rock and waaaaaaaaaaaaaaaaaaaah.
The original Southern Accents was the first Petty album I bought after Full Moon Fever (again, I built my collection backwards). Spike struck me as such a weird, dark, echoey song for Tom Petty. I loved it instantly. I love the doot-dooo d'doo-doo doos and how they counterbalanced his less-nasally-than-usual vocals. Plus, who doesn't love a heavy panting dog outro?
The final track is the title track for this album. Southern Accentsis the first real ballad in this discography. The soft drums, the chord-focused piano. I think these final two songs are a great way to signal that there is an evolution taking place in Petty's music, and it's about to sound very different, while still sounding very ... ummm ... Petty?