Long After Dark

We'll explain the trauma dump later.

This week is Tom Petty and the Heartbreakers, Long After Dark.

I got this at the record exchange for the princely sum of $12.

Couple of weeks ago, lawyer wife asked me if I would play some Tom Petty for her while she worked in the living room.

So Paul's been listening to Seaside Pod Review for, I think, almost the entire run of it.

So we've had lots of conversations online through our Discord, through social media, and a few times online over Zoom as we've done sort of listener events, that kind of stuff.

And I always enjoy talking to Paul.

He's very articulate, very knowledgeable and intelligent with music.

And he's also a drummer.

And because I haven't focused on an individual aspect of the band, like Tom's vocals or the guitars or those kinds of things, I thought it'd be interesting to bring Paul in to listen to eight songs that I think are either interesting or unusual as far as the drums are concerned to get his thoughts on them and to see if there's any difference in the progression from drummer to drummer.

We talk about the eight tracks that I gave him, of course.

But first, before that, we get into Paul's musical background, you know, his recent forays into publishing his own original collaborative music, as well as his highly successful Queen podcast, Radio Pod Pod.

Yeah.

And like you said, like all of the, you know, like through Long After Dark and then back, not for any of the big records, but for a lot of the touring that they did.

What I find funny is that when Variety, one of the other music magazines, was posting about the original lineup reuniting, they posted the pictures with Howie rather than Ron.

Yeah, most people don't

Yeah, yeah.

He's a real bright spot.

Like as soon as he comes in on Long After Dark, the first couple of tracks where you're hearing his vocals, you're like, oh, this is this is new.

This is a fullness that I haven't experienced yet.

that's a really interesting point i just want to like a 90s van that's a such an interesting thought i hadn't quite thought of it that way but it does follow exactly what i was trying to get at was seeing the music video for last dance with mary jane because this is an era when like rock and roll bands still would have like big hits right like counting crows was a band and john mellencamp was still having hits in like these early mid 90s period and I can distinctly remember like the music videos for You Don't Know How It Feels, right? Or It's Good To Be King.

Like those are pretty big mid-90s, like big songs with big music videos that were very much of a piece with the 90s in a way that I think this album is a bit of a transition to compared to say Petty's early albums, like something like Long After Dark in 1982, right? Like that kind of rock and roll sound, this sound, and then the Petty 90s sound.

I think that kind of chronology or sequence is really interesting.

Makes some sense to

I mentioned the rock and roll, like this song has the role in it.

But I also think like this is a really interesting song.

Like if you want to get a sense of by comparison what the sound is on this album, this is a song that like if it had been on Long After Dark would have sounded totally different.

Right.