Tag Archives: Shelter Records

T.G.I.F. – Ten for Bill Pitcock IV (R.I.P.)

Bill Pitcock IV might not be a household name, but anyone who has ever heard a Dwight Twilley album – and I sure hope you have heard several – is feeling a bit sad today. Pitcock died this morning in Tulsa.

Pitcock was (pun fully intended) instrumental in the sound of The Dwight Twilley Band. In fact, the band recorded in a shop owned by Bill’s Dad. To say that Dwight, Phil Seymour and Bill made magic is a vast understatement.

Tons of Twilley song clips here.

For all the recent accolades about Leon Russell – well deserved, mind you – it was his split with Denny Cordell that tanked Shelter Records and almost sunk the careers of Dwight Twilley and Tom Petty. It certainly derailed the release of Sincerely, where “I’m On Fire” was an aptly named track except that no one could find the album in the stores. By the time they could, the heat was off, and who knows whether that doomed Twilley to “almost brass ring” status. Even Petty didn’t click widely until Damn The Torpedoes; his first two albums are just as good and the first three are better than the rest combined.

Pitcock continued to record with Twilley on and off over the years, most recently back in the fold for the Blimp album. Bill also just released his first solo album Play What You Mean. Check out Bills MySpace site or go to Amazon to hear some tracks.

So R.I.P. Bill Pitcock IV – your ringing guitars will live forever at my house. Here are Ten For Bill Pitcock on this week’s TGIF

(01) – “Twilley Don’t Mind” – yeah, that bass player is who you think he is.

(02) – “You Were So Warm” – how was this not #1?

(03) – “Trying To Find My Baby

(04) – “Precious To Me“- I hope Bill is playing with Phil today.

(05) – “Feeling In The Dark

(06) – “Girls” – the uncensored video

(07) – “Looking For The Magic

(08) – “Baby It’s You” – more Phil Seymour magic.

(09) – “I’ll Be Taking Her Out Tonight” – he and Geo Conner played guitar on The Tremblers album

(10) – “I’m On Fire” – Acoustic version, 2010, followed by the original.


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Another Kickstarter: Dwight Twilley


Dwight Twilley is still making great music, and like many veteran artists who are ignored by radio and major labels, he’s doing it himself with a little help from his fans. In recent years Dwight has issued a number of rarities and covers albums which have both thrilled longtime followers and helped circumnavigate the industry bullshit and put some money into his pocket. 

Now in 2010, a brand new albumGreen Blimp

At this point the project goal has been surpassed, so any pledges will definitely be honored, but some interesting rewards for different purchase levels are still available. But even if you have signed up to buy the album elsewhere, you have to click on the Kickstarter site for this project and watch the video – it’s hilarious

Really excited to hear that there is a documentary film in the works as well. His is a story well worth telling, from early can’t miss status (and the fall of Shelter Records, which almost took out Tom Petty as well) to his award-winning book and recent DIY career revitalization. Anyone on board the Twilley parade knows that his hybrid Beatles/rockabilly vibe is irresistible, and songs like “I’m On Fire” are bonafide powerpop classics. 

Of course, there were also many bumps and bruises along the way, including the tragic death of his partner in musical crime, Phil Seymour. He’s had tremendous critical acclaim and periods of artistic anonymity, and although his catalogue speaks for itself, like many great artists, he’s unjustly underknown. 

But with every new album comes another chance

And if the leadoff track “Get Up” is any indication, Green Blimp will be a killer. Just knowing that Bill Pitcock IV is on guitar and Susan Cowsill is singing harmonies should be enough to get any Twilley fan salivating. 

Somewhere Phil Seymour is smiling. 

Rock Stars!

 Dwight Twilley website

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Blast From The Past – Tom Petty and the Heartbreakers

Awaiting their new release Mojo, I was reminiscing about the band’s earliest days. Those who have never enjoyed the tactile sensation of cracking the seal on a vinyl album and anticipating the first notes from the speakers might not get it, but when you held a twelve-inch album jacket in your hand, you were more likely to focus on the task at hand.

I’ve clicked as many MP3 and WAV files as the next guy, but they all look antiseptic. The smell of the record, the familiar label pattern and most importantly the art on the front cover would set the stage for the next fifteen or twenty minutes…before you had to get up and flip the thing over for side two (or as I liked to think of it, the home stretch).

And on Tom Petty and the Heartbreakers’ first album, there was this leather jacketed punk with the thin blond hair staring me down with a smirk on his face. He didn’t look that tough, though – I could probably kick his ass if the rest of the band didn’t jump me – so subliminally my response was something along the lines of  “prove it, buddy”.

And, of course, he did. “American Girl” still sounds as fresh as it did in 1979, and as someone who had spent many a night listening to cars on 441 “like waves crashing on a beach” it was right in my wheelhouse. Two years later, when You’re Gonna Get It proved there was no sophomore slump going on (“I Need To Know”, “Listen To her Heart”) I was dumfounded that the band was not immensely huge. Not that I didn’t have a large collection of albums that shoulda woulda coulda.

Video: “Listen To her Heart”

When Damn The Torpedoes came out, I was able to get an advance copy from a friend who was the local MCA Records college rep, and I was absolutely convinced it was going to be the record that finally broke these guys wide open. I was running a club at a University at the time, a place where Friday happy hours were huge, although we usually just piped in a local rock station for music. I was so convinced that one listen to “Here Comes My Girl” or “Refugee” or “Even The Losers” or “Don’t Do Me Like That” was going to blow their minds that I dubbed it onto cassette, brought my own tape deck in from home and wired it up.

Not me, not now.

The room was packed and I made a brief announcement; for a moment I felt like those AM jocks did when they were about to drop the latest single on their listening audience. Because here in my hands I held the perfect hybrid of The Rolling Stones and The Byrds, and in Petty’s voice and words you could feel the desperation of a man who had just watched his career almost get flushed down the toilet when his prior record label (Shelter Records) went bankrupt. I was about to do three hundred college kids a huge favor. I was going to change their lives. I was going to scoop the local rock station by three full days. This, indeed, would be one of those moments we’d remember forever.

Well, I was half right.

The record held up its part of the bargain, but the crowd just…didn’t…get it. The second song wasn’t even ten seconds old when people started yelling to play some Grateful Dead. The Grateful fucking Dead? What the hell was wrong with these idiots? I wasn’t that much older than the kids in the room, barely out of college myself, and the rule for Happy Hour was rock’n’roll, not trippy noodling. This was a town that was dominated by rock radio. I was crushed.

Of course, it wasn’t the first time I shook my head in disbelief as a great record fell on deaf ears, and it was far from the last (my annual submissions to the Village Voice Pazz&Jop poll look like alien transmissions). Lesson learned, again. But time would prove me right, as Damn The Torpedoes went on to become one of the biggest records of the year and the album that singlehandedly turned Tom Petty’s career around. I never anticipated he’d become actual rock royalty with such a critically acclaimed career, but I do know a great record when I hear it. Most of the time, anyway.

Hearing the recent Mudcrutch releases and the first sounds from Mojo, it sounds like Tom is looking fondly backwards as well. And that’s just fine by me.

 Tom Petty website


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