Songs like ‘The Spark That Bled’ and ‘Waitin’ for a Superman’ were masterpieces. Their legacy defining work is generally considered to be 1999’s The Soft Bulletin, where they employed a symphonic sound behind Wayne Coyne’s emotive voice. They made their name in the 1990s with psychedelic alt-rock releases like ‘She Don’t Use Jelly’ and In A Priest Driven Ambulance. Oklahoma City’s The Flaming Lips have been around since the early 1980s. The previously unreleased tracks are all worthwhile – the pretty folk-rock of ‘Confusion Wheel’ and ‘Harry Green’, and ‘Somewhere Under Heaven’, which edges toward rock anthem territory. The material is strong – the tracks that ended up on She’s The One make more sense in this context, particularly ‘Hung Up and Overdue’, with Carl Wilson on backing vocals, which is an effective closer on this sincere record. It’s less diverse than Wildflowers – while the original Wildflowers ranges from the emotionally raw and acoustic ‘Don’t Fade On Me’ to riff-rockers like ‘Honey Bee’, All The Rest is largely comprised of mid-tempo, full-band songs. These are very strong outtakes – taken as a ten track album, it’s a solid Petty release, more coherent than She’s The One. While the original Wildflowers painted a portrait of a troubled marriage, there’s less of a narrative on these additional tracks.
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Four tracks surfaced on Petty’s next project, the soundtrack to the Ed Burns movie She’s The One, while ‘Leave Virginia Alone’ was gifted to Rod Stewart. Of the ten songs featured on All The Rest, many will already be familiar to Petty fans. Wildflowers has recently been reissued as a 2CD set, with 25 songs, and as a deluxe 5CD set – both editions include All The Rest, which collates the ten tracks cut from the original version. It captured Petty in a productive phase as a writer – it was originally planned as a double record with 25 songs, but was cut back to 15 tracks. Of the sixteen records that Tom Petty released with The Heartbreakers and as a solo artist, 1994’s Wildflowers is my favourite.
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