Лена, расскажите, пожалуйста поподробнее про это издание? Я его видел в амазонах, но не понял в чём фишка.
Большую часть фильма составляют интервью Тома, Майка, Бенмонта, продюсеров и инженеров которые работали над альбомом. Они рассказывают о записи отдельных треков, всякие тонкости и интересные факты о песнях . + Там некоторое количество архивных видео. Есть английские субтиры, так что все понятно.
Tom Petty Continues Classic Rock Summer Extravaganza In Cincinnati
I've been slipping a bit this week with my pledge to see as many classic rock shows as I can this summer (sorry Ringo, Chicago, Santana and Steve Winwood), distracted by more contemporary acts like the Flaming Lips and Band of Horses.
But I got back in the saddle Thursday night (July 15) with a band that has never let me down before: Tom Petty and the Heartbreakers. Here's the thing about Petty: The dude is in no hurry. He doesn't chase trends, doesn't pack the stage with unnecessary gadgets to distract you from the music and doesn't move around all that much anymore. But you know what he and the Heartbreakers do?
They play rock and roll.
A quaint idea, I know. A few years ago, I saw them at the United Center in Chicago and I walked away thinking, "Man, that band has nothing but hits!" Petty and company could easily fill their nearly two-hour set with songs that you know every word to. In fact, they opened Thursday night's show with a handful of tunes they could have easily saved for the encore.
"You Don't Know How It Feels" was like a slow stroll through night air that was thick as a wool blanket, with the pumped-up, sweat-soaked faithful eager, as always, to follow Petty's advice to "roll another joint." A jazzy "I Won’t Back Down" rang with the signature sound of Petty and lead guitarist Mike Campbell's 12-string Rickenbacker guitars and "Free Fallin'" was a perfect example of what makes this band timeless.
His arms outstretched in a kind of victory pose, Petty led his band through the tune in no hurry, like they knew exactly where this train was headed and were fine with whenever they arrived. Though set list didn't vary much from previous shows on the tour in support of their new blues-inflected album Mojo, surprises like the Fleetwood Mac cover "Oh Well" jazzed up the first half of the show, with Campbell tearing off a tasty dirt floor solo and Petty enthusiastically shaking the maracas behind him.
The hazy blues of "Mary Jane's Last Dance" had the perfect lethargic feel for a hot July night on the banks of the Ohio River, and "Honey Bee" was molasses thick and sticky, ending with a barrelhouse piano roll from ace keyboardist Benmont Tench.
Every great rock band has one song with an intro so killer your hair stands up on end when you hear the first note. Petty has a couple of those, with "Breakdown" offering one of the finest, with a chorus that was made for audiences to shout along to. The swampy pace of the classic song was fitting for a band that emerged from the bogs of southern Florida, highlighting an economy of movement over flashy solos as Petty looked up from under hooded eyes as he scatted through a teasing mid-section on the way to a fiery blues outro.
Even after nearly four decades in the game, the band still have to move units, so the next five (!) tunes spotlighted Mojo, dipping into the doomy, gothic Beatles psychedelia-meets-Led Zeppelin drone of "Good Enough" into the juke-joint boogie of "Running Man's Bible" and the trippy heat mirage stroll of "First Flash of Freedom."
Then it was back to the red meat, with a sly, mostly acoustic "Learning to Fly," a loping "Don't Come Around Here No More" that ended with a Slash-worthy solo from Campbell and the still punchy "Refugee."
As the crowd hooted "Encore," I kept thinking back to the end of "Refugee." I was concentrating on Petty's face as he wandered the stage and locked eyes with his band mates and I just couldn't help but think that even while playing one of their oldest hits, which they've probably played 1,000 times (or more), these guys looked like they still mean it and are having fun on the road that never ends.
They still believe in these songs, and that's why in a summer when some of their classic rock peers are struggling to put asses in seats, the place was still packed as the final strains of "American Girl" rang out, with just a trickle of fans sneaking out early to beat the traffic.
Backstage at the First Niagara Pavilion outside Pittsburgh, visiting musicians and roadies alike are invited to test their luck on a chip shot to a small island green in the middle of a lake.
While no one on the Mojo Summer 2010 tour ever truly threatened the flagstick, it wasn’t for a lack of trying. On their last day on the tour, Drive-By Truckers Mike Cooley and Jay Gonzalez looked on as members of their road crew traded errant attempts with Heartbreakers roadies in the summer sun. Both Tom and Mike stopped in to thank the Athens, Georgia rockers for joining the tour, and Truckers frontman Patterson Hood dedicated the band’s set-closing “Let Their Be Rock” to the Heartbreakers and their crew, saying the tour was “the best summer vacation I’ve ever had.”
23,000 strong welcomed the Heartbreakers to the stage at First Niagara Pavilion as the sun set on a steamy Pennsylvania night. “You Don’t Know How It Feels” got the crowd going early, but tonight’s highlight was the return of “First Flash of Freedom,” which coincided with the first flashes of lightning of a fast-approaching thunderstorm. As if on cue, the heavens opened just as Mike and Scott Thurston’s twin guitar leads snaked around the amphitheatre like the soundtrack to an ancient rain dance. Despite the nasty weather, Heartbreakers fans showed why they are among rock music’s most loyal, gritting it out to the last notes of “American Girl” to show Tom and the band their love and appreciation for another amazing night of rock ‘n roll.
The Big Apple is up next! Come out and see us at Madison Square Garden and check back for more photos, videos and recaps from the tour!
Отправлено:31.07.10 08:33.Заголовок: Tom Petty never fai..
Tom Petty never fails to bring the house down July 29, 11:20 AMNY Rock Culture ExaminerJeff Slate
July 29, 2010 (New York, NY) -- Last night Tom Petty and the Heartbreakers tore the roof off Madison Sqaure Garden. For the band it was almost business as usual. But really, that's some business.
I've seen Petty and the Heartbreakers countless times over the years. And in the nearly 30 years I've been attending those shows I've never walked away feeling it wasn't one of the best concert experiences I'd had.
Think about it, Petty has a peerless catalogue of songs and the Heartbreakers are probably the last, truly great rock and roll band. It's easy to take them for granted. The albums and playing and songwriting are always great. Album after album and tour after tour just sees things get better and better. And there's always a new album or tour to look forward to. In essence, Tom Petty is always there for you.
Petty's shows have changed some over the years. He's no longer the skinny young rocker jumping around the stage, dancing. But that's been replaced by the amazing interplay that has developed between the Heartbreakers over the years and the phenomenal pacing Petty brings to the table as the evening's ringmaster. And those songs!
For two hours Petty brought the hits. And in the middle of a show that included "Listen To Her Heart", "You Don't Know How It Feels", "I Won't Back Down", "Free Fallin'", "Mary Jane's Last Dance", "Breakdown", "Learning To Fly", "Don't Come Around Here No More", "Refugee" and "American Girl", Petty still found time to play five songs from his stellar new album "Mojo."
In the end, crowds just love Petty. And he never disappoints. Even the notoriously tough Garden crowd cheered and sang along to the new songs, which really is something. I mean, when's the last time you saw a 60-year-old artist play a block of new songs and not have the crowd run for the concessions, let alone cheering each one louder than the last?
Tom Petty and the Heartbreakers are off to Philadelphia and will be back for a show with My Morning Jacket in New Jersey late next month during a tour that crosses the country and ends in early October. In a concert season dotted with poor ticket sales and lackluster bills and shows, Petty and his band are one you don't want to miss.
Отправлено:31.07.10 08:35.Заголовок:Taking Fans on a Wal..
Taking Fans on a Walk, Going Beyond His Hits By BEN RATLIFF Published: July 30, 2010 <\/u><\/a>
Зажрались американские фэны, хотя, как мне кажется, это скорее были не фэны, а так, случайно пришедшие, которые кроме хитов ничего не знают
Отправлено:01.08.10 06:32.Заголовок:DVD Review: Tom Pett..
DVD Review: Tom Petty And The Heartbreakers: Damn The Torpedoes (Classic Albums Series) Tom Petty And The Heartbreakers' classic third album, 1979's Damn the Torpedoes, is the latest to receive the in-depth, behind-the-scenes treatment of Eagle Rock's excellent Classic Albums DVD series. Previous entries in the series include everything from the Doors' landmark debut to (most recently) Black Sabbath's heavy metal masterpiece, Paranoid.
What makes this series so great is the way that it gives you a ringside seat into the way that such groundbreaking rock and roll albums were created in the studio, as well as filling in the blanks of exactly how the artists involved got there in the first place. This entry for Petty's Damn The Torpedoes is no exception.
With this roughly one-hour presentation (not counting the extras), brand new interviews with producers Jimmy Iovine and Shelly Yakus, as well as with Petty and members of the Heartbreakers themselves, transport you back to the heady late seventies period when the band was making what was then their "make or break" third record — which would ultimately come to be regarded, and rightfully so — as a rock and roll classic.
Producer Jimmy Iovine, who was an obvious believer in the Heartbreakers' potential from the get-go, provides particularly revealing insight.
"I'm a great believer in third albums," the producer explains, pointing to Bruce Springsteen's Born to Run and Patti Smith's Easter (the latter of which he was directly involved in) as just two of the more obvious examples.
Petty himself describes the album's subsequent success as the point where "the dam burst, and nothing was ever going to be the same again." At another point, keyboardist Benmont Tench describes calling the local radio station and disguising his voice in the process to request his song, only to be told "we don't play that shit."
Although the details of what got Petty and his band of "goober rednecks in velvet clothes" (Tench's description) there in the first place are a little less telling here, the basic story of Petty's journey from Gainesville, Florida to L.A. in search of a record deal is retold in brief, but vivid detail.
Interspersed with all of the in-studio details of the recording process (which, as is the norm with this series, take place behind a recording console) are some all-too-brief snippets of Tom Petty And The Heartbreakers live from this same period performing such chestnuts as "Even The Losers," "American Girl," "Listen To Her Heart" and "Refugee" in concert.
The DVD extras here (which most likely wont be seen when this airs as the inevitable one-hour special on VH1 Classic) include the original TV commercial for Damn The Torpedoes and Heartbreakers' guitarist Mike Campbell discussing the 12-string Rickenbacker guitar that Petty is pictured holding on the now iconic album jacket ("probably the best $150 I ever spent").
To be sure, a lot of this is mostly nerdy stuff that will appeal mainly to tech-heads and rock historians who uniquely appreciate what goes into the making of a rock and roll classic. But there is just enough of the backstory here to appeal to the rest of us as well.
In short, this is another fine entry in Eagle Rock's Classic Albums DVD series, and Tom Petty's Damn The Torpedoes is the sort of rock and roll classic that more than warrants the inclusion.
Отправлено:02.08.10 20:15.Заголовок:Ещё из русской пресс..
Ещё из русской прессы.На этот раз отметилась Российская газета.
Медиатор в бокале
Почти одновременно новые альбомы вышли у двух супер-звезд мирового блюза - Джеффа Бека и Тома Петти. Американец Петти сразу же поехал на гастроли по родине, англичанин Бек отправился в мировое турне. В его рамках он впервые выступил в Москве и дал мастер-класс в столичном "Крокус Сити-холле".
Про Бека можете прочесть на сайте газеты,а про Тома вот что написали:
В отличие от Бека американец Том Пети и его группа Heartbreakers выпустили диск эдакого позитивного, самоироничного и немного пижонского блюза. Звук в нем размашист, неугомонен и по-блюзовому задушевен. На "Mojo" Том Петти то забирается на территорию городского мачо-блюзмена Марка Нопфлера, то плетет причудливые гитарные кружева в традициях импульсивного блюз-рока ZZ Top. Освоил реггей. И поет - размашисто, неприкаянно, цепляя за эмоции и мечтания. Альбом в целом вышел очень напористый, душевный, искренний и лихой. В результате график Tom Petty and the Heartbreakers в США расписан аж до конца октября… Поэтому про Европу они и думать пока не хотят. Зря.
Подскажите, когда (и где именно, если знаете) Том последний раз выступал в Европе?
Весна (кажется апрель) 1999 1 концерт Гамбурге ( его видео есть) и в 2 концерта в Лондоне
Отправлено:05.08.10 09:35.Заголовок:Т.е. Том больше деся..
Т.е. Том больше десяти лет не выступал за пределами своей страны. Значит, тем более шансов лицезреть его на гастролях у нас крайне мало. Не радует. Остаётся надеяться, что может, скорые концерты у нас его земляков ZZ Top сподвигнут в будущем Тома на вылазку в Россию.
Отправлено:05.08.10 09:42.Заголовок:Я думаю,что все буде..
Я думаю,что все будет ясно после американского тура,то есть насколько тяжело он пройдет для группы,а то Майк уже со сцены падает...Мужики отдохнут и может решат сгонять в Европу.
Отправлено:03.08.10 14:01.Заголовок:Petty tries out his ..
Отправлено:03.08.10 14:06.Заголовок:August 2, 2010 Tom ..
August 2, 2010 Tom Petty has changed with age, but his songs are still Heartbreakers Total People in Discussion: 0 Categories: Concert Reviews, Music, Music News, Wachovia Center Posted by John J. Moser at 08:41:34 AM on August 2, 2010
It was evident from the time Tom Petty and The Heartbreakers took the stage Sunday at Philadelphia’s Wachovia Arena to the familiar chiming guitar and soaring organ of “Listen to Her Heart” that time has changed him.
Now 20 albums and nearly 35 years into his career, the 59-year-old Petty is no longer the cynical songster who helped carry rock and roll through punk in the late 1970s, nor the hitmaker of the 1980s.
Photos by Sheri Bayne, special to The Morning Call
But his songs have changed with him, and so has his audience: The near sellout crowd for the second night of a two-night stand was generally older.
And as with Dylan and Springsteen, Petty’s songs now carry different meanings for his fans than when they first heard them, but they resonate just as loudly.
So while “Won’t Back Down” was more mournful than confrontational -- guitarist Mike Campbell played a nice slide -- the crowd still used its chorus as a release value, singing along heartily and cheering at the end. They hear more wistfulness in “Free Fallin’,” but connect to it – singing along with the gentle beginning and leaping to their feet to loudly shout the chorus.
“Breakdown” carries more ache than ever, but his audience understands even more, happily singing when Petty turns it into a call-and-response, and spontaneously starting to clap along as if it’s a Southern gospel service.
And when Petty brought out a deep album cut, “King’s Highway” from 1991’s “Into the Great Wide Open,” it was a song that was lovely and wistful, made even more so by Campbell’s melancholy guitar and keyboardist Benmont Tench’s piano.
Some songs didn’t change. “You Don’t Know How It Feels” had the thumping drum and echo-y guitar solo, and gave the crowd the chance to take it’s refrain “let’s roll another joint” literally.
Unfortunately, Petty also has reached the point in his career where any new songs that don’t reach the level of his beloved hits won’t be accepted as heartily. That was true of the four he sang from his new disc “Mojo” during the concert’s midsection.
“Jefferson Jerico Blues” has enough blues momentum and “I Should Have Known It” is different enough from most Petty songs to be intriguing. But they, along with “The First Flash of Freedom” and “Running Man’s Bible” were more tolerated than embraced.
Luckily, Petty has enough hits to let him finish strong. “Learning to Fly” was even more gentle than the original, starting with him alone in a spotlight on acoustic guitar before the band kicked in, as the crowd began singing again.
“Don’t Come Around Here No More” also was more mournful than harsh, though the audience emphatically sang the chorus’ “Stop!’ and Campbell finished with a fast, thrashing solo.
Only “Refugee,” which closed the main set, seemed diminished. The crowd cheered its first notes, and Campbell later played a ripping solo. But it carried far less of the menace it requires.
The encore was flat-out rock: “Runnin’ Down a Dream” gave Campbell space to do a longer, elaborate solo. Even Petty exclaimed “Oh, baby!” after the song. A cover of Chuck Berry’s “Carol” was a rollicking good time.
And then Petty asked “Are you ready?” And the band kicked in with the closing “American Girl.”
And his older audience was connected enough to break into dance.
Of course, with as many hits as Petty has, there’s bound to be disappointment in what’s not played.
In a 105-minute, 19-song set that found room for a cover of Fleetwood Mac’s “Oh Well,” I would have liked to hear “Change of Heart” and desperately missed “The Waiting.” But I found it absolute sacrilege that he skipped “Don’t Do Me Like That.”
But such are the changes in life. And when Petty closed by saying “Let’s get together again sometime,” it was like saying goodbye after spending an evening with someone important in your life, and hoping you will.
Отправлено:16.08.10 10:45.Заголовок: New material helps ..
New material helps Tom Petty stay connected with Darien Lake fans
Updated: Август 15, 2010, 3:51 PM
Why Tom Petty managed to become the massive crossover success that he is, I have no idea.
It would be easy to suggest that brilliant, economical songwriting has something to do with it, but far too many brilliant songwriters toil in obscurity for that to hold true.
Tom Petty and the Heartbreakers
With Crosby, Stills and Nash. Saturday evening in the Darien Lake Performing Arts Center. Also, Aug. 28 in the arts center.
It might make sense to suggest that Petty’s Heartbreakers are such an incredible band that fame was inevitable. That’s true, but again, you can see a killer Buffalo band at Nietzsche’s any given night of the week, and most of them aren’t going to be famous.
Why does Tom Petty sell out Darien Lake so quickly that a second date needs to be added to accommodate demand?
My guess is the strength and endurance of the songs, the musicians and the need for something that sticks to the ribs amid all the dreck and dross that clogs the valves of the music-lover’s heart these days.
These songs — 30-odd years worth of them, most of them made with the same group of musicians Petty hooked up while still a kid — just manage to connect. They are simple, yes, but man are they powerful. A kid from southern Florida managed to gather a bunch of the most memorable tunes of his era beneath his pen.
That he was best friends with some of the finest musicians within his immediate surroundings might easily be written off as blind luck. I’d prefer to call it destiny.
So Petty and his Heartbreakers took over Darien Lake on Saturday, offering hits, a nice mini-set of tunes from the brilliant “Mojo” album, Petty’s latest, and a platter-full of ditties that every sentient rock fan who’d been paying attention over the past three decades either knew or thought they might’ve heard one time at their brother-in-law’s house, at a party.
The high point of the show was, without question, the new stuff. “Good Enough,” the song that concludes Petty’s new album, provided guitarist Mike Campbell with the first of several spotlights. Campbell is one of the finest guitarists going, and his playing on “Good Enough” suggested some unholy cross between Howlin’ Wolf’s guitarist Hubert Sumlin and Led Zeppelin’s Jimmy Page. This was likely the finest solo fans will be treated to this summer.
Crosby, Stills and Nash ran through their back-catalog with grace and poise, and the blend of those three voices can still raise the hair on one’s arms. Graham Nash, in particular, was stunning on Saturday, but all three delivered.
As Petty declared halfway through the gig, “Rock ’n’ roll is clearly not dead.”
Отправлено:16.08.10 13:35.Заголовок:Eagles' Don Feld..
Eagles' Don Felder Gave Tom Petty Guitar Lessons 8/15/2010 6:14 PM ET
(RTTNews) - Before he became a member of the Eagles, Don Felder taught guitar lessons in his hometown of Gainesville, Florida. In a recent interview with Gibson.com, Felder revealed that one of his early students was a young Tom Petty.
"I was working in that music store in Gainesville and like I said, the only way I had to make money was after school I would go teach guitar in this music store. One day this kind of scrawny, scraggly blond-haired kid came in and wanted guitar lessons. I started teaching him guitar and we became friends and I went over to his house a couple of times," Felder explained.
"He had actually set up a microphone in one of the rooms in his house and he was playing bass in this little band," Felder said. "He wanted to learn guitar so he could play guitar instead of just bass in the band. So I went over to his house and was hanging around and he would play songs."
Отправлено:16.08.10 14:04.Заголовок:Об этом Дон более по..
Об этом Дон более подробно пишет в своей книге.
Отправлено:16.08.10 20:55.Заголовок:На концерте в Darien..
На концерте в Darien Lake народ пришел хорошо "заряженный".
Seven arrested during Tom Petty concert
Seven people were arrested Saturday night during the Tom Petty and the Heartbreakers concert in the Darien Lake Performing Arts Center, the Genesee County Sheriff's Office reported.
In addition, sheriff's deputies said they charged Joseph A. Bishop Jr., 35, of Olean, with criminal trespass after he allegedly entered the backstage area without permission Friday during the Kiss concert.
The eight were arraigned in Darien Court and remanded to jail in lieu of bail of $200 to $300 each.
Eight additional people were issued appearance tickets for other charges at the two concerts, including stealing beer, harassment and marijuana possession.
Twenty-two others under age 21 were charged with possession of alcohol with the intent to drink and were also issued appearance tickets, officials said.
Трогательная история о Майке и его молодом поклоннике.
When Heartbreaker Mike Campbell met a young fan, he didn't just string him along
It's not always easy being a classic rock fan while my friends are listening to rap and hip-hop, but I'll take bluesy guitar riffs and meaningful lyrics over synthesizers any day.
I guess I should explain myself a little bit. I am 14, I live in Virginia and I love to play guitar. My interest in guitar is why I enjoy listening to Jimi Hendrix, Eric Clapton, Jeff Beck and Stevie Ray Vaughan more than more recent artists.
I have left out one key band in this list of legends, however. I'm not just a rock fan, I'm a Tom Petty and the Heartbreakers fan.
In January, having never seen the Heartbreakers play in person, I was enjoying YouTube videos of past performances while saying to myself, "Please don't retire! Just one more tour!" Then I stumbled upon a video labeled "Mike Campbell (All the best Bits!)." Campbell is the lead guitar player for Tom Petty and the Heartbreakers, and in this video, which was obviously from 20 or so years ago, he walked out onstage with a brilliant red '60s Fender Telecaster around his neck. It was unlike any guitar I had ever seen. It had three pickups, where there should only be two, and a shiny whammy bar.
I wanted to learn more about this guitar, but found little. I did, however, find a video of Mike playing the guitar in the video for "Refugee" (my all-time favorite) and the guitar was called "Red Dog." It was used on the band's breakthrough album, "Damn the Torpedoes," so I had to have it. But how could I get hold of a guitar like that? It had obviously been modified several times and was not a standard Fender model. I had never built a guitar before, but I decided to build my own Red Dog.
Over the next three months I endured hundreds of eBay searches, many calls to local music stores, constant e-mails to dealers and a slow, sinking feeling in the pit of my wallet. Finally, I got everything I needed on a table: a body, a neck, two Gibson pickups, one Telecaster pickup, a pick guard, a Bigsby B5 tremolo kit and enough wires to supply electricity to my house. Three days later, I no longer had a table of parts. I had Red Dog.
But my story isn't complete; it hasn't even started yet.
An idea slapped me in the face over sushi one night: "What if Mike Campbell signed my guitar?" I had tickets for the band's upcoming tour, and that meant I would see him soon. From that point on, I could settle for nothing less than meeting the master himself. My dad helped me find Tom Petty's manager online. I punched in the number in my cellphone and waited. I quickly asked if the company managed Mike Campbell. The answer: no. DEFEAT. The lady on the phone quickly put me on hold to someone else. I stated the question again. The answer: Yes, we manage all of the Heartbreakers. SUCCESS. I quickly spat out my story, and she seemed impressed, but I knew they heard this sort of thing all the time. I got her e-mail, sent her my information, and nothing happened for a few days.
At this point, I was playing guitar with my friend at summer camp. My phone rang, and I fumbled around to find it. I picked up, and a woman named Ramona Mark (who works for Petty's manager) told me Mike Campbell and his guitar tech saw my Web site! They liked the project and wanted me to come backstage at the Philadelphia concert on July 31. By this point, I was freaking out.
Question: "Are you excited, Griffin?" Response: "Yeah." (This was all I could say on the phone and still sound composed).
I'll fast-forward a few days. It was Saturday night, and I was on a train with my dad to Philadelphia. I was about 20 minutes from Philadelphia when I received a call from Laurence Freedman, a member of the Heartbreakers staff. We decided to meet at 6:45 at a gate of the Wachovia Center. He would then take me backstage to meet Mike.
Laurence met me and led me through a doorway and down a dark staircase. I was officially backstage at a Tom Petty and the Heartbreakers concert. The backstage reminded me of a school during summer. There were desks lying around, a cafeteria and deserted rooms. I was the only non-personnel person there, which made me feel rather special. What I was doing finally hit me. I was about to meet the greatest guitarist in the world, someone I had respected and looked up to for years.
We passed a door with a laminated sign on it: "TOM." I peeked in and saw Tom Petty, in the flesh, sitting on a sofa with his eyes closed in a sort of meditative state. Then, standing three feet away from me was Steve Ferrone, the drummer! We kept walking past more doorways: "Benmont" (keyboards), "Ron" (Bass), "Mike"(if you don't know who he is, you have not been reading my article carefully) and "Scott" (vocals, guitar, harmonica). Finally, the last door on the right was the snack room, providing the band with anything they could possibly want, from water to Raisin Bran.
Next to the snack counter were two couches facing each other. And facing me was an incredibly rare Rickenbacker 12-string, made in the '60s, plugged into a vintage Fender amp.
By this point, I was getting a little nervous; at any moment -- oh my, he just walked in! Mike was wearing a leather vest, purple collared shirt, jeans, a crazily tied tie, and a sick guitar cloth hanging out of his back pocket. Even though he was about to play guitar for two hours, he still wanted to look sharp. He put his arm around my shoulder, smiled for the cameras and exclaimed, "Here we are, two guitar lovers!"
Once the introductions were done and the cameras had had their fill, he asked, "So where is this guitar?" I unzipped the case and he quietly stated, "Oh, yes. This is Red Dog." He held the guitar in his hands and told me it was heavy, just like his. Without wasting the time to sit down, he planted his boot on the coffee table and began to play my guitar. For a split second his playing reminded me of my countless hours practicing guitar -- then he quickly ripped out a speedy, powerful riff, and the thought was gone.
After a test shred, the guitar was deemed amp-ready. Mike asked me to explain the pickups, and how long the build took me. He plugged it in and continued to play. I congratulated him on the new album, "Mojo," and told him I loved how the entire album was completely about the guitar! I explained what inspired me to build the guitar, and as soon as he heard "Refugee" was my favorite song, he began to play it. "Do you know this part?" he asked as he began the crunchy smooth intro to the most powerful song ever written. "The key to the entire solo is letting the E string ring," he said.
I stared in awe at how he manipulated the strings and neck to make the tone he wanted. He began to do something I like to call "death-bending." This is when you bend one string upward so it matches the pitch of the next, higher string. When these strings are picked fast, they begin to blend into one dynamic note that can crumble an arena.
"Can I play it?" he asked.
"Sure," I said, rather puzzled.
"No, I mean onstage. I would like to play this for the second song, "You Don't Know How It Feels." My amazed response: "Absolutely."
Then I asked if he could sign my guitar, three records, and a shirt for my uncle. His reaction made it plain that his reason for being there was not to sign my guitar and leave; it was to meet me and encourage me. With a quick "Oh, yes, of course!" he signed everything with messages like, "To Griffin: Awesome Job!!" or "Keep Rockin'!!" Before leaving for dinner, he shook my hand and said, "Have you started writing your own songs, because you should. I waited too long to start."
Later, just before the Heartbreakers came onstage, the lights dimmed, the filler music stopped and the crowd exploded. I was lucky enough to get third-row tickets in front of Mike. We could all see those dark silhouettes moving toward their positions. The high hat on the drums started pulsing. *tap tap tap tap* Bursting from within the amp came the familiar opening ring of "Listen to Her Heart." The song sounded amazing, but all I could think about was the next one.
The song ended, and Mike's guitar tech ran onstage to hand him his next guitar, MY guitar! "You Don't Know How It Feels" hit the audience with a heart-stopping beat. As if from a dream, Mike Campbell was right in front of me, hitting each powerful chord with Red Dog. His guitar fills were bleeding out from the amps and flooding the arena. I was jumping up and down and screaming my head off. Mike (I had told him where I was going to sit) saw me, smiled and lifted the guitar up in the air. A guitarist's salute! Mike started death-bending with my guitar! (I almost feel bad for my guitar now, because it will never experience that again.) I was enveloped in the song around me, breaking the spell only to look and smile at my dad.
Laurence returned my guitar after the show; my ears were still pounding with the amazing songs I had just heard. I had just witnessed "Refugee" burn a hole in the world with solos, and "Free Fallin' " filling it back up with body-swaying chords. Laurence told me that when Tom had heard about my guitar, and me, he was so impressed he had left a "surprise" in the guitar case for me. When I got back to the hotel, I opened the case to find Tom's signature right next to Mike's. Mike's read, "To Griffin: Amazing Job!! Mike Campbell, 2010" and Tom's read, "Hi G! Tom Petty."
In the 1989 song "Runnin' Down a Dream," Jeff Lynne, Tom Petty and Mike Campbell wrote the lyric "Something good's waitin' down this road, and I'm pickin' up whatever's mine." So what did I pick up that night? I picked up an amazing, ear-numbing concert. I picked up seeing my guitar played onstage by Mike Campbell, in front of 25,000 people. But something I will never let go is a friendship with the most powerful, cool and kind guitarist, whom I will continue to look up to for the rest of my life.
And I won't forget the first part of the "Dream" lyric: "Something good's waitin' down this road." Something tells me that this story is not over and that I must never stop experiencing, enjoying, sharing, remembering and picking up "whatever's mine."
Griffin Black has been playing guitar for three years. He'll begin his freshman year at Georgetown Day School this fall.
Petty & co. bring their Mojo to Mansfield By Sarah Rodman Globe Staff /August 20, 2010
MANSFIELD — Tom Petty and the Heartbreakers’ new album is called “Mojo,’’ and last night at the Comcast Center the veteran rockers made clear that, nearly 40 years in, theirs is still working just fine.
Everything else was also working in the 105-minute show. From the joyous energy of the crowd to the high class, yet low-key staging to the finely calibrated set list that included 11 classics, one album cut, four new tunes, and two can’t-miss covers, it was a typically excellent outing for the Rock and Roll Hall of Fame-ensconced band.
Petty poured on his characteristic slacker charm, punctuating hits like fizzy “American Girl’’ and cheerfully defiant “I Won’t Back Down’’ with sly smiles and slow spins. He busted out the maracas for the night’s early high, a hard-rocking and funky run through the Fleetwood Mac jam “Oh Well.’’
During the breakdown in “Breakdown’’ Petty murmured kiss-offs and come-ons to an unseen vixen and engaged in some sassy call-and-response with guitarist Mike Campbell and the crowd. Like Petty, the song has aged remarkably well, with that slinky riff still powerful enough to coil around the spine and force a swivel into the hips more than 30 years and a countless number of radio rotations later.
In between tunes, Petty offered thanks and praised the crowd and his band mates, of whom he believably declared, “I love every one of them.’’
And when they play like they did last night and probably will in their second show at the venue tomorrow, why wouldn’t he?
Well-oiled does not begin to get at the way the quintet gets inside a song and carries the crowd with it. Whether it was drummer Steve Ferrone earning his nickname of Petty’s “personal locomotive’’ on “Jefferson Jericho Blues’’ or Benmont Tench getting fast and loose on his keys for a cover of Chuck Berry’s “Carol,’’ the Heartbreakers smoked.
While the stretch of four “Mojo’’ tunes midset may have been overlong by one, sending some to the restrooms, those who stayed were treated to a spicy spectrum of blues-soaked rock. The righteous, near head-banging stomp of “I Should Have Known It’’ — with its zig-zag-Zep lick — and the epic psychedelic meanderings of “Good Enough,’’ which saw Campbell scorching his way through a giddy, damn-the-torpedoes solo, clearly jazzed the musicians.
Petty also cut loose repeatedly, taking a lyrical flight at the close of “You Don’t Know How it Feels’’ and heating up the outro of “Mary Jane’s Last Dance.’’
An indication of the group’s multi-generational appeal came near night’s end when, after a rollicking “Refugee,’’ an equal number of lighters and cellphones were hoisted aloft by the jam-packed house.
Petty is always generous with time and sound for his opening acts, and My Morning Jacket got a full hour and 15 minutes to stretch out on their reverb-soaked anthems to the slowly growing crowd, By the time MMJ lit into the wall of sound of “I’m Amazed,’’ many had warmed to the keening sounds of Jim James and his gang.
Отправлено:23.08.10 16:13.Заголовок: 14 место в хит-пара..
Tom Petty unstoppable at the Air Canada centre By Ben Rayner Pop Music Critic
Tom Petty makes a pretty convincing case, I must say, for devoting one’s life to rock ‘n’ roll, weed and takin’ it easy, maaan.
A couple of months shy of his 60th birthday, the dapperly attired Petty who led his faithful backing band, the Heartbreakers, into the Air Canada Centre on Wednesday night looked and sounded almost indistinguishable from the Petty who gained his first foothold on radio – and on the permanent pop consciousness from which he’s become inseparable – with “Breakdown” and “American Girl” nearly 35 years ago.
There’s something to be said for only exerting yourself just enough. For no matter how much the critical chorus might chronically fuss over how little Petty has bothered to broaden his songwriting palette over the past three decades, the man’s best work is utterly freakin’ unstoppable. Unstoppable.
Petty’s hits are self-regenerating in the same way that all classic songs – from “Dear Prudence” to “Honky Tonk Woman” to “More Than a Feeling” to “Blitzkrieg Bop” – are self-regenerating. They never really wear themselves out, no matter how many times they’re thrust into your ears. I was in a bar crowded with hipsters and indie-rock musicians on Sunday night when someone threw on Full Moon Fever in its entirety and the reaction to the moment when “I Won’t Back Down” kicks into its “Heeey, baby” refrain was the same then as it was at the ACC on Wednesday; everyone within earshot turned into a giddy teenager and couldn’t help but sing along. And the reaction was similarly joyous to each of the tried-and-true chestnuts – “Listen to Her Heart,” “Free Fallin’,” “Mary Jane’s Last Dance,” “Don’t Come Around Here No More” and a beautifully restrained version of “Learning To Fly” among them – that Petty and the Heartbreakers trundled out during their crisp, 90-minute set.
Material from the band’s recent album Mojo, basically a blues-leaning excuse for Petty to sit back and cede the spotlight to longtime sideman Mike Campbell’s wailing guitar prowess, met with a slightly cooler reception. As maybe it should have, since Tom Petty and the Heartbreakers fare about as well with their late-career dabbling in the blues as most ageing white men. The band dug into the new tunes with evident eagerness, though, establishing at least one of them – the knowingly Zeppelin-esque behemoth “I Should Have Known It” – as a bona fide keeper and, along the way, rescuing more tedious Mojo excursions such as “Running Man’s Bible” and the long-fused “Good Enough” at the 11th hour with dynamic climaxes built around Campbell’s (and occasionally Petty’s) sustained six-string heroics.
A slight change in direction appears to have reawakened as much of a fire in Petty’s belly as his ultra-chilled persona will allow, at least. Some of Mojo’s jammy spirit found its way into “You Don’t Know How It Feels” – which noodled out into some fluid soloing towards the final chorus that justified the song’s invitation to “roll another joint” – and a sultry, simmering take on “Breakdown.” Those moments, combined with the mid-set blues explosion, served notice that Petty and the Heartbreakers still care enough about and, most importantly, still enjoy what they’re doing enough to do more than just go through the paces onstage.
Steve Ferrone has sat in the drummer's seat for Tom Petty And The Heartbreakers since 1994. But the British-born sticksman is still seen by many as 'the new guy.' It's a label he's grown accustomed to over the years. "I'm always the second man asked to the dance," he says, laughing. "But I'm not complaining because I've been to a lot of nice dances."
And that dance card has been full ever since Ferrone replaced the late Robbie McIntosh (not to be confused with the guitarist of the same name) in the Average White Band in 1974, right as the group was releasing their breakthrough smash Pick Up The Pieces. Over the past four decades, Ferrone's impeccable taste, timing and groove have paid off handsomely: he's been 'the new guy' for Eric Clapton, Duran Duran, Peter Frampton and The B-52s, among others, and has played on countless sessions for everyone from Johnny Cash to Michael Jackson.
Even so, when it comes to touring bands, does he mind being thought of as 'the new guy,' or even 'the replacement'?
"Not at all," he says, again chuckling good-naturedly. "I've replaced Stan Lynch in Tom Petty And The Heartbreakers. I've replaced Phil Collins with Eric Clapton. I've replaced Roger Taylor with Duran Duran. There's a few choice ones right there. No, see, these drummers have played on amazing records, and I have a tremendous amount of respect for their work. To be asked to go in and sit down and play the parts that they established, I'm flattered and honored. Also, I guess it means that, on some level, I'm that good - or at least in somebody's mind I am."
Having now clocked in 16 years as a member of Tom Petty And The Heartbreakers, currently touring behind their latest release Mojo, it's doubtful that Ferrone will be abdicating his drummer's throne to anybody else in the near future. "It's a wonderful group of people in this band," Ferrone says. "Tom and Mike Campbell are such brilliant writers. No, I'm quite happy to be a Heartbreaker." He thinks for a second. "That always sounds funny, doesn't it? I'm a 'Heartbreaker.' Of all the bands with great names, this one's right up there."
In the following interview with MusicRadar, Steve Ferrone talks about playing with Tom Petty And The Heatbreakers, along with some of the other illustrious names on his CV. He also discusses his approach to playing, and it's one which involves, oddly enough, the art of the dance.
What is general philosophy about drumming? Do you have one?
"What I like to do is feel the song - I see it and figure out what I like to call the 'light and shade.' When I was a child, I was a tap dancer, and I remember a big part of our instruction revolved the light and shade of certain routines. I see drumming the same way I see dancing. It's all dynamics.
"Because of my tap dancing, I can visualize a piece of music and feel it physically. Basically, I can sit down with a band and pretty much play a song without ever having heard it before. I'm not saying I play it perfectly the first time. [laughs] But I have a sense of the flow, the dynamics, where the choruses and verses are going. If you have rhythm - and let's face it, dancing is a great starting ground for a musician - you're usually able to know how a song should go."
I would assume this helped in recording Mojo, which is the most 'jam-oriented' album the band has ever done.
"Well, yeah, we recorded the whole thing live pretty much. Tom would come in and start playing a groove, and I'd start playing along. He didn't present finished demos or anything. The songs fell together during rehearsals. That's the way it's been with us for a while.
"Songs used to develop during soundchecks, too, although we rarely do soundchecks anymore. With the new technology like Pro Tools, we just record the sound from the gig before and adjust the levels to the next room. Soundchecks are kind of a thing of the past now."
What kind of direction do Tom and Mike Campbell give you? Or do they give you free reign to come up with your parts?
"They give me free reign…until I do something they don't like! [laughs] Their music is pretty straightforward, so if I do something too complicated or come up with a groove that just won't fit - anything that gets in the way - that's when they'll say something. And then I'll say, 'Fine, I just won't do that again.'" [laughs]
When you were asked to join, what specifically did Tom tell you was the reason? What made you the right guy to replace Stan Lynch?
"He never really told me, and I never asked him. I got a call to go out for an audition, but I wasn't told who it was for. This was in 1994. So my gears were turning…'Who could it be?' It was all very top secret, you know? But then I showed up at this studio and there's Tom Petty and Mike Campbell sitting there. Well, I figured out pretty quickly who I was auditioning for."
What did the audition consist of? Did you have to play through some of Tom's hits?
"Well, I should stress that I'd worked with Mike before - he and George Harrison; in fact, I'm pretty sure that George recommended me for the gig. So we started to play You Don't Know How It Feels, and that felt pretty good. Then we listened back to what we'd played and Tom said, 'Wow, what a difference a drummer makes.' Then he turned to me and said, 'Don't worry, Steve, you've won.' [laughs] And that was it."
How have you adapted your style to the older songs in Tom Petty's catalogue? Some of the material that Stan Lynch played was quite energetic. I'm thinking of songs like American Girl.
"Yeah, well, that song speaks for itself. It has a pattern that is very recognizable and I don't really change it at all. The kick pattern, especially, is very important to play right. The song has a swing to it.
"My job isn't to re-arrange songs that are etched in people's minds. But the newer songs, the ones I've played on, they're mine, if you will. So I don't have to adapt my style to fit them; my style is already a part of them."
Who do you listen to in the band? Do you listen to Tom's vocals? Ron Blair's bass lines?
"I listen to the whole thing. I let the music fall all around me and I make it work. If Ben [keyboardist Benmont Tench] plays a nice little line, I try to leave space so it can be heard. If Tom hits a certain vocal line and really punches it, I might reinforce it, but I don't get in the way. I don't try to set the tone and the tempo of the band; I let them guide me and I keep it all together. The band works really well as a team.
"However, you mentioned vocals: I will sing along as I play. It's not just 'cause I like to sing [laughs]; it's because I'm checking the tempo. If you're shifting things around too much, particularly with songs that are so dependent on the vocals, then all you're doing is messing things up."
You play with a traditional grip. Have you always done so?
"No, I started out with a matched grip, and I switched when I was about 18 or 19 years old. I remember watching this French drummer who played with a traditional grip, and I was very impressed with his ability to get all of these grace notes in. The big thing was figuring out how to incorporate the traditional grip but still have a strong backbeat. So I worked out a way to play traditional but power down the stick with my thumb - which is why I have a very messed-up thumb now!" [laughs]
Let's talk about your tenure with Eric Clapton. What was that like? What kind of directions did he have for you when it came to what he wanted from the drums?
"His whole thing was, 'Make me play.'"
"Make me play."
"Yeah, he wanted the band to kick his butt. You know, it's a hard job to be 'Eric Clapton.' He's gotta go out there every night and live up to this legend. He has all these solos to play, and he's gotta blow people away.
It's a lot of pressure. So he would just say, 'Steve, go out there and play your ass off.' He looks for fire. I think he really liked being pushed. It helped keep him on his toes, I think."
Playing with Eric, you performed material from all of the eras of his career. How did you handle the Cream material? You and Ginger Baker have styles that couldn't be more different.
"Absolutely. I would just sort of grab it and make it mine. I played Sunshine Of Your Love totally different. I took a hint of his groove, but there was no way I could match what he did. I didn't even try.
"All drummers have their own particular quirks - some you try to work with and others you can't. When you're talking about somebody as flamboyant on the drums as Ginger Baker, there's no way you can play like him.
"The point is to take the essence of what he did and use that. Again, Eric's whole thing was, 'Play with fire, Steve. Give me everything you've got.' He didn't want his musicians to play it safe. And you can still play a groove and be non-flashy while giving the music everything that's inside of you. Sometimes that's the hard part - playing with heart but not making it all about yourself."
On a somewhat related note, you played with both Eric Clapton and George Harrison when the two toured Japan together in 1991. It was basically Eric's band backing up George.
"That's right. What an amazing time."
OK. How hard was it, when playing Beatles songs with George, not to try to re-create Ringo's parts?
"I didn't really think about it. George told me what songs to listen to, I listened to them and we played them. What I did was what I always do: I listen to the song, I get the groove, I figure out the key elements and then I do my thing."
How was George to work with?
"Oh, he was wonderful. What can I say? He was a great guy. A tremendous human being. I walk past his star on Hollywood Boulevard a lot, and every time I do I say, 'Hey George, how ya doin'?' What a sweet man he was."
One other mega-famous artist you worked with was Michael Jackson. Tell me about that experience.
"Oh, it was great. I was hired to play on a couple of songs, and one of them was Earth Song. I was working with the producer Bill Bottrell. So we're in Westlake Studios in Los Angeles, working on the song, and I turn around and there's Michael Jackson. It's like he materialized right next to the drum kit."
Wow. What do you say? "Hey Mike"?
"Yeah, basically. [laughs] And what was funny was, he looked at me and said, 'Steve, can you dance?' And I go, 'Well, are you asking?' [laughs] Maybe he could tell by the way I played, I don't know.
"What was interesting about doing that song was that Michael wanted me to play electronic drums - that was the big thing in those days. And I said, 'Michael, the song is called Earth Song. You've got to have real drums on there.' I could tell he was hesitant, but we cut a deal to do it both ways.
"He listened to the electronic drums and liked them, and I could tell he was about to go with that track, but I reminded him about our deal. So I went in and cut the same track on acoustic drums. He listened back and started movin' around, going, 'Yeah, yeah! That's it.' And that's when I told him, 'There you go, Michael. Now you've got a true Earth Song! [laughs] The acoustic drums won out in the end."
Отправлено:27.08.10 18:00.Заголовок:tom petty и сотовари..
tom petty и сотоварищи продержался в чартах англии 2 недели - новый альбом - не плохо - 38 место - как ты думаешь что будет дальше - зашел в магазин - приличный в москве - спросил - есть elo - а кто это - что будет дальше - ничего -алла пугачева - и все
Отправлено:29.08.10 20:37.Заголовок:Ну может не все так ..
Ну может не все так грустно,мы все таки ещё есть,хотя оголтелая наша поп-са здорово подгадила с музыкальным вкусом нашего народа.
Отправлено:30.08.10 15:51.Заголовок:На этой неделе 7 мес..
Отправлено:06.09.10 12:15.Заголовок:Товарищи, да хрен с ..
Товарищи, да хрен с ней, с этой попсой. Я уже давно стараюсь жить от неё параллельно. Вы когда в лес ходите и собираете подосиновики да белые, поганки ведь не раздражают вас В природе всё уравновешено: уродство попсы прекрасно подходит для того, чтобы лучше ощутить красоту настоящей музыки, ну а в дерьме купаться некоторой части человечества издавна нравилось и будет нравиться.
только в наших лесах мухоморов и прочей погани многовато
Подожди, ещё парочку таких лет, как прошедшее (не дай-то бог!) и вообще ничего не будет расти
Отправлено:07.09.10 09:25.Заголовок:Лето конечно было,ти..
Лето конечно было,типа гиена огненная,только жалко погань наша осталась,а не сгорела.Но думаю,время все равно всю шелуху сдует ,а наша любимая рок-классика,станет такой же классикой,как и остальная хорошая музыка.
Тем более, что чем выше она в нем, тем чаще ее передают.
Отправлено:07.09.10 22:04.Заголовок:Такой вот отклик на ..
Такой вот отклик на выступление Тома,наверно от заклятого янки.
True Rock and Roll is About Freedom
by Joseph F. Connor
I have never heard Tom Petty talk politics. When it comes to performers, that generally is a good thing.
Last week my wife and I took our kids, 13 and 11, to see Petty and the Heartbreakers. Having seen them a few times before, they put on a predictably tremendous show, (though doing “Jammin’ Me” and “Change of Heart” would have been great). Mike Campbell, Petty, and crew belted out raw, old fashion rock and direct, soulful, no nonsense lyrics. Awesome.
As the band played “Refugee” I couldn’t help but focus on the audience, including my children, singing in unison “everybody’s got to fight to be free.” Like many Petty lyrics, its a simple, direct, powerful line; easily repeated but probably rarely internalized.
We, as Americans, do have to fight to be free.
The upcoming generations need to understand that. Our grandparents had to fight to be free of Nazism. Our parents and my generation (though we can discuss The Who at another time) fought to be free of Soviet style communism.
But for this generation and the at least the next, not only do we have to fight to be free of radical Islam but more insidiously we have to fight to be free from the tyranny of our own federal and even local governments’ designs on our liberty. We, who are parents, have a responsibility to educate our children. Our freedoms are threatened by those within and without.
We must teach our children about the Declaration, the Constitution, our God given individual rights, the brilliance, morality, sacrifice, and bravery of our forefathers and instill in our kids the motivation to become active participants in guaranteeing their own freedoms. Pink Floyd asked, “Mother, should I trust the government?” The answer is “no.” It is filled with too many people who would gladly step in and decide our freedoms for us.
The best rock and roll has always brought inspiration. Its time we took Petty’s advice; stand our ground, not get turned around and don’t back down or we may all be living like refugees.
Отправлено:07.09.10 22:10.Заголовок:А вот и коммерсант о..
А вот и коммерсант отметился и не сказать, что очень любезно.
"Mojo" Tom Petty And The Heartbreakers
В рекламе нового альбома Тома Петти "Mojo" всячески подчеркивается, что это его первый за восемь лет диск, записанный в союзе с группой The Heartbreakers. Информация не то чтобы что-то гарантирующая. У господина Петти случались выдающиеся записи как с The Heartbreakers ("Tom Petty And The Heartbreakers", 1976; "Southern Accents", 1985; "Into The Great White Open", 1991), так и без группы ("Full Moon Fever", 1989; "Wildflowers", 1994). В обоих вариантах случались и провальные. "Mojo" уже объявлен триумфом автора. Верный последователь Боба Дилана, многократный чарттоппер, любимый радиостанциями символ блюз-рока и "американы", Том Петти выполняет набор обязательных упражнений рокера-классика, включая рискованный психоделический загул в песне "First Flash Of Freedom", предзакатную электрогитару в стиле Джей Джей Кейла в "The Trip To Pirate's Cove", регги в "Don't Pull Me Over" и грозный цепеллиновский ход в "I Should Have Known It". В "Mojo" 16 треков, включая спецбонус для iTunes, и в каждом у господина Петти — по чуть-чуть своего и помногу чужого. Механизм работает как часы.
Отправлено:08.09.10 09:34.Заголовок: В обоих вариантах с..
В обоих вариантах случались и провальные
Спецы по Тому, о каких альбомах идёт речь? Может, есть какие-то официальные данные? На мой взгляд, у Петти налицо рост от альбома к альбому, а сей автор называет дебютный диск "выдающимся" (что для меня довольно неожиданно: никогда не считал его лучшим по музыкальному материалу).
Отправлено:08.09.10 15:46.Заголовок:Мне вот тоже интерес..
Мне вот тоже интересно про провальные узнать подробнее. Кстати,е если уж говорить об удачах, странно, что не упомянули 1979 год
Несчастному журналюге дали задание чего-то написать, вот и приходится нести всякую ахинею.
Отправлено:13.09.10 11:51.Заголовок:Only Rock ‘n Roll T..
Only Rock ‘n Roll Tom Petty gets his Mojo (half-)working Monday, September 13, 2010 Comments: 1
The past five years have been a busy time for Tom Petty. At an age (his mid- to late fifties) when most major rockers are (in Tom’s own words from “Takin’ My Time” off Mojo, his new album with the Heartbreakers) takin’ their time, slowin’ down a little bit, he has produced a series of five new albums (one of them a four-CD live set) and collaborated on an excellent four-hour documentary movie on his career with the Heartbreakers. Most of the new material is good to great, too; only Mojo itself falls below his customary high standard.
Petty is, for some reason, generally at his most tuneful on albums on which the contribution of the Heartbreakers is kept to a minimum – as his first solo album Full Moon Fever (1989) and its follow-up, nominally with the Heartbreakers, Into the Great Wide Open (1991), amply demonstrate. The musicality was again evident on the Rick Rubin-produced second solo album, 1994’s Wildflowers, and Petty’s third solo effort Highway Companion (2006) did not disappoint: filled with sweet melodies and ringing Rickenbacker guitar reminiscent of the Byrds (who are one of Petty’s major influences), Highway Companion was a relaxed but assured album by an established master of his art, making music that could stand alongside the classic tracks recorded with the Heartbreakers in the 30 years that preceded it.
And stand alongside those classic tracks the opening song from Highway Companion, “Saving Grace”, did at Petty and the Heartbreakers’ 30th anniversary concert held on 21 September 2006 at the O’Connell Center at the University of Florida, in their hometown of Gainesville, Florida. The show was recorded and filmed, and a DVD of the concert is available as part of the four-disc de luxe edition of Runnin’ Down a Dream, director Peter Bogdanovich’s epic biopic of the history of Petty’s career up to that time. The show featured two guest appearances by Stevie Nicks, who almost three decades after she made millions of men around the world fall in love with her, through her alluring singing and stunning appearance on Fleetwood Mac’s classic album Rumours (1977), still looked gorgeous and sang up a storm on “Stop Draggin’ My Heart Around” (her 1981 single with Petty, originally from her first solo album Bella Donna), “I Need To Know” (from the Heartbreakers’ second album “You’re Gonna Get It!” (1978)) and “Insider” (from the Heartbreakers’ 1981 album Hard Promises).
Students of film biographies of rock bands should not miss Runnin’ Down a Dream, which boasts extraordinary footage of Petty and the Heartbreakers’ first trip to LA in search of stardom, clips from several of their early television appearances, interviews with past and present members of the group, a fascinating account of Petty’s periodic fights with the major record companies over recording deals, record prices and artistic control (all of which he has won), live recordings with Bob Dylan in the late 1980s, and the harrowing story of one-time bassist Howie Epstein’s death from heroin addiction. A bonus soundtrack CD included in the set incorporates rare rehearsal and live takes of well-known early songs like “Breakdown” and “American Girl”, a previously unreleased 1982 track entitled “Keeping Me Alive” and a 1994 performance on Saturday Night Live of “Honey Bee” (from the Wildflowers album), with Dave Grohl (of Nirvana, Foo Fighters and later Them Crooked Vultures) on drums.
With work on Runnin’ Down a Dream complete, Petty then turned his attention to his first band, Mudcrutch, from among whose members the core of the Heartbreakers had been drawn. Comprising Petty on bass and lead vocals, Benmont Tench on keyboards and Mike Campbell on lead guitar, together with two non-Heartbreakers musicians, Tom Leadon on lead guitar and Randall Marsh on drums, Mudcrutch had never released a record in over 30 years until Petty wrote almost an album’s worth of material for the band. Combined with a couple of traditional country songs, cover versions, a good song by Tench and a weak song by Leadon, Petty’s new material turned up on the eponymously titled album Mudcrutch in 2008.
Unsurprisingly, Mudcrutch sounded like a (middling) Tom Petty album, its strongest tracks being the ones written by Petty and its weaker moments being the numbers on which other members of the group took over on lead vocals. (None of the other group members can hope to match Petty’s engaging and distinctive Southern drawl.) Live shows followed, yielding Mudcrutch Live!, a four-song EP featuring three of the songs from the debut album and a fiery cover version of Jerry Lee Lewis’s “High School Confidential”.
That, in turn, led Petty to open up the vaults of his live recordings with the Heartbreakers and make a selection of 48 live tracks, which appeared late in 2009 on the four-CD collection The Live Anthology. Recorded between 1980 and 2007, this outstanding live set is the best of the body of material Petty has released on to the market during the past five years, and contains (in addition to expected classics like “Refugee”, “Century City”, “I Won’t Back Down”, “Free Fallin’”, “The Waiting” and “Southern Accents”) a clutch of covers of unexpected songs: Willie Dixon’s “I Just Want To Make Love To You”, Booker T and the MGs’ “Green Onions”, an instrumental version of the James Bond soundtrack title song “Goldfinger”, Van Morrison’s “Mystic Eyes” and James Brown’s “Good, Good Lovin’”, among others. Set aside an afternoon or a full evening and listen to the whole set straight through from the top, treating it as one long gig; you will be left with a feeling of elation and exaltation that all the greats – and only the greats – can conjure up in their live audiences, no matter which musical route they follow.
All of which makes Mojo so disconcerting, coming as it does 34 years into such a formidable and barn-storming career. Mojo is an album by a group of professional musicians hemmed in by caution and afraid to cut loose, led by a singer/songwriter who seems scared to rock the house lest a hairline crack should appear in one of its walls. After a desultory attempt to kick-start the album with “Jefferson Jericho Blues” (about Tom Jefferson’s love for “the little maid out back” and the apparently unrelated topic of driving out to Jericho), the band settle into “First Flash of Freedom”, the first of a series of slow and overlong tracks with unexciting arrangements and jazzy guitar solos, punctuated only sporadically by more uptempo songs with any spark of life to them. Of the 15 songs that make up this 65-minute album, only about a third would have been worthy of a place on any of the Heartbreakers’ previous albums; the rest of the material is so mellow as to be limp. Only “Candy” (which comes on like a rewrite of J J Cale’s “Call Me the Breeze”), “I Should Have Known It” (which sounds like an outtake from the Heartbreakers’ noisiest album, “She’s the One” (1996)), the strangulated blues “US 41”, “Takin’ My Time” (a fuzz-guitar blues that could have come from one of Led Zeppelin’s first two albums if only the power had been turned up), the mid-tempo “High in the Morning” and the album closer, appropriately entitled “Good Enough”, have any bite at all to them – and even then the bite feels as though it has been administered by a set of false teeth (retrieved perhaps from the glass to which they were consigned in 1990 by Petty and the Traveling Wilburys on “Wilbury Twist”).
So, thanks, Tom, for the wonderful live set and the 33 years of great rock ’n’ roll which preceded it. But if the next batch of new songs turns out to be as dull and listless as those on Mojo, rather stay at home than tarnish your considerable legend any further by recording and releasing them.
Мдя,даже на оффоруме народ в догадках теряется,что это за народное творчество.
Отправлено:24.09.10 22:02.Заголовок:Интересная статья о ..
Интересная статья о том как просто найти Тома и его команду в медийном пространстве.
Following a Heartbreaker's trail
Petty and his crew easy to find in films, TV
We'd sound crazy if we tried to convince you that you don't know Tom Petty. Sure you do. Everyone does. Whether you like the early stuff ("Refugee," "Don't Do Me Like That") or the newer, solo stuff ("I Won't Back Down," "Free Fallin' ") or just the video for "Don't Come Around Here No More," you know Mr. Petty. But we're willing to wager you don't know just how deep his impact is. So we're going to spell it out for you, one pop culture reference at a time.
Sweet relief Petty and Co. donated $100,000 to theChildren's Relief Fund of Oklahoma City in June 1996 to help with costs after the bombing of the Alfred P. Murrah Federal Building. The funds came from two sold-out shows he'd played in OKC that week.
'FM' Steely Dan may own the title song to the 1978 comedy about a radio station being targeted for corporate takeover, but a live performance by the Heartbreakers earns Petty his first mention on the Internet Movie Database, as "himself."
Blond ambition Petty, George Harrison, Roy Orbison, Jeff Lynne and Bob Dylan formed the Traveling Wilburys in 1988. Petty was the only blond.
He's a Rebel Johnny Depp played Eddie Rebel in the video to "Into the Great Wide Open." Petty himself played The Roadie Named Bart, a tattoo artist and reporter. Petty later repaid the favor by playing a gig to christen Depp's Viper Room bar in 1993.
The Heartbreakers As in "Tom Petty and ...", previously Mudcrutch, was dreamed up by Denny Cordell,who helped Leon Russell launch Shelter Records. Before that, Mudcrutch recorded its eponymous album at Shelter Records in Tulsa. Those tapes are allegedly still floating around somewhere in the 918.
Some place to go Petty apparently was sick and tired of Joe Piscopo, Vanessa Redgrave and Eddie Murphy. He called them all out on his song "Jammin' Me" from the album "Let Me Up, I've Had Enough." Apparently the song was his anti-tribute to over-commercialization. Eddie Murphy, at the height of his popularity in 1987, wasn't pleased. Very coincidentally, that same year, Tom Petty's house was burned to the ground by an arsonist.
Buffalo Bill soldier Who could forget that scene in "Silence of the Lambs" where Catherine Martin (Brooke Smith) is jamming out in her car to "American Girl"? Moments later, she would get out of her car and be asked by Jame "Buffalo Bill" Gumb if she was "about a size 14."
We want our MTV For the second annual MTV Video Awards, Tom Petty and the Heartbreakers won the "best special effects" award for "Don't Come Around Here No More," one of the creepiest videos of all time. Back when MTV played videos.
Danish with that? "Portraet af Tom Petty," directed by a Danish dude named JÃ¸rgen de Mylius, is an international documentary on Petty. You probably can't find it at Blockbuster or Redbox, FYI.
Free Jerry Jerry Maguire (Tom Cruise) screams the lyrics to "Free Fallin'" after leaving his cush (deep cut: "This Cush, I'll surf or ski!) job as a sports agent to start his own business that wasn't so shady. The song might have temporarily relieved Jerry's malaise, but he's soon crying in the car.
Petty in 'Postman' In the 1997 movie "The Postman," Petty played the Bridge City mayor. The post-apocalyptic movie featured Kevin Costner trying to resurrect society that's been wiped out in 2013 by getting the postal service back in order. Cliff Clavin would be proud.
'It's Garry Shandling's Show' Petty and Shandling, buddies in the real world, shared a fake/real relationship on four episodes of the HBO series.
'Made in Heaven' In this 1987 romance-fantasy-comedy about a guy who goes to heaven and meets an un-reincarnated soul with whom he falls in love, Tom Petty plays the character "Stanky." Yes, Stanky. Joining him in this probably forgotten gem are Ric Ocasek and Neil Young.
Tom N' Roses At the sixth annual MTV Video Awards, Tom Petty and Guns N' Roses members Axl Rose and Izzy Stradlin gathered on stage to sing "Free Fallin'" and "Heartbreak Hotel."
Bridge School benefit The event, benefiting children with severe physical impairment and communication problems, is the brainchild of Neil Young and wife Pegi. Petty and Co. played the very first benefit in Mountain View, Calif., alongside some other folks you might've heard of: Crosby, Stills and Nash, Don Henley and Bruce Springsteen.
Keep Smiley-in' This year, Tom Petty has appeared on Tavis Smiley's PBS show as a special guest. It's not his first foray into the political world: He sang "Give Peace a Chance" during a 1991 rally against Operation Desert Shield/Storm (Gulf War Part Une).
You got lucky Petty played the character Elroy "Lucky" Kleinschmidt in Mike Judge's animated hit "King of the Hill." Lucky is Luanne's dim-witted redneck husband. He lives on "settlement monies" he received after "slipping on pee-pee at the Costco," which he often refers to as "mah pee-pee money."
'She's the One' Petty scored the entire soundtrack for the romantic comedy with Edward Burns and John Mahoney.
Free fallin' into history: Tom Petty's Top 10 songs and the pants dropping that inspired one
By Jim Beviglia September 26th, 2010 at 1:07 AM Well, here we are, folks. This mighty undertaking — ranking the Top 100 songs of Tom Petty's career in the Ultimate Countdown — has been a true joy for me because it has given me the excuse to really dive into this amazing catalog of music. While you all may not agree with my rankings, it’s hard to argue with the consistency Tom Petty’s songwriting and recording output.
Ranking these songs was not a matter of bad versus good; more like good versus great versus holy-crap-that’s-an–amazing song.
With Tom Petty having blown through the Woodlands this weekend, here's the Top 10 to tide you over. This list is not meant just for debate fodder, but also as a celebration of one of rock 'n’roll’s singular artists.
Song 10: “Don’t Come Around Here No More” Album: Southern Accents
Tom Petty was a little frustrated at the stagnancy that he felt had crept into the band’s sound on their fourth album, 1983’s Get Lucky. He channeled that frustration into the fountain of creativity that led to this one-of-a-kind single. “Don’t Come Around Here No More” was proof to any skeptics that doubted that the Heartbreakers could do anything besides straight-ahead rock ‘n’ roll. Moreover, the memorable video brought the band to a younger group of fans and helped ensure that their popularity wouldn’t be waning anytime soon.
Dave Stewart was Petty’s simpatico collaborator on this madcap tour de force, and his spirit of experimentation inspired Petty to make some very un-Petty-like choices. For example, there’s the sampled drum pattern that repeats throughout the song, which, combined with that mystical sitar that seems to endlessly feedback onto itself for a wash of head-spinning sound, creates the oddest rhythm bed you’ve ever heard.
But that wasn’t all of the insanity running rampant with this song. Stewart also sent the track to a bass player (Dean Garcia) whose work was completely unusable save for the quirky little bit that kicks the song into gear. Female backing vocalists were brought in to give some counterpoint to Petty’s rejoinders, and Stewart allegedly ran into the control room with his pants down in an effort to get one (Stephanie Spruill) to hit that high note that kicks off the harder-rocking section at the song’s end.
It’s as if Petty included that section to remind everyone that the Heartbreakers were still very much a force, and, thanks to the contrast of all the weirdness before, that section rocks righteously indeed. TP also fully invests himself in the role he’s playing here in a performance that’s reminiscent of some of Mick Jagger’s memorable cads from the Stones’ catalog.
Petty has stated in interviews that he regrets the video somewhat because he feels like no one can hear “Don’t Come Around Here No More” now without imagining Alice In Wonderland. I disagree. At least when I hear it, I don’t picture Petty in a goofy hat. I hear a vibrant, slightly-daft, never-dull, whirlwind of a single that reinvigorated a career.
Song 9: “Swingin’” Album: Echo
I’ve always thought of this song as a companion piece to “American Girl.” Not so much a sequel, but a re-imagining of the story almost 25 years after it was first told. The open spaces suggested by the first song’s ringing guitars are replaced by the minor keys and crunching riffs of “Swingin’.” When this girl says that she’s free, the music suggests otherwise.
The situations in which the heroine finds herself are wholly unromantic, from shenanigans in Vegas to hitched rides with strangers. There is little to suggest any kind of happy ending will take place here. And yet, Petty, as always, has admiration for characters that find themselves at a rough point and yet refuse to give in to their situations. This girl achieves a hollow victory when she makes her escape, but it’s a victory nonetheless.
The Heartbreakers really cop some swagger on this tune off Echo, locking into the groove but never so tight that the song doesn’t, well, swing. Petty’s vocal is also recorded in a very raw fashion, making it sound like he’s hollering above the band without a mike, a powerful effect. The inspired decision to include boxer Sonny Liston at the end of his roll call of his swing musicians indicates that this girl was always more of a fighter than a lover.
Throw in the fantastic backing vocals from Howie Epstein, which add a soulful vibe to the proceedings, and you’ve got a lot to chew. Petty might have been a bit jaded about the prospects of an American Girl circa the turn of the millennium. But “Swingin” is evidence that he believes that resilience is a quality that never goes out of style.
Song 8: “Here Comes My Girl” Album: Damn the Torpedoes
They say that the third album is the one where you supposed to make your jump, and the Heartbreakers adhered to that formula with Damn the Torpedoes. Not that there was anything wrong with the first two albums, but they can seem downright primitive compared to the breadth and scope of the songs on Torpedoes. Add to that the fact that the band was becoming professional in the studio, and it was a perfect storm.
“Here Comes My Girl” may be the ultimate example of the kind of thing that the Heartbreakers were suddenly capable of doing. It was made possible by the burgeoning songwriting talents of Mike Campbell, who had pretty much the entire arrangement all down on tape when he handed it over to Petty for lyrics.
The band had to bring the arrangement to life though, and they really show their cohesion here. Notice how they leave open spaces for the music to breathe, allowing for their individual flourishes to make maximum impact. Petty's and Campbell’s interplay on rhythm and lead guitar displays great chemistry, and then Benmont Tench comes sweeping into the refrain to add some different colors to the mix. Ron Blair skids along subtly on bass, while Stan Lynch powers the song with a beat that seems to get stronger as the song goes on.
Petty’s vocal is endlessly inspired. He talk-sings through the verses as he describes the disappointments of his day, but then he rises to a shout to describe how his girl soothes his aching soul. In the refrain, he goes into a smooth, multi-tracked croon, yielding one of the Byrdsiest moments in the band’s history.
This is music that’s stunningly assured and accomplished, coming from a band that was really less than a half-decade old. Yes, a lot of bands do make that third-album leap, but few have leapt quite so proficiently and powerfully as this one.
Song 7: “Learning To Fly” Album: Into the Great Wide Open
Petty took his inspiration for this crackerjack opening song on Into the Great Wide Open from something a pilot once told him about flying. From those few words he created a song that creates inspiration for anyone who hears it.
It’s one of those universal songs that can not only mean something different to each person, but it can also mean different things to the same person at different times in their lives. When the problems of the world feel downright Biblical in proportion (“And the rocks might melt and the sea may burn”), we still all have the capability to survive and even thrive if we want it bad enough, if we take the chance to fail.
Of course, that all sounds better through Petty’s brief but telling lyrics as accompanied by the Heartbreakers at their most mid-tempo elegant. The warmth of the performance is undeniable, caressing the listener through troubling times. In contrast to that, the guitar-and-drum breakdown is a cathartic jolt of energy at song’s end, Stan Lynch’s snares popping off like fireworks in the night sky.
Whatever message you may take from “Learning To Fly,” it’s impossible to deny the sublime manner in which it was delivered. Coming down definitely is difficult, especially after listening to music that can get you so high.
Song 6: “Walls (Circus)” Album: Songs and Music from the Motion Picture She's The One
If I asked you which Fleetwood Mac member made the greatest contribution to Petty’s recording career, you might answer Stevie Nicks in a heartbeat, and it would be hard to argue against that since she popped up several times and the two sang a duet that was a major hit. But what if I told you that Lindsey Buckingham ran a closer second in this race than you might think?
You see, it’s Buckingham who arranged and sang the endlessly fascinating layers of backing vocals that make this version of “Walls” so special, elevating a great song into a spectacular one. Since this version is subtitled “Circus,” Buckingham fittingly creates the aural equivalent of a Hall of Mirrors, his voice seconding Petty’s admonitions in skewed proportions at seemingly impossible angles to a reticent girl. One can imagine her, at the center of this barrage, finally grasping the full magnitude of what she has lost.
And it is ultimately a loss, as hinted by Petty’s final set of opposites in his brilliantly conceived lyrics: “Part of me you carry/Part of me is gone.” It’s a tough position to be in when you’re apologizing for someone else’s mistakes, but TP never shows anger or disdain for this girl’s standoffishness; he simply gives her all the evidence he can so that she might see the unseen hurt that such a stance can produce.
Some might prefer the quieter charms of “Walls (No. 3),” but, to me, the huge production here is necessary to thaw this frozen heart. I saw it once, but I honestly can’t remember too much about She’s the One, the Ed Burns movie to which Petty granted this song. But if for no other reason than it inspired this magnificent effort, well, then that long-forgotten flick certainly served its purpose.
Petty, Heartbreakers rock BOK crowd By JENNIFER CHANCELLOR Check out Tulsa World music reporter Jennifer Chancellor's Barrelhouse Beat blog for music news, videos and more.
Tom Petty and his Heartbreakers shook a near-capacity crowd Thursday night at the BOK Center, which was celebrating its second anniversary.
Six high-definition screens hovered in a semicircle over the band and added depth and drama to Petty's musical prowess. The six smaller screens gave way to enormous LED screens, stories high, up close and personal on Petty.
"This is our very first show in Tulsa, Oklahoma," he said as the crowd reciprocated with nearly a full minute of cheers. "I love it here!"
He and his backing band thanked the audience often and blew kisses into the crowd.
Petty is a consummate professional still in the prime of his game. Thursday night's show proved that.
The Rock and Roll Hall of Fame inductee played oldies ("Listen to Her Heart"), goodies ("Mary Jane's Last Dance") and newbies ("Good Enough").
The set spanned his 40-plus-year career, with plenty of crowd- pleasing hits to anchor the bluesy rock mix, including "You Don't Know How it Feels," "Breakdown," "Don't Come Around Here No More," "American Girl," "Free Fallin" and "Refugee."
Petty wore a royal blue velvet jacket and oversized red tie, white button-down shirt and black pants as he rocked through Thursday night's set, which included a playful, rumbling version of Fleetwood Mac's "Oh Well," the frontman shaking maracas to the beat.
A mini-set in the midst of the concert tackled new "Mojo" album tunes with garagey, blues-rock rambunctiousness and included "Jefferson Jericho Blues," "Good Enough," "Running Man's Bible" and "I Should Have Known it." Petty and guitarist Mike Campbell hurled rock licks toward each other with fiery glee.
Texas music stalwart ZZ Top opened the show. Billy Gibbons, Dusty Hill and Frank Beard didn't stun the crowd as much as they wooed them.
It seems like every ZZ Top song is a classic. Their fur-bearing guitars and beard-flaunting shtick is as well-rehearsed as it is popular.
Gibbons reminded Okies that the trio's been the blues-rock house band for the Sooner state for four decades as they played a roster of hits, including "Sharp Dressed Man," "Tush," "Just Got Paid" and "Legs."
Какое-то неудачное турне в этом году. Опять перносят концерты. Том так и не вылечил горло. :( Можно посочувстовать западным фанам - столько переносов и отмен за один тур.
San Diego Show Tonight Postponed. Both San Diego & Phoenix Rescheduled For Next Week
Tom Petty continues to suffer from a sinus and throat infection and on his doctor’s advice the band is regretfully postponing tonight's concert at Cricket Wireless Amphitheatre in Chula Vista, CA for one week until Tuesday October 5. Tickets for tonight’s original date will be honored on October 5.
The concert at the US Airways Center in Phoenix, AZ, which was to take place on September 26, has also been rescheduled and will now take place on Thursday October 7.
Tom’s doctors have advised him not to perform for the next few days but expect that he will be fully recovered for shows this coming weekend.
The show in Phoenix on October 7 will be the final performance on Tom Petty and The Heartbreakers’ 2010 Mojo Tour.
The remaining dates on the Tom Petty and The Heartbreakers Mojo Tour 2010 are as follows:
October 1: Hollywood Bowl, Los Angeles, CA October 2: Verizon Wireless Amphitheater, Irvine, CA October 5: Cricket Wireless Amphitheater, San Diego, CA (rescheduled from September 28) October 7: US Airways Center, Phoenix, AZ (rescheduled from September 26)
Отправлено:29.09.10 12:09.Заголовок:Большая статья о раб..
Большая статья о работе звукоинженеров во время тура Masters Of Their Craft: On Tour With Tom Petty Modern technology reveals traditional sounds for Tom Petty & The Heartbreakers 2010 tour.
Отправлено:03.10.10 22:26.Заголовок:Мощный аппарат у Том..
Мощный аппарат у Тома и ребят,вспоминается,как Джеффа в юнности однажды чуть не убило микрофоном.На него было подано 220 вольт,спасло его только то,что он по привычке сначала приставил к микрофону струны гитары.
Мощный аппарат у Тома и ребят,вспоминается,как Джеффа в юнности однажды чуть не убило микрофоном.На него было подано 220 вольт,спасло его только то,что он по привычке сначала приставил к микрофону струны гитары.
Тома тоже как-то на концерте током от микрофона дернулло хорошо. :(
Товарищи, полная фигня какая-то у меня с регистрацией. Зарегистрировался на сайте: ввёл свой майл и пароль. Появилось: пароль для активации выслан вам на почтовый ящик. Второй день ничего нет. Сегодня ввожу новое имя и тот же майл для повторной регистрации, написано: юзер с таким майлом зарегистрирован. Тогда пробую восстановить пароль, по просьбе опять ввожу свой майл и первичные данные, написано: юзер с таким майлом не зарегистрирован. Тупик.
Очень наглядно получается,как проголосовал, Том поднялся с 10 на 6 место.
Отправлено:06.10.10 08:08.Заголовок:А я на 5-е поднял! :..
А я на 5-е поднял!
Отправлено:07.10.10 13:17.Заголовок:Petty “won’t back do..
Petty “won’t back down”By Alexandra Andersen Published: October 07, 2010
Suits, stoners, soccer moms, hippie chicks, bikers, bros, hipsters and party girls – the eclectic range of fans at Tom Petty and the Heartbreakers’ Oct. 2 Irvine concert proved that the group’s music has yet to “back down.”
Concert-goers young and old filled almost every seat and patch of grass at the Verizon Amphitheater to be a part of the classic band’s “Mojo Tour,” aptly named after their first album release in eight years. A digital copy of Mojo was included with every online ticket purchase, which allowed fans to brush up on the new tunes before the concert began.
Judging by the influx of attendees well after 8 p.m. and the massive tailgating party in the parking lot, hardly anyone took the 7:30 p.m. start time seriously. As a result, opener ZZ Top played their last show of the tour to a much smaller crowd than the concert’s headliners.
Texas blues-rock legend, ZZ Top, played hit songs, like “Sharp Dressed Man,” “Legs” and “La Grange,” ending their 65 minute set with 1975’s “Tush,” as the fashionably late found their seats.
After intermission, excited fans grew restless. Suddenly, the stage lit up and Tom Petty and the Heartbreakers started playing “Listen to Her Heart.” The entire crowd seemed to jump to their feet at once, belting out the lyrics along with frontman Petty, while the air appeared to immediately fill with the smoke of, um, some funny smelling cigarettes.
The group formed in 1976 after Petty was in several other bands that didn’t last. Currently, the Heartbreakers are comprised of guitarist Mike Campell, keyboardist Benmont Tench, bassist Ron Blair, guitarist/keyboardist/harmonica player Scott Thurston and drummer Steve Ferrone.
The soulful band who was inducted into the Rock and Roll Hall of Fame in 2002 has had a multitude of hit singles off their 12 studio albums. They continue to show that their popularity isn’t faltering, which was proven by the packed amphitheater and sold out shows across their 2010 tour.
What makes a Tom Petty concert a Tom Petty concert, is the communal feeling audience members experience. The night started with groups of meandering fans making their way to their seats, but by the end of the show, the crowd swayed and sang in unison, sharing, er, cigarettes.
Saturday’s attendees were treated to a rendition of the band’s most well-known songs. The lineup included “I Won’t Back Down,” “Free Fallin’,” “Mary Jane’s Last Dance,” “Breakdown,” “Learning to Fly” and “Refugee.” The encore included “Running Down a Dream” and “American Girl.”
While the crowd sang their heart’s out during these songs, the moment the Heartbreakers began playing songs off their latest album, listeners flocked to the restrooms and concession stands – typical for any band whose hits are decades old.
Petty, who turns 60-years-old this month, showed the crowd he’s still got it after 34 years with the Heartbreakers. His distinct nasally yet melodic voice hasn’t changed a bit, and the aging rockers proved that you’re only as old as you feel.
The lyrics from “I Won’t Back Down” appear to have become the group’s anthem as they show fans they’re here to stay: “No I’ll stand my ground / Won’t be turned around / And I’ll keep this world from draggin’ me down / Gonna stand my ground.”
Отправлено:07.10.10 15:08.Заголовок:Tom Petty in ace for..
Tom Petty breaks hearts, then wins them back with Rock ‘N’ RollBy Alexandra Bozich Published: Wednesday, October 13, 2010 After Tom Petty disappointed his fans by cancelling his original San Diego show on Tuesday, Sept. 28, he made it up to them on Tuesday, Oct. 5. His original concert had been cancelled after his doctor instructed him not to sing for a few days due to a throat issue. Luckily, for those who bought tickets to the original concert, he was able to perform just one week later than initially planned.
Despite the rain and cold, Tom Petty and The Heartbreakers gave one hell of a performance at the Cricket Wireless Amphitheater in Chula Vista. Fans came out despite the rain, and it's a good thing they did.
Tom Petty opened with one of his older classics, "Listen To Her Heart," and then moved into every stoner's favorite song, "You Don't Know How It Feels." Not surprisingly, the scent in the air changed instantly.
Petty then continued with many popular hits for a while before he focused a chunk of his set list on songs from his newest album "Mojo," which was released this summer on June 15. Many of Petty's older fans were not pleased with this new album, causing the atmosphere at the concert to fizzle for a bit during this section of his show. After playing four songs in a row from "Mojo," the legend finally settled back in with the classics and kicked up the vibe by playing "Learning to Fly."
The band was lively and kept the songs exciting, playing "Refugee" before exiting the stage. Of course everyone was curious as to why a few of his best songs still had not been played. So, after much yelling and cheering, Tom Petty and The Heartbreakers met on stage one last time and gave the crowd an incredible encore. They played "Runnin' Down A Dream" and ended once and for all with "American Girl."
The beauty of Tom Petty and his music was evident when looking out at the crowd. There were people of all ages enjoying the show, some sitting and relaxing on the lawn and others dancing nonstop and trampling over anyone, or anything, in their way.
At such a large venue, it's sometimes hard for a band to captivate the entire audience. The people in the front seats have a more personal experience with the band, however it was clear that the people way back in the lawn didn't feel left out. That's often hard for a band to do, but everyone was loving the show. From the people in the front row, all the way to the old guys leaning against the beer vendor in back, everyone was clearly enjoying themselves.
It's no wonder that Tom Petty and The Heartbreakers were inducted into the Rock ‘N' Roll Hall of Fame in 2002. They are up there with some of the most popular artists of all time ,like The Beatles, The Rolling Stones and Jimi Hendrix. However, one thing that sets Tom Petty apart from many of the other inducted bands is the fact that he's still up and playing. The fact that his fans are still able to see someone who is in the Rock ‘N' Roll Hall of Fame is quite a privilege.
Отправлено:22.10.10 14:27.Заголовок:Jack’s Song Of The S..
Jack’s Song Of The Song: Tom Petty
Tom Petty turned the big 6-0 yesterday and we hear at JackFM wanted to give him a late Bday gift! So we decide to make his previously unreleased tune, ‘Nowhere’, Jack’s Song of the Day!
The tune will be on the remastered edition of Tom Petty & The Heatbreakers‘ 1979 album, Damn The Torpedos, which is set to drop on November 9th!
According to his website, the never-before-heard ‘Nowhere’ was thought to have been lost in 1979 when the tape boxes were being moved daily to avoid the possibility that court bailiffs would claim them as part of Petty’s assets in the lawsuit at the time.
The remastered album will come in four different formats: on two-CDs; on one audiophile quality Blu-ray disc; on 2 180-gram vinyl LPs; and as an iTunes LP.
The Deluxe Edition includes ‘Nowhere’ and 6 other previously unreleased tunes!
Выглядит винил очень соблазнительно, но слушать его не начем, увы.
Отправлено:29.10.10 10:52.Заголовок:Hot Tours: Tom Petty..
Hot Tours: Tom Petty & the Heartbreakers, Metallica, Brooks & Dunn Hot Tours: by Bob Allen | October 28, 2010 12:17 EDT
Tom Petty & the Heartbreakers take the top spot on the Hot Tours chart with a box office gross of $17.3 million reported from a portion of the band's Mojo Tour that began in early June and wrapped on Oct. 7. The tour played amphitheaters and arenas throughout North America grossing more than $44 million overall during the entire four-month stretch, This week's chart includes performances from the last half of the tour, beginning with the Aug. 12 concert at Nashville's Bridgestone Arena. Among these reported dates, the top grosser came from the Boston area with two shows at the 19,900-seat outdoor amphitheater, Comcast Center, located in Mansfield. Attendance was 36,172 for both nights (Aug. 19, 21) with ticket sales topping $2 million.
Metallica ranks second on the Hot Tours list with more than $6.1 million in ticket sales from three sellouts at the Brisbane Entertainment Centre (Oct. 16, 18-19). The arena was one of five Australian venues booked during the final leg of the heavy metal band's World Magnetic Tour that originally kicked-off in 2008. 42,603 total tickets were sold at the Brisbane arena for the three nights. Support acts were Lamb of God and Baroness.
Charting in at the No. 3 position this week is country superstar duo Brooks & Dunn with $5.8 million in reported concert grosses from their final 12 dates on the Last Rodeo Tour. The tour grossed $24.9 million overall this year, playing to over 600,000 fans since its start in April. The final performance for the duo came in Nashville at Bridgestone Arena on Sept. 2.
Rank Artist/Event Total Gross Show Dates Show Venue/City (Shows/Sellouts)
Total Attendance (Capacity) 1 TOM PETTY & THE HEARTBREAKERS $17,356,433 Aug. 12-Oct. 7 Bridgestone Arena, Nashville (1/0) Darien Lake Performing Arts Center, Darien Center, N.Y. (1/1) Jiffy Lube Live, Bristow, Va. (1/0) Comcast Theatre, Hartford, Conn. (1/0) Comcast Center, Mansfield, Mass. (2/0) Izod Center, East Rutherford, N.J. (1/0) Air Canada Centre, Toronto (1/1) Saratoga Performing Arts Center, Saratoga Springs, N.Y. (1/1) Darien Lake Performing Arts Center, Darien Center, N.Y. (1/0) Blossom Music Center, Cuyahoga Falls, Ohio (1/0) Time Warner Cable Music Pavilion, Raleigh, N.C. (1/0) Verizon Wireless Amphitheater, Charlotte (1/0) Superpages.com Center, Dallas (1/0) BOK Center, Tulsa, Okla. (1/0) Cynthia Woods Mitchell Pavilion, The Woodlands, Texas (1/1) Verizon Wireless Amphitheater, Irvine, Calif. (1/1) Cricket Wireless Amphitheatre, Chula Vista, Calif. (1/0) U.S. Airways Center, Phoenix, Ariz. (1/0) 287,956 (336,603)
2 METALLICA $6,135,710 Oct. 16-19 Brisbane Entertainment Centre, Brisbane, Australia (3/3) 42,603 (42,603)
3 BROOKS & DUNN $5,831,003 Aug. 7-Sept. 2 Verizon Wireless Amphitheater, Maryland Heights, Mo. (1/0) First Midwest Bank Amphitheatre, Tinley Park, Ill. (1/0) Comcast Center, Mansfield, Mass. (1/0) Comcast Theatre, Hartford, Conn. (1/0) Virginia Beach Amphitheater, Virginia Beach (1/0) Ford Center, Oklahoma City (1/0) Verizon Arena, North Little Rock, Ark. (1/0) Aaron's Amphitheatre at Lakewood, Atlanta (1/0) Blossom Music Center, Cuyahoga Falls, Ohio (1/0) Darien Lake Performing Arts Center, Darien Center, N.Y. (1/0) PNC Bank Arts Center, Holmdel, N.J. (1/0) Bridgestone Arena, Nashville (1/0) 151,253 (207,445)
4 JUSTIN BIEBER $2,065,840 Oct. 19-24 Rogers Arena, Vancouver (1/1) ARCO Arena, Sacramento, Calif. (1/1) Citizens Business Bank Arena, Ontario, Calif. (1/1) 36,879 (36,879)
6 CARRIE UNDERWOOD $1,535,001 Oct. 19-23 INTRUST Bank Arena, Wichita, Kan. (1/1) Ford Center, Oklahoma City (1/0) FedExForum, Memphis (1/1) Mobile Civic Center, Mobile, Ala. (1/0) 31,678 (33,186)
7 SO YOU THINK YOU CAN DANCE TOUR $1,295,218 Oct. 19-24 Air Canada Centre, Toronto (1/0) Joe Louis Arena, Detroit (1/0) CONSOL Energy Center, Pittsburgh (1/0) KFC Yum! Center, Louisville, Ky. (1/0) Schottenstein Center, Columbus, Ohio (1/0) 24,804 (31,068)
8 AMERICA'S GOT TALENT LIVE $995,208 Oct. 1-13 Paramount Theatre, Oakland (1/0) Reno Events Center, Reno, Nev. (1/0) Dodge Theatre, Phoenix (1/0) NOKIA Theatre L.A. Live, Los Angeles (1/0) The Colosseum at Caesars Palace, Las Vegas (1/0) San Diego Civic Theatre, San Diego (1/0) Verizon Theatre, Grand Prairie, Texas (1/0) 16,693 (23,131)
9 GORILLAZ $819,241 Oct. 6-22 Agganis Arena, Boston (1/1) Frank Erwin Center, Austin (1/0) 11,077 (11,362)
10 PARAMORE $708,259 Oct. 15 Sydney Entertainment Centre, Sydney (1/0) 9,246 (10,000)