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
Откуда: Россия, Москва
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.
Откуда: Россия, Москва
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.