Отправлено: 25.10.09 21:52. Заголовок: ЛЕНТА НОВОСТЕЙ ТОМА ПЕТТИ - 5

Новости, факты, интересные статьи, фото и пр.

 Отправлено: 28.03.11 13:16. Заголовок: Том на баскетбольном..

 Отправлено: 29.10.10 10:59. Заголовок: Приятно,что Тому отд..

Приятно,что Тому отдали верхнею строчку,тем более что тур проходил с такими сложностями.

 Отправлено: 29.10.10 11:12. Заголовок: Voldar пишет: Прият..

Voldar пишет:

цитата:

Приятно,что Тому отдали верхнею строчку,тем более что тур проходил с такими сложностями.

Да, в этом году было столько "приключений", сколько не было за все последние годы вместе взятые.

 Отправлено: 31.10.10 21:15. Заголовок: Norah Jones, Jesse M..

Norah Jones, Jesse Malin, Evan Dando and More Celebrate Tom Petty in New York

If there's one musician most rock fans can all agree on, it's Tom Petty. Thursday night at New York's Bowery Ballroom, Norah Jones, two 'Saturday Night Live' cast members, one Strokes bassist and Reeve Carney, the dude getting ready to play the lead in U2's 'Spider-Man' musical, were among the artists on hand for this year's 'Petty Fest,' a celebration of the man's 60th birthday.

The format was simple: A core sextet of house musicians, the Cabin Down Below Band, played spot-on covers of 27 Petty tunes, allowing singers to filter out individually or in small groups and indulge in some choice karaoke action. Petty's catalog is just right for boozing and wailing, and most guests were happy to do both.

Jones stayed on longer than any artist, although she was woefully underutilized on four of her six tunes. The nine-time Grammy winner first lent her voice to a trio of female background singers, then tried in vain to find her way into 'Walls' and 'It's Good to Be King,' both of which featured hometown weirdo Adam Green, formerly of the Moldy Peaches, on lead vocals.

On 'It's Time to Move On' and 'You Don't Know How It Feels' -- tunes befitting of her laidback singing style -- Jones and her short, shiny green party dress finally had the spotlight they deserved.

Other highlights included local hero Jesse Malin's characteristically energetic takes on 'American Girl' and 'I Need to Know,' Nikolai Fraiture's decidedly non-Strokes-like 'I Won't Back Down' and Fountains of Wayne guitarist Jody Porter's Who-evoking 'Love Is a Long Road.' 'SNL' chums Will Forte and Jason Sudeikis -- twinsies in plaid western shirts -- bleated out credible versions of 'Stop Draggin' My Heart Around' and 'Even the Losers.'

Among the unannounced special guests were Evan Dando, whose song selection, 'A Face in the Crowd,' was a bit more impressive than his acoustic performance, and Har Mar Superstar, who presided over the can't-fail, first-class fist-pumper 'Refugee.'

The night was filled with such songs, as most artists wisely picked from Petty's 'Greatest Hits,' perhaps the best best-of in rock history. While the man himself never showed up, the evening's entire lineup took the stage for three encores, ending with the mother of all Petty sing-alongs, 'Free Fallin'.'

That tune, perhaps more than any other in the singer's catalog, offers hope for world peace. Wherever folks can listen while beating on their steering wheels, they might stop beating on one another.

http://www.spinner.com/2010/10/29/tom-petty-fest-new-york/<\/u><\/a>

 Отправлено: 03.11.10 12:59. Заголовок: На офсайте появилась..

На офсайте появилась более развернутая информация о праздновании 60-ти летия Тома на его фестивале в Нью-Йорке.Обратите внимание ,что пели в конце и кто пел.

Petty Fest Recap

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Nicole Atkins takes Roy Orbison's part on the Traveling Wilbury's "Handle with Care."


Billed as tribute to Tom on his 60th birthday, Petty Fest 2010 lived up to expectations on all fronts as more than 25 musicians, actors, and artists gathered October 28 at a sold-out Bowery Ballroom for a whiskey-fueled, three-hour tour through Heartbreaker hits and deeper cuts as well as songs from Tom’s solo albums.

Though the birthday boy himself was not in attendance, there was plenty of star power in the house, brought together by Rolling Stone editor Austin Scaggs, who played bass in house band, The Cabin Below Band, and handled emcee duties for the evening.

Kicking things off with the appropriate "Cabin Down Below" and frequent Heartbreakers opener "Listen to Her Heart," Scaggs and company began the parade of guests by welcoming Five O’Clock Heroes’ Antony Ellis for a solid take on "Don’t Do Me Like That." "The Waiting" off 1981’s Hard Promises requires a singer who can hit the high notes, and Jack Dishel of Only Son and The Moldy Peaches nailed it perfectly, leading the crowd in the first sing-a-long of the night. Fountain of Wayne’s Jody Porter delivered a stellar "Love is a Long Road" before ceding the spotlight to Tyson Ritter from All American Rejects for a double shot of "Breakdown" and "Yer So Bad." Steve Schiltz of Hurricane Bells and Longwave lent his explosive guitar playing to several songs throughout the night, but it was his turn on the mike for "Honey Bee" – aided by some bluesy harmonica from rock shutterbug Danny Clinch – that proved to be the night’s first musical peak.

The Mooney Suzuki’s Sammy James Jr. was up next, lending his vocals and guitar to "Here Comes My Girl" and "Jammin’ Me." Surprise guest Har Mar Superstar managed to keep his clothes on for a rocking "Refugee" before Nikolai Fraiture, bassist for The Strokes, led a rockin’ version of "I Won’t Back Down" with Nicole Atkins on backing vocals and Heartbreakers publicist Jim Merlis on bass. Jesse Malin’s punk-to-the-bone attitude brought some grit to "American Girl" and "I Need to Know," which juxtaposed nicely with "Mary Jane’s Last Dance," sung by the alluring Catherine Pierce. Saturday Night Live’s Will Forte and Jason Sudeikis brought some levity to the festivities with hilarious readings of "Stop Draggin’ My Heart Around" and "Even the Losers."

One of the real highlights of the night was Evan Dando’s low-key acoustic reading of "Face in the Crowd," which seemed perfectly fit for the subdued former Lemonheads frontman. Norah Jones, perhaps the night’s most highly anticipated guest, appeared next, singing backup vocals to former Moldy Peaches frontman Adam Green on "It’s Good to Be King" and "Walls." Jones rode shotgun to Scaggs’ lead vocals on "You Wreck Me" before taking center stage on a brilliant "Time to Move On" and a bouncy "You Don’t Know How It Feels."

Though listed on the bill, the biggest surprise of the night might have been Reeve Carney, the lead in the newly minted Spiderman musical that opens on Broadway next month. Joined by his brother Zane on guitar, Reeve dropped a killer "Into the Great Wide Open" before the backstage dressing rooms were emptied for sing-a-longs on the Traveling Wilbury’s "Handle with Care" (featuring Nicole Atkins singing the Roy Orbison part), hippie-anthem "Something in the Air" and a show-closing "Free Fallin’."

THE CABIN DOWN BELOW BAND IS:

Guitars:
Alex Levy
Josh Lattanzi
Reno Bo

Bass:
Austin Scaggs

Drums:
Matt Romano

Keys:
Dave Sherman

SET LIST:

Cabin Down Below – featuring Alex Levy of the Cabin Down Below Band

Listen to Her Heart – featuring Reno Bo of the Cabin Down Below Band

Don't Do Me Like That – featuring Antony Ellis (Five O’Clock Heroes)

The Waiting – featuring Jack Dishel (Only Son, The Moldy Peaches)

Love is a Long Road – featuring Jody Porter (Fountains of Wayne)

Breakdown – featuring Tyson Ritter (All American Rejects)

Yer So Bad – featuring Tyson Ritter (All American Rejects)

Honey Bee – featuring Steve Schiltz (Hurricane Bells, Longwave) & Danny Clinch

Here Comes My Girl – featuring Sammy James Jr. (The Mooney Suzuki)

Jammin' Me – featuring Sammy James Jr. (The Mooney Suzuki)

Refugee – featuring Har Mar Superstar

I Won't Back Down – featuring Nikolai Fraiture (The Strokes), Nicole Atkins & Heartbreakers publicist Jim Merlis

American Girl – featuring Jesse Malin

I Need to Know – featuring Jesse Malin

Mary Jane's Last Dance – featuring Catherine Pierce (The Pierces)

Stop Draggin’ My Heart Around – featuring Will Forte and Jason Sudeikis (SNL)

Even the Losers – featuring Will Forte and Jason Sudeikis (SNL)

A Face in the Crowd – featuring Evan Dando & Steve Schiltz (Hurricane Bells, Longwave)

Don't Come Around Here No More – featuring Alex Levy of the Cabin Down Below Band with Norah Jones, Nicole Atkins & Catherine Pierce

It's Good to Be King – featuring Adam Green (The Moldy Peaches) & Norah Jones

Walls– featuring Adam Green (The Moldy Peaches) & Norah Jones

You Wreck Me – featuring Norah Jones

Time to Move On – featuring Norah Jones

You Don't Know How It Feels – featuring Norah Jones & Danny Clinch

Into the Great Wide Open – featuring Reeve & Zane Carney (U2’s Spiderman Musical)

Runnin’ Down a Dream – featuring Josh Lattanzi of the Cabin Down Below Band

ENCORE:

Handle with Care – All

Something in the Air – All

Free Fallin' – All

http://www.tompetty.com/news/title/petty-fest-recap<\/u><\/a>

 Отправлено: 08.11.10 11:38. Заголовок: Выход завтра делюксо..

Выход завтра делюксового издания Damn The Torpedoes сопровождается могучей информационной поддержкой VH1 Classic.

Five Hours of Tom Petty and the Heartbreakers Programming On VH1 Classic

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The Tuesday November 9 release of Damn The Torpedoes – Deluxe Edition will be supported by VH1 Classic with 5 straight hours of programming on Sunday November 7 starting at 3pm EST/PDT. The 5 hour block will include two world television premieres; the Damn The Torpedoes Classic Albums documentary and the December 31, 1978 concert from The Santa Monica Civic Auditorium.

Here is the schedule of programming for this Sunday November 7 on VH1 Classic.

3pm: Soundstage – Tom Petty and The Heartbreakers

5pm: VH1 All Time Top Ten – Tom Petty

6pm: Classic Albums – Damn The Torpedoes (Television Premiere!)

7pm: Classic In Concert: Tom Petty and the Heartbreakers – Live From The Santa Monica Civic Auditorium, New Year’s Eve 1978 (Television Premiere!)

**All Times are Eastern and Pacific. Central and Mountain start times are one and two hours earlier, respectively.

The Damn The Torpedoes episode of Classic Albums features comprehensive interviews with Tom Petty, Mike Campbell, Benmont Tench, Ron Blair, producer Jimmy Iovine, engineer Shelley Yakus, and others close to the band about the process of writing and recording the classic songs which comprise Tom Petty and the Heartbreakers’ groundbreaking 1979 album.

The New Year’s Eve 1978 Concert Live From The Santa Monica Civic Auditorium was a special show filmed for television but never aired, until now. It has only been released on DVD as part of The Live Anthology Deluxe Box Set. It includes the first ever recorded versions of Refugee and Casa Dega.

http://www.tompetty.com/news/title/five-hours-of-tom-petty-and-the-heartbreakers-programming-on-vh1-classic-<\/u><\/a>

 Отправлено: 08.11.10 14:00. Заголовок: TOM PETTY, JOHNNY CA..

TOM PETTY, JOHNNY CASH AND ABE LINCOLN: LIFE WITH REBELS
by Jeff Cochran | Nov 3, 2010
Like the Dew

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Tom Petty, seated at left, during a promotional tour in Atlanta circa 1976. Behind him are Ken and Pam Jernigan. (Photo courtesy of Pam Jernigan.)

It’s a wild-eyed, desperate character Tom Petty conjured for “Rebels,” one who immediately takes center stage. The guy is out of his mind, out of money and the woman who’s endured him is out of patience.

Honey don’t walk out, I’m too drunk to follow
You know you won’t feel this way tomorrow
Well maybe a little rough around the edges
Or inside a little hollow
I get faced with somethings sometimes
That are so hard to swallow

She picked me up in the mornin’
and she paid all my tickets
Then she screamed in the car
Left me out in the thicket
Well I never woulda dreamed
That her heart was so wicked
Yeah but I keep comin’ back
“Cause it’s so hard to kick it

In her Rolling Stone review of “Southern Accents,” the sixth album by Tom Petty and the Heartbreakers, Joyce Millman calls “Rebels” a “vivid scene setter full of bedraggled humor,” referring to the song’s protagonist as an “embattled-but-scrappy-antihero.” He’s also a piece of work, one that requires heavy maintenance. It’s logical that his woman, tired of paying his bills, getting him out of trouble and simply dealing with his bluster, would scream at him, demanding he remove himself from her car. But bathed, presentable, and sober, all is likely forgiven as he charms his way back into her good graces. The situation is reminiscent to what Stanley and Stella Kowalski experienced in A Streetcar Named Desire. After a late night barrage of cruelties, verbal and physical, Stella can’t take it anymore. She and her sister Blanche go to spend the night with a neighbor, looking for safety at least until the storm passes. But in no time, she yields to the call of the wild possessing her and Stanley both. The time that passes between then and the dawn is wild and fulfilling. Stella is smiling again, blinded by her love and hopeful the scary moments will end.

In “Rebels, “Petty’s protagonist keeps going back to his woman, “cause it’s so hard to kick it.” It could be she has a hard time kicking it too.

Years later Tom Petty noted the complexities of his protagonist, saying, “The character in the song is condescended to, but he actually almost deserves it.” That’s a fair conclusion. The guy is condescended to; so be it. He’s a sponge. Like a lot of people who pass their way through life, he chooses to blame circumstances for his misfortunes, acknowledging, with some pride, he’s the way he is because of where he was born and what was waiting for him as he tumbled out of the womb.

Even before my father’s father
They called us all rebels
While they burned down our cornfields
And left our cities leveled
I can still feel the eyes
of those blue-bellied devils
Yeah, when I’m walkin round at night
Through the concrete and metal
hey, hey, hey
I was born a rebel down in Dixie
On a Sunday mornin
Yeah with one foot in the grave
And one foot on the pedal
I was born a rebel

Petty’s character claims his family had always been rebels. Grudges have been held by the family, going back to the Civil War when “blue bellied devils” burned down their cornfields and destroyed their cities. Others around them may have eventually prospered and gained honor in the aftermath, but these rebels know they’ve gone years, even generations without wealth or approval. They won’t bother to pursue it now.

More than a century passes and their resentment festers on. It’s not the soldiers north of the Mason-Dixon line the “Rebels” cringe over. It’s modern day America, replete with investors and developers: the contemporary carpetbaggers who reshape the land and petition for rezoning that turns pastures into parking lots. The vista once revealing endless sky becomes blotted with Wal-Mart, Auto Zone and Burger King signs hoisted high enough so they’re visible to travelers a good distance from the off-ramps. “Concrete and metal” conquers, even in the remote locales.

So the rebels over the generations languish, thinking the world has it in for them. Some were defeated on their land and those after them saw the appearance and use of their land change for the worse. The “blue bellied devils,” now in their Izods, work to curry favor in the local business communities. The rebels feel sold out. So how do the rebels deal with their lives and hold on to a bit of pride? With one foot already in the grave, they’ll floor that pedal harder, even if all the hell-raising leaves them with aches, pains and emptied wallets.

“Rebels” is a great kick-off to the “Southern Accents” album, released in March ’85. The song is embellished with dramatic flair and a feeling for history, but just as important for Petty’s defiant character, it rocks with authority. Already known for his rebellious streak within the music business, “Rebels” is a perfect fit for Petty and the Heartbreakers. It serves as one of the most dynamic works in their first decade as a recording act, along with “American Girl” and “Shadow of A Doubt.” A little rebellion, as Thomas Jefferson often noted, can be good.

(Historical notes on Abe Lincoln contained in article)

In “Rebels,” Tom Petty’s protagonist explains how even before his father’s father, “they called us all rebels.” Some of those ancestors, positioned on the side of the Confederates in the Civil War, were likely as drained as President Lincoln. Forgiveness and reconciliation seemed in order. On the title song of the “Southern Accents” album, Petty presents another character, one who’s not so rebellious, but mindful of what makes him different from others. This character, for all the hardship he’s experienced, appears thankful for what he’s learned and ready for better times.

There’s a dream I keep having
Where my mama comes to me
And kneels down over by the window
And says a prayer for me
I got my own way of prayin
But everyone’s begun
With a southern accent
Where I come from--

The recording of “Southern Accents” by Tom Petty and The Heartbreakers falls short of the spirit within the song. It’s over-produced. The song’s message gets lost in the clutter of the arrangement. But the great song caught the ear of Johnny Cash. He told Petty, “That should replace ‘Dixie.’” Petty replied with “Wow,” but Cash was serious, replying, “No I mean it, it’s a better song than ‘Dixie.’”

Petty and the Heartbreakers played behind Cash on his 1996 album, “Unchained.” It’s a brilliant work. While speaking of the album, Petty told journalist Holly George-Warren “that it’s the best we ever played. I actually still play that album………I’m very proud of it.” Cash could be proud as well. “Unchained” may be the best album of his career. Naturally, a standout track is “Southern Accents.” Resolute and thoughtful, Cash is in great voice. Everything about this recording is perfect.

The day after Lee surrendered to Grant at Appomattox, crowds gathered at the White House to celebrate. People sang. A band played. President Lincoln requested the band play “Dixie,” calling it “one of the best tunes I’ve ever heard.” It’s also likely Lincoln, born in Kentucky, would have appreciated the sounds and sentiments of “Southern Accents” as well.

Complete article:

http://likethedew.com/2010/11/03/tom-petty-johnny-cash-and-abe-lincoln-life-with-rebels/?sms_ss=email&at_xt=4cd216b350055ec9<\/u><\/a>,0

 Отправлено: 09.11.10 11:53. Заголовок: Tom Petty: Damn The ..

Tom Petty: Damn The Torpedoes Deluxe Edition review track-by-trackThe Heartbreakers' 1979 classic gets the two-CD treatment
Joe Bosso, Mon 8 Nov 2010, 10:25 pm UTC
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"That was the record where life was never going to be the same again," Tom Petty recently said of Damn The Torpedoes, his 1979 breakthrough.
Underscoring the weight of Petty's summation is the fact that it's an album he almost didn't get to make at all: a messy legal dispute with his label, MCA, had forced Petty into bankruptcy. And despite the fact that the he and the Heartbreakers had broken big in the UK and had finally scored a couple of Stateside singles, I Need To Know and Listen To Her Heart, from their second record, 1978's You're Gonna Get It, as the decade drew to a close, the future for the band didn't look bright.
In Springsteen-like fashion, however, Petty prevailed in court and hit the studio intent on making good on years of hard promises. Working with a young production maverick named Jimmy Iovine, he and the Heartbreakers hunkered down on a collection of radio-ready songs that tied all of their influences (most notably The Byrds and Bob Dylan) together seamlessly. Refugee, Don‘t Do Me Like That, Here Comes My Girl, Even The Losers - purpose and passion never sounded so tuneful and triumphant. With anthems such as these, Damn The Torpedoes was all over the airwaves, eventually going double platinum and darn near hitting the No. 1 spot (a little offering by Pink Floyd, something about a wall, held it off).
And now, 31 years after its release, Damn The Torpedoes is getting the deluxe treatment as a two-CD set which includes a spiffed-up, remastered edition of the classic album, along with a bonus disc of never-before-heard tracks from the ‘79 sessions, B-sides, alternate takes and live versions of some of the hits.
With the holidays nearing and deluxe reissues coming at us from all corners, is the steroid-enhanced version of Damn The Torpedoes a stocking stuffer for the TP fan in your life? Let’s check it out track-by-track and see…
Disc One:

RefugeeThree decades later, that walloping drum intro still does the trick, shoving us face-first into a scorching rocker that hasn't aged one bit. And despite its scornful tone, with lines like "Baby, we ain't the first/ I'm sure a lot of other lovers been burned/ right now this seems real to you/ but it's one of those things you gotta feel to be true," there's a tender heart at Refugee's core.
The remastered version manages something rather remarkable, accentuating each instrument in the mix without shortchanging one over the other. This includes Petty's effective vocal, which rises from an almost conversational tone to a banshee-like wail
Here Comes My GirlTom Petty's second great love song (his first was Listen To Her Heart) felt both nostalgic and in-the-moment when it was first released, and the passage of time has intensified both qualities. As a three-minute primer in everything great about the Heartbreakers, it's got it all: pounding drums, swirling organ fills, fluid bass, and sparkling guitars.
Here, it still sounds every bit as urgent, with Petty's voice rising above his bandmates' supportive accompaniment to tell the "whole wide world to shove it!" - 'cause, hey, here comes his girl. Some sentiments never grow old.

 Отправлено: 09.11.10 11:56. Заголовок: http://s14.radikal...

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Even The LosersThree songs in and Petty's still racking up winners. Buoyed by Stan Lynch's muscular, swinging drum patterns and Mike Campell's ringing guitar, he sings a song only for the lonely that stands alongside the gems of his eventual Traveling Wilburys bandmate Roy Orbison.
What's amazing about the interplay of TP and the Heartbreakers is the amount of space they give one another, with each instrument serving a specific dramatic purpose. All are rendered beautifully here. Want to know how a five-piece band should play together? This track is required listening.
Shadow Of A Doubt (A Complex Kid)Driven by Stan Lynch's breakneck drumming (his artful use of his ride cymbal makes the pre-chorus come alive) and the uncredited bongos of Phil Jones, Petty belts out a tale that marries melancholy lyricism with spirited determination.
The guitars glide along gracefully - there's chiming chords and jagged little lines here and there - until Campbell takes a full-spotlight top-string solo, the kind of which is guaranteed to get even the faintest of pulses racing.
Century CityThe Rolling Stones were also a major influence on TP, and a year after their punk-flavored Some Girls, Petty and the boys paid hommage to their British heroes with this ragged slice of take-no-prisoners white-knuckled rock.
Petty's sneering vocal (which includes the occasional scream and whoop) is an emotional highlight, as is Stan Lynch's punchy drumming. But the song truly belongs to Mike Campbell, who turns in a galvanizing double-stop-infused Keef-like guitar solo.
Don't Do Me Like ThatAnd to think that the first single from Damn The Torpedoes, one which would eventually reach No. 10 on Billboard's Hot 100, almost went to the J Geils Band - the song failed to make the cut on Petty's first two albums, and he was ready to let the Boston-based R&B rockers have it before giving the tune one last shot.
Good thing, too, for it's still a standout - catchy as the flu, full of playful drumming (those stop-starts at the beginning - you know what song it is within seconds) and tricky guitar answer lines. As middle-eights go, it doesn't get more memorable than this. Throughout, Petty proves to be a master vocalist, alternating between a spurned lover's plea and youthful stoicism.
You Tell MeAmidst the barrage of hits that Damn The Torpedoes yielded, one or two tracks were inevitably overlooked, and this tough-yet-soulful, mid-tempo, keyboard heavy number was one of them.
Benmont Tench, the Heartbreakers' secret weapon, gets his moment in the sun here, sprinkling sweeping piano lines that meld with Hammond B3 swells to a stunningly effective degree. Petty, like most great singers, has a couple of different voices in his quill, and on You Tell Me he alternates between the hard and soft - one moment he's caressing your ear with a whisper, the next he's spitting his words with unmasked venom. And check out Mike Campbell, whose guitar lines scream into the night.
While not a smasheroony, the song isn't a piker by any stretch.
What Are You Doin' In My Life?
An all-hands-on-deck rocker that wastes little time getting down to serious business. Underpinned by Benmont Tench's boogie-woogie piano, Petty rages in a chorus that you don't have to hear more than once to remember your entire life.
Mike Campbell is all things Keith and Ron Wood, tossing out greasy slide runs and a gleeful solo that recalls mid-period Stones. At 2:19, it's the shortest and most un-fussed-over song on Damn The Torpedoes, but it's one which makes an indelible impact.
Louisiana RainDon't let that goofy bit of sped-up tape rewind and sound effects at the beginning fool you - Louisiana Rain is a poignant, aching folk-flavored ballad about lost love, yearning and regret.
Gently strummed acoustics, glowing keyboard lines and Stan Lynch's thoughtful drumming serve Petty well throughout as he sings "Louisiana rain is falling just like tears/running down my face, washing out the years/ Louisiana rain is soaking through my shoes/ I may never be the same when I reach Baton Rouge."
Mike Campbell, always the ace, turns in a weeping slide solo that feels like a musical climax...that is, until Petty joins him on harmonica (ahhh, the Dylan influence!). There's many reasons why these two have become one of rock's most acclaimed duos, and their interplay on Louisiana Rain is a shining example.

 Отправлено: 09.11.10 12:00. Заголовок: http://s39.radikal.r..

 Отправлено: 09.11.10 13:00. Заголовок: Торпеды в блю-рее вр..

Торпеды в блю-рее вроде бы уже и у нас появились<\/u><\/a>

 Отправлено: 09.11.10 13:03. Заголовок: В сентябре по радио ..

В сентябре по радио Финам ФМ была передача "Историческая справедливость", посвящённая Тому Петти. Послушать и скачать можно здесь<\/u><\/a> (внизу страницы).

 Отправлено: 09.11.10 14:14. Заголовок: stvol большое спасиб..

stvol большое спасибо и вам и Коле Арутюнову,все таки не зря он похож на Джеффв.

 Отправлено: 09.11.10 16:53. Заголовок: stvol Cпасибо!!..

stvol, спасибо!!

 Отправлено: 10.11.10 00:20. Заголовок: Мне - не за что! Спа..

Мне - не за что! Спасибо радиостанции, она радовала этой осенью: то весь день Битлз, то про Томушку передача.

 Отправлено: 10.11.10 11:02. Заголовок: Хорошая передача! Жа..

Хорошая передача! Жаль, что такая короткая - 50 минут чтобы рассказать о Томушке маловато.

 Отправлено: 10.11.10 12:05. Заголовок: Ну для нашего радиоэ..

Ну для нашего радиоэфира это просто прорыв,потому что такое впечатление,что Тома у нас вообще не знают.

 Отправлено: 10.11.10 12:28. Заголовок: Voldar пишет: Ну дл..

Voldar пишет:

цитата:

Ну для нашего радиоэфира это просто прорыв,потому что такое впечатление,что Тома у нас вообще не знают.

Это точно. Разве что Миша Кузищев делал про Тома передачи на " Эхе Москвы" году в 2002.Кажется было 3 или 4 выпуска. Но это уже так давно было.
У нас на Радио Рокс в Питере иногда песни передают, но часто все очень известное.

 Отправлено: 10.11.10 12:38. Заголовок: Миша Кузищев просто ..

Миша Кузищев просто молодец,он просто наш человек,наверно именно он написал лучшие статьи про наших любимцев.

 Отправлено: 10.11.10 13:18. Заголовок: Да, у Миши и про Том..

Да, у Миши и про Тома и про ELO замечательные статьи выходили.