Отправлено: 15.06.11 09:25. Заголовок: Отрывок из интервью ..
Отрывок из интервью с Миком от 1979 года.Вот,что он говорил о Томе:
Jagger: The music’s rehearsed a lot. You see, all people think about is, they think, in rock ‘n’ roll, they get the music off right and they think it’s okay standing, looking macho. Well, it’s not. That’s boring. If you want to be a performer you’ve got to do a lot more work than that. Obviously the music’s got to be right. But you’re not playing in a recording studio. You’ve got to go out there and entertain and all that. It’s too much improvisation in rock ‘n’ roll. That’s what’s wrong with it. People think it’s enough just to stand there, and for most it is enough. I think it’s amazing that people put up with it.
High Times: Well, Tom Petty gets up there and just stands there and just sings his songs.
Jagger: Does he really? I’ve never seen him. I like the record.
High Times: Oh, I love him. I love to watch him ‘cause he just emanates charisma.
Jagger: Yeah, but if you’ve got that thing, "emanates charisma" -- put that down in journalistic, cliché claptrap. (Laughs.)
High Times: No, I was going to say them both in two sentences, but he emanates sex and has a lot of charisma just by standing there.
Jagger: I know what you mean. I’d suck his cock afterwards. (Laughter.)
High Times: He might give you a hard on, I don’t know. (Laughter.) No, he’s real sweet.
Jagger: Does he give you a hard-on? (Leers.)
High Times: Yeah, he does.
Jagger: Do you get a hard on just watching the guy standing there? I just think -- I don’t mean it too sexually, I must admit. I forget about that, you know. I don’t think about the sexual part of it very much. I mean, not when I’m onstage. I just start rubbing my cock, say I’ve got to do this. I’ve seen other people do it.
Отправлено: 17.06.11 10:23. Заголовок: Taylor Swift Scribbl..
Taylor Swift Scribbles Tom Petty Lyrics on Her Arm
Taylor Swift showed up on stage with some more ink on her arm! The pop star performed in Columbus, Ohio as part of her Speak Now tour and showed up in a sexy gold gown and her guitar, but it was the writing down her left arm that caught our attention!
Though she’s been known to write her lyrics on her arm throughout this tour, the words tend to change.
Her arm read: “And for one desperate moment there, he crept back in her memory.” The country crooner also had this written on her arm a few days prior when she performed in Ft. Lauderdale, FL on June 2. This is a lyric from Tom Petty‘s song “American Girl.”
Отправлено: 23.06.11 14:47. Заголовок: North American syndi..
North American syndicated Rock radio show 'In The Studio' celebrates the 20th Anniversary of Tom Petty and the Heartbreakers 'Into The Great Wide Open'.
Coming off his massively successful solo album 'Full Moon', 'Into The Great Wide Open' would be a reunion of sorts with the Heartbreakers, which spawned two Billboard # 1 rock singles "Learning To Fly" and "Out In The Cold" Show producer/host Redbeard speaks to Tom Petty about his mindset for this album. "I don't want to put any restrictions whatsoever on what we do now, musically", remarks Petty. "It still fascinates me that you can pick up the guitar and sit for a few hours and find some tune you never knew existed." To find out where to hear this show, or to stream the interview ONLINE, visit: www.inthestudio.net
As you will hear in this weekЃfs classic rock interview with Tom Petty, two significant events informed the songwriting on 1991ЃЊs Into the Great Wide Open , Tom Petty and the HeartbreakersЃe first post-Traveling Wilburys/Full Moon Fever effort with his own band. First,Tom turned forty. ЃgIЃfll probably look back at this as some kind of mid-life crisis album,Ѓh Petty chuckles ,Ѓhand go ,ЃfGod, I shouldЃfve just lightened up ! ShouldЃfve had a drink and forgot about it !Ѓf But I suppose IЃfm just working a lot of things out.ItЃfs very hard living your life as we have in tour buses and airplanes for all of this time. I think when I turned 40 I kinda did , as most people do, get a little reflective about ЃeWhere have we been?And where are we going?Ѓf And you do kind of realize that ,Ѓf Gee, twenty more and IЃfm outta here !Ѓf So you do take stock of that , you do.Ѓh
The second significant factor was that the songs for Into the Great Wide Open were written with a pre-9/11 perspective during Desert Storm Gulf War 1,which disturbed long-dormant feelings in Tom as well as many others who came of age during the nationЃfs lengthy , deadly, ill-advised Viet Nam War . Ѓh As I wrote this album , we went to war , and there were a few anxious moments there when you feel very vulnerable to people who are running the planet . Can those people just blow me up ? Yes they can ! And it was a very hard , painful thing to go through , the war was . I had extremely mixed emotions , I never felt good about it . And of course I support the troops , but I felt terrible about the fact that , in this day and age, that weЃfre still barbaric enough to roll out and kill thousands of peopleЃcЃeDark of the SunЃe was one written during that period of the (Gulf) war . When I watched the oil fires in Kuwait, I had the image of the dark of the sunЃcimagining if it had been Indianapolis where the oil fires were burning , or Cincinnati, or Los Angeles instead of Kuwait on CNN . Ѓg-Redbeard
Спасибо! Интересный материал. Я по-новому взглянул на Into The Great Wide Open.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 27.06.11 14:13. Заголовок: Larry Crowne Soundtr..
Larry Crowne Soundtrack Includes Tunes by Tom Petty, Electric Light Orchestra, Smokey Robinson
Songs by Tom Petty & the Heartbreakers and the Electric Light Orchestra are among the eclectic sampling of tunes featured on the soundtrack to the new Tom Hanks-Julia Roberts romantic comedy, Larry Crowne. The 13-track album, which will be released this Tuesday, three days before the film hits theaters, includes two cuts by Petty & the Heartbreakers: "Listen to Her Heart" and "Walls (No. 3)," as well as the solo Petty classic "Runnin' Down a Dream." ELO also contributes a pair of songs to the disc, "Hold On Tight" and "Calling America." Among the soundtrack's other offerings are Billy Squier's breakout 1981 hit "The Stroke" and Smokey Robinson's 1979 slow jam "Cruisin'."
Here is the entire Larry Crowne soundtrack song list:
1. Electric Light Orchestra, "Hold On Tight" 2. Tom Petty, "Runnin' Down a Dream" 3. Swingfly, "Something's Got Me Started" 4. Billy Squier, "The Stroke" 5. Sky Ferreira, "Obsession" 6. Electric Light Orchestra, "Calling America" 7. Tom Petty & the Heartbreakers, "Listen to Her Heart" 8. Smokey Robinson, "Cruisin'" 9. Tyler Hilton, "Faithful" 10. Tom Petty & the Heartbreakers, "Walls (No. 3)" 11. Jarrod Gorbel, "I'll Do Better" 12. Gigi, "The Hundredth Time" 13. James Newton Howard, "French Toast"
Отправлено: 27.06.11 17:27. Заголовок: Надо же, песни Тома ..
Надо же, песни Тома и Джеффа вновь сошлись вместе на одном CD.
ТНЮ
постоянный участник
Зарегистрирован: 29.10.09
Откуда: РФ, Санкт-Петербург
Отправлено: 27.06.11 19:39. Заголовок: :sm36: ..
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 28.06.11 11:27. Заголовок: At Least Michele Bac..
At Least Michele Bachmann Didn't Use Tom Petty's 'I Won't Back Down'
Michele Bachmann's official announcement Monday of her bid for the 2012 Republican presidential nomination ended with the 1970s song "American Girl" by Tom Petty and the Heartbreakers.
That musical choice by her campaign is worth noting, if for no other reason, because of what happened during the 2000 presidential race when another Republican presidential candidate used a popular Petty song.
Petty told the campaign of then-candidate George W. Bush campaign to stop using his rock hit of defiance and courage: "I Won't Back Down" which politicians and sports teams have been wearing out for years. (A blog post on Denver Westword lists a few examples where politicians have gotten crosswise of the owners of hit songs.)
The rocker's music publisher Wixen Music Publishing Inc., wrote the Bush campaign saying demanding that it cease playing the famous song. "...The impression that you and your campaign have been endorsed by Tom Petty, which is not true," the letter said, according to a Rolling Stone report.
Petty later showed up at the vice president's official residence the night Al Gore conceded for the political version of an Irish wake that featured other iconic superstars —Jon BonJovi and Stevie Wonder.
Отправлено: 30.06.11 11:57. Заголовок: То же самое,что в ве..
То же самое,что в верхней статье,но по русски.Интересно,что сообщение появилось на ленте.
Том Петти запретил Мишель Бахман использовать свою песню
Музыкант и певец Том Петти запретил использовать свою песню "American Girl" в предвыборной кампании Мишель Бахман, сообщает The Hollywood Reporter.
Член Конгресса США Мишель Бахман официально объявила о том, что поборется за пост президента страны, в понедельник, 13 июня. Бахман является одним из фаворитов так называемой "Чайной партии" (Tea Party), объединяющей наиболее консервативное правое крыло республиканцев. После выступления Бахман в качестве отбивки включили вышеупомянутую песню Петти. Эта композиция входила в дебютный альбом возглавляемого Томом проекта Tom Petty & The Heartbreakers. Пластинка была издана еще в 1976 году.
Петти остался недоволен тем, что Бахман выбрала его песню. Менеджер исполнителя заявил, что в ближайшее время Том отправит кандидату в президенты письмо-предупреждение. Отметим, что в 2008 году песню "American Girl" использовала в своей предвыборной кампании Хиллари Клинтон, представлявшая демократов. Тогда возражений от Петти не последовало.
В 2000 году Петти также запретил использовать песню "I Won't Back Down" в предвыборной кампании Джорджа Буша, представителя Республиканской партии. В подготовленном издателем музыканта письме говорилось, что использование композиции может расцениваться как поддержка Томом кандидата, что не соответствует действительности.
Dia Frampton and Coach Blake Shelton Take On Tom Petty Tune on ‘The Voice’
Dia Framptonand her coach, country star Blake Shelton, performed the Tom Petty song ‘I Won’t Back Down’ as their duet on the final competition show of ‘The Voice‘ tonight.
“It’s the perfect song to sing on this last show,” said Frampton of the Tom Petty tune prior to the performance. “‘I’ll stand my ground’ is the perfect last lyric I’ll want to finish on.”
“I remember when I had that look on my face that Dia has when she comes out there,” Shelton said of Frampton’s eagerness. “I probably lost that along the way somewhere, and she’s helping me find it again.”
For the performance, the two appeared playing guitars while wearing matching black suits and Ray-Ban sunglasses — looking like characters out of a Quentin Tarantino movie. Dia tackled the first verse, delivering the tune with a raspy sweetness. Shelton then showed of his powerful country twang on the second verse.
The pair shared vocal duties on the chorus and even threw in a little bit of matching choreography with a couple of head nods here and there. It was a nice performance that showed off Frampton’s confident ability to not over-sing, and Shelton’s restrained country crooning.
In an effort to further promote the message of love, peace, and the type of compassion intrinsic to all dedicated liberals, Alec Baldwin, a paunchy comedian with anger issues, called attention to what he feels is Michele Bachmann’s inability to articulate by inarticulately spewing obscenities in the Minnesota congresswoman’s direction by way of Twitter.
Within seconds of Michele announcing she’d decided to launch a bid for the Republican nomination for President of the United States, it became clear that not one iota of liberal negativity toward conservatives has abated.
Over the past few days, the rock world has joined the fun by publicly stepping forward in an effort to send a message to the latest object of targeted political ridicule, Michele Bachmann. The goal is to drive home the point that liberal rock musicians disapprove of both Bachmann’s politics and her audacity in thinking she actually has a chance to send honorary rock star Barack Obama back to Chicago.
Following Alec Baldwin’s Twitter tirade, Tom Petty, a Mad Hatter in sunglasses, decided it was his turn to deny Bachmann, without explanation, the use of one of his hit songs. Petty is so anti-GOP he forbade Michele Bachmann from playing “American Girl” as a musical backdrop to her announcement to run for president.
Apparently, the last thing Tom Petty wants to be associated with is writing the signature anthem that could accompany a female Republican candidate on the trip from Minnesota to the White House. So, to prevent that from happening, the rocker sent a three-word message to Michele: “Cease and desist.”
It’s doubtful that Tom Petty would decline $275 per person ticket proceeds based on who concertgoers supported in the last election. Yet, rock musicians who refuse, due to partisan politics, to let conservative candidates use songs for campaign backdrops forget that many of their fans are conservatives.
It’s no secret: Tom Petty isn’t a fan of the Right. When George W. Bush ran for governor of Texas, the genial GWcomplimented the songwriter by using “I Won’t Back Down” as a campaign song. The unappreciative Petty had his publisher warn the campaign that using the ballad could send a false impression (Heaven forbid) that Petty endorsed Bush, and ordered the gubernatorial team to pull the song.
Tom Petty is one of a large herd of liberal singers and songwriters who sell their wares like capitalists on steroids to anyone and everyone, but when a conservative candidate identifies with one of their songs, out of fear of being perceived as leaning to the right hawkers of concert T-shirts and tacky glassware suddenly become all partisan and possessive.
Yet when Democrats like Black Socks Spitzer of New York and John “My-Wife-Has-Cancer-While-I’m-Having-an-Affair” Edwards used Heartbreaker music as campaign anthems, Tom the Petty fully endorsed both Lotharios using the extremely apropos “Won’t Back Down” ditty.
The “You Can Call Me Al” and “Don’t Stop” crews are proud to have signature songs associated with Al “Crazed Sex Poodle” Gore and impeached adulterer Bill Clinton, but Sarah Palin shaking hands and hugging babies in time to “Barracuda” irked female rock group Heart so much that the duo threatened a lawsuit if Sarah didn’t pick another tune.
Truth is, in the world of rock and roll, the liberal malady is endemic. In the 1980’s, Bruce Springsteen took on the Gipper over Reagan’s use of the song “Born in the USA.” During the 2004 presidential election, in an effort to save the USA from a second Bush term, Bruce partnered with über-liberal left-wing group MoveOn.org to headline a star-studded caravan of whiners in a Vote for Change Tour.
The 2004 MoveOn.org/rock-and-roll effort failed and Bush won reelection, which proves there are more Republican voters than liberals realize. If, as a group, conservatives boycotted downloading music from iTunes and stopped buying concert tickets, many artists who feel comfortable insulting Republicans for sport would definitely take a hit in the pocketbook.
Then again, one has to wonder if someone like Bruce Springsteen even comprehends the concept that the people he slurs with his political invectives have the monetary power to affect The Boss’s bottom line. After all, didn’t Springsteen say Obama “speaks to the America I’ve envisioned in my music for the past 35 years”?
Even still, the liberal Step Away From the Song list goes on and on: Pretty boy Jon Bon Jovi told Sarah Palin not to use “Who Says You Can’t Go Home.” The Foo Fighters and Van Halen dissed John McCain; Bruce Hornsby felt Sean Hannity’s use of his song “The Way it Is” shouldn’t be the way it is; and rock group Rush informed Rand Paul he’s no “Tom Sawyer.”
By now, Republicans should know better than to provide ammunition for the left by failing to stringently follow copyright laws and respect property ownership rights. Yet, a politically partisan situation still presents an opportunity to learn a profound lesson for those on both sides of the political aisle.
Liberal musicians should understand that having a fan base largely made up of those without the ability to pay $1.99 to download a song or lay out close to three bills for a concert ticket isn’t going to ensure their rock star lifestyle for very long.
For those heartbroken by Petty Heartbreaker, conservatives must take their eyes off the “Yes We Can” free-for-all where liberal politicians sway and wave in time to music amidst showers of balloons filled to capacity with Democrat hot air. It’s time to realize the same standard does not and will never apply to Grand Ole or Tea Party candidates. Just because liberal musicians become gazillionaires with the help of Republican fans doesn’t mean those same rich rock stars will show appreciation by treating conservative candidates with respect.
For those on the right, the salient point is this: liberal politicians are never denied rights to artists’ theme songs; quite the contrary, they are encouraged to use them. Conservatives politicians should not be so naïve as to assume similar rules apply to the likes of Herman Cain and Michele Bachmann.
With that in mind, Bachmann and Harley-riding Barracuda Palin should rethink forgoing the mud wrestling fight Michele claims the media is itching for and hit the ring to work out which lady will seek permission to claim Carrie Underwood’s “All-American Girl” and whose anthem will ultimately be conservative rocker Kid Rock’s “Born Free.”
Отправлено: 08.07.11 10:21. Заголовок: Stevie Nicks’ New Si..
Stevie Nicks’ New Single ‘For What It’s Worth’ Inspired by Tour With Tom Petty
Rock and roll gypsy Stevie Nicks revealed that the inspiration behind her new single ‘For What It’s Worth’ stems from a summer’s worth of touring with Tom Petty & The Heartbreakers.
Nicks continues to bask in the glow of the positive reception for her latest album ‘In Your Dreams,’ and the release of this single ties in nicely with her upcoming August tour dates. Stevie calls the summer touring with Petty, which birthed ‘For What it’s Worth’ “the best summer of my life,” adding, “You can interpret that any way you like.”
Nicks is also very proud of her new album, which she says “feels like the best thing I’ve ever done.”
In conversation with the Telegraph, Nicks also details the first time that she ever met Janis Joplin: “when I first saw Janis she was very angry. The first band had run over time, and she came on stage screaming, scared me to death. I was hiding behind the amps. She told them to get the you-know-what off her you-know-what stage. And they wrapped it up!”
Continuing to recall the moment, Stevie moves the timeline forward twenty minutes to when Janis came on-stage, wearing “silky bell bottoms, a beautiful top, lots of gorgeous jewelry, feathers in her crazy big natural hair. Lots of attitude, arrogance, the crowd in the palm of her hand.”
Taken by the spectacle, Nicks was, again, inspired by Joplin: “I learned that to make it as a female musician in a man’s world is gonna be tough, and you need to keep your head held high.” But Jimi Hendrix was also highly influential on her development, making a major contribution by teaching Nicks, in her words, “Grace and humility.”
Previously, Nicks spoke about other important influences, including Buffalo Springfield, Crosby, Stills and Nash and Joni Mitchell. Grab some more knowledge on the “Gold Dust Woman” via our list of 10 Things You Didn’t Know About Stevie Nicks.
Отправлено: 11.07.11 10:01. Заголовок: Интервью Тома от 197..
Интервью Тома от 1977 года.
The following interview was originally published in the first issue of FFanzeen (issue dated 7/7/77).
I had done a few interviews for groups that were handled by Shelter Records, and the staff was quite excited about a new, freshman album that was about to come out by a yet-unknown Tom Petty and the Heartbreakers. They gave me an advance copy of the first album, Tom Petty & the Heartbreakers. While it didn’t bowl me over, I enjoyed the quirkiness of it, a feeling which would not be repeated for following albums when the group became the musical mid-ground between John Cougar Mellencamp and Bob Dylan, both of whom would profit from Tom Petty and the Heartbreakers’ success. The first album was sharp and its minimalist production, reminiscent of the Modern Lovers’ earliest recordings. Songs were based on minor keys and about a wider range of subject matter than just “love / hate”. The two best cuts were also the two hits from the album, “Breakdown,” and especially “American Girl.”
The publicity machine let me know that Petty would be playing at CBGB and I could be on the guest list, so I headed on down to the showcase. No one that I asked was interested in going to see the weekday show with me, since Petty was a total unknown. The place was filled with suits and very few of the public, who were possibly turned off by seeing all the aforementioned corporate types, or the lack of product by the artist. They weren’t a New York band, so they had no following here. I sat in front, which was easy since the record and publicity cogs circled the bar like flies on shit. I had my instamatic camera and took some slides to record the moment.
Soon afterwards, I was able to catch Tom Petty and his band again (and again be on the guest list) for his show at the Bottom Line, where he opened for Roger McGuinn. Originally I wasn’t going to go, but I thought it would be cool to see McGuinn, whom I had never seen perform before. It is very rare to find a rock writer / critic / reviewer / fan who will admit they want to get on a band’s guest list to actually see the group sharing the bill. It was actually a strange billing since McGuinn had just released a cover of “American Girl.” Both of them sang it during their own sets (and with different arrangements).
The day after the McGuinn show, I interview Petty. I dragged Alan Abramowitz along. Petty had two interviews before mine (also college writers, I believe), until finally it was our turn into the conference chamber. You would think that for someone who was facing only his third interview, Petty would be excited and into it. Well, if he was, he sure didn’t give any indication. He just droned, in that nasal voice, and went on like we were more in his way than trying to get us on his side, something that might help get a favorable article and serve to produce fans. He sat there and talked with a monotone, giving the impression he was thinking more about doing something else, like his laundry, than being in the moment. As this interview shows, as short as it was, Petty was egocentric and self-important, even back then. When asked a question, he’d follow his own course, whether connected or not; and when asked to clarify, he’d just go on without even realizing anyone else besides his voice was in the room. All in all, he was quite boring. In fact, after a few minutes, Alan fell asleep in the corner, and began to loudly snore. I envied him. I don’t believe that Petty was purposely trying to be nasty in any way, he was just highly involved with himself. That is why I gave the piece its title.
Although Tom Petty and the Heartbreakers are considered a West Coast band, they have been fairly well accepted by the rockers on both coasts. They’ve played on the same bill with such groups as Blondie and the Runaways. When I interviewed them last March 8, 1977, they were playing the Bottom Line with Roger McGuinn. They had played at CBGB a few months past. They have a definite rock’n’roll sound that, to some, may take some getting into (remember the first time you heard Television?).
While doing this interview, I kept getting the feeling that, at times, Petty wasn’t listening to what either I, or he himself, was saying. You may catch this on some of the answers. Despite this, I feel that, in most cases, Petty answered to the best of his ability.
FFanzeen: With all the names for the music being played these days, what do you call what you play?
Tom Petty: We just consider ourselves a rock’n’roll band.
FF: Have you seen any other New York bands when you were here?
Petty: Yeah, I’ve seen, well, I just played in L.A. with Blondie for four nights. I saw the Ramones. I haven’t seen a lot of them but I have a friend here [in New York] at Sire Records who sends me a lot of records for me to hear so I’ve heard some of it. I’m not really aware of it. No, we’re not trying to jump in on that one. We’re a young rock’n’roll band and that’s it. Gene Benson was punk as far as – I mean, he was probably more punk than the Ramones are. So was Elvis.
FF: When you played New York, did you find that anyone got confused between Tom Petty and the Heartbreakers and [Johnny Thunders and] the Heartbreakers?
Petty: Yeah, the first time we came here we didn’t know about that band for a long time. We heard about it right before we played CBGB’s; that there was another local band called the Heartbreakers. But by that time, I said, I haven’t heard them to this day, and, well, ours is Tom Petty and the Heartbreakers, and they can’t get too confused, and sorry and all that but we ain’t gonna change our name or nothing. That’s really a New York problem. It doesn’t come up everywhere.
FF: How did you like playing CBGB’s?
Petty: Good gig. When we came that time, we wanted to play the street place, you know. All I said about New York is “Alright, I’ll play there, but I don't want to go to the Bottom Line, come on with a big press party, and I hate that sort of thing. It just ain’t my nature. I’d like to play the street place where the kids go.” Went there and all the press came.
FF: You picked a bad night, a Tuesday night.
Petty: Yeah, it was a lot of fun. I enjoyed it. I met a lot of people here and it was a really good couple of days. I like New York.
FF: Did you like playing the Bottom Line?
Petty: Yeah, I had a great time. I think, you know, that the audience, they weren’t quite ready for what happened on the first show, for either show, but coaxed with it, ya know, they dug it. I could tell they dug it. They were with us.
FF: Are you on tour now?
Petty: I’ve been on tour about at least five weeks and I’m gonna be out for another two months. We were with the Runaways the night before we were with McGuinn. Roger was a strong influence on me when he was with the Byrds. They were some of the first records I ever bought. I met him in L.A. I like him, I really do. He’s a cool cat. No matter what he does, I dig him. He’s a legend, ya know? Roger McGuinn. I’m really going to enjoy this gig. The last night of the tour is in Long Island at some university.
FF: What was it like playing with the Runaways?
Petty: Well, we’ve only played with them once. We have another date in Cleveland. We played with them in Detroit with a band called Cheap Trick. It was just this Detroit rock show, you know, just give me blood, you know. We went down fine. It was really simple for us. I had never seen the Runaways till then. They were what you might call weird. It was kinda like a teen porn show, or something. I didn’t get to know the girls really well. I know them but I don’t know them. They just look like sex teens. They’re just some kids trying to play. They just happen to be girls. It was strange to see the guys go nuts.
FF: You’re from [Jacksonville] Florida.
Petty: That’s where I was born and raised. I haven’t lived there for ... four years. I live in L.A.
FF: How did you meet the Heartbreakers?
Petty: They’re from Florida, too. They were all in different bands. I was in a band there that got pretty popular. We came out to L.A., and got a record deal, and I quit about halfway through the album. The band broke up and the album never came out. Then I signed another record contract, sort of an artist-in-residence thing with Shelter for about three years. I would sit back and play in the studio ... Then the other guys drifted out to L.A., like Michael Campbell, the guitar player, was with me all the time. We’re playing together about five years. The rest of them just drifted out for various reasons. Through a series of chance meetings, we showed up on the same demo session and it was so good ... so we got together and we did a couple of tracks and we said all right. I went to a record company ... with my hat in my hand, “I’m joining a band, the Heartbreakers.” They were real understanding.
FF: What was the group (you came to California with) ...
Petty: The Heartbreakers.
FF: No, what group was it ...
Petty: We’ve been together now for about a year. It’s a great band. I’m still on the rush. I don’t understand how it happened or what went right. I dig this band, and I’m pretty hard on bands. No ego trips. No leader and nobody’s got more say than anybody else. It works very well.
FF: I take it you’re satisfied with the way the album came out?
Petty: For a first album, it’s pretty true to where we were at the time. It’s getting played on (W)NEW (New York) with moderate airplay. We got a single that’s a hit in England.
FF: What single?
Petty: “American Girl.”
FF: Roger McGuinn has the same single out ... are you satisfied with the way McGuinn did it?
Petty: Well, I wouldn’t have done it that way. I obviously didn’t do it that way.
FF: I haven’t heard his single yet. I heard him do it last night though.
Petty: He did it very Roger McGuinn-ish. A lot different. A lot more laid back. We do it like Bo Diddley. Roger does it a little cruizier, and he changes some of the words. When I played one day in L.A., I was teaching the song to Roger. Like, we just sat, and it was a real standoff situation. I came in and they say, ”Whoa, a real punk. What a punk.” Like Roger would call me a punk. “Who the fuck are you callin’ a punk? I ain’t no punk.” I put on my guitar and I say, “It goes like this: One, two ...” But I respect the guy a lot. He knows what he’s doin’. His audience is probably better that way, than my audience. This is really sort of a great compliment to me. I’m really second generation to Roger. I’m flattered he did it at all.
FF: What music do you listen to now?
Petty: Now? Sort of the same stuff I used to listen to. I listen to everything. I really do listen to all kinds of music. I have not heard Bruce Springsteen. I mean, I heard him once and that’s it. Right before I went on tour I listened to the Everly Brothers’ greatest hits. I listen to Aerosmith and I tend to go by tracks. The ones I listen to all the way are usually classic albums, like the Kinks. The Low album is probably a classic.
FF: What do the Heartbreakers listen to?
Petty: There isn’t really much we disagree on. Stan (Lynch, drummer) is definitely into heavy metal and Ron’s (Blair, bass) into heavy metal. Michael (Campbell, guitar) is into Stones stuff, Beatles. Ben’s (Tench, keyboards) a thousand things.
FF: Will a time come when a Heartbreaker will sing a solo?
Petty: No, I don’t think so. It might happen. If it does, it will be a group thing. I’m the lead singer because I’m the lead singer. We didn’t dye our hair, we didn’t curl it, no one did any of that. People actually ask me, “Did you dye your hair?” We’re just a straight rock'n’roll band. No smoke machines. None of that. We’re straightforward guitar, drums rock’n’roll. We’re song-oriented.
FF: What is your ultimate goal?
Petty: We want to be successful. Not just money. You know, just making a successful record and a successful show. Whatever that means, that’s what it is. I just want to be successful. I could feel successful without selling a million records.
FF: Do you see yourself branching out into other media, like television?
Petty: We ain't never gonna do no TV special. I don’t think we’d do the Midnight Special. I wouldn’t go on with one of those “Alright, the stage is gonna go upside down. Here’s this camera angle. Here’s the same old fuckin’ set we look at every week.” I would like to do a variety show. I could dig that.
FF: Do you have any hobbies?
Petty: Girls are my latest hobbies. I think that’s the Heartbreakers’ latest hobbies now-a-days. Yeah.
Perhaps it’s only my hometown pride, but I was pissed about the way Petty was dismissive about Johnny Thunders’ Heartbreakers, as well as the Ramones. Sorry, TP, but the Heartbreakers are not just a local band, and still have an international appeal that, on some level, your Heartbreakers could never reach. While Tom Petty’s band may have a wider audience demographic and sell more product, the New York Heartbreakers have influenced many more musicians, even if they didn’t have the music business industry behind them (most likely due to the industry’s fear of their unreliability and their, er, peccadilloes). Petty’s music became ever more mundane and tiresome, while Thunders’ would be innovative until he died. How many Tom Petty bootlegs compared to Johnny Thunders. And more importantly, how many people have listened to Tom Petty and wanted to play music as compared to Johnny Thunders. For both of these, I would lean toward the latter.
In retrospect, Petty comes off a bit hypocritical in the interview. He goes at length to say how he’s not in it for the money, but he’s responsible for the raising of the retail prices of records in the early 1980s. Yet, he also managed to get himself in enough debt to file for bankruptcy. He claimed money wasn’t important to him, but I guess spending it was.
I became more convinced of Petty’s shallowness – if just lack of withallness – when he appeared on one of the Friday night concert shows, the very kind he stated he’d never be on, within a year or two of his decrying the genre. And sure enough all of the weird camera angles and close-ups were on display. Most likely he thought it was a “good gig” and “dug it.”
I’m not trying to harp on Tom Petty, as I really don’t have anything against him, even though I’m not a fan (again, except that for that first album). I’m sure he’s a southern gentleman who plays a decent guitar. With his band, he’s done a lot of fine work in his career, especially backing up musicians like brother-in-monotone-nasality, Bob Dylan. What I was disturbed about was his “whatever” attitude, which made him appear so oblivious (and seemly uncaring) of what is going on around him.
On a positive note, Petty was the leading force in getting a headstone for Jackie Wilson, who had died penniless after years of being a shut-in as a result of an on-stage heart attack; so, I guess Petty does have his compassionate side, and assured himself a place in the Rock And Roll Hall of Fame and Museum in Cleveland.
Отправлено: 14.07.11 09:45. Заголовок: Tom Petty and Chess ..
Tom Petty and Chess
Yesterday I wrote about Chess Records and Record Row here in Chicago. I promised a Tom Petty story. Here it is.
In 2002, Tom Petty released the album The Last DJ. Many of the songs covered his frustration with the big record companies and how they dealt with music and musicians. He was on tour that fall, and in November came to Chicago for a concert. The day before the show I met Tom in a room at the Four Seasons Hotel to discuss his new album. I have to tell you, I was very nervous!
I had never met Tom, and was not used to going to fancy hotels for an interview, unless it was with Yoko or Sir Paul. So I showed up with the best recording device we owned, and met Tom. I went from sort of nervous to really scared. He was very subdued. Not rude, but not the best demeanor for an interview. He seemed tired and down. I was correct in assuming that part of it was jet lag. He had just returned to the states from London. He was one of George Harrison’s friends that showed up to play at the legendary Concert For George. The concert was held at Royal Albert Hall on the one year anniversary of George’s passing. Tom and George were great friends and band mates in Traveling Wilburys. Tom was understandably drained physically and emotionally. I started the interview with questions about the concert. He seemed heartbroken about the loss of a dear friend. After awhile we talked about his new album and his frustration with the business of music. He became more animated but visibly agitated about the corporate culture. The interview was going well, but there was that mood of grief and anger hanging in the room. Then I brought up the fact that there was an emerging scene of small, independent labels, and some artists experimenting with the new technology and new ideas on music distribution. I reminded Tom that if we had left everything up to the big companies in the mid-50′s, rock and roll as we know it would never have happened. RCA Victor would never have discovered Elvis Presley if it hadn’t been for Elvis’ first album on Sun. James Brown would never have been the hardest working man in show business if it wasn’t for King Records. Little Richard would never have turned music upside down if it wasn’t for the Specialty label. And Chuck Berry would not have defined rock and roll guitar playing and songwriting if it wasn’t for Chess Records. I was on a roll, and Tom was perking up. We connected with our passion for this music. I told his Chess studios was open for tours, and that Willie Dixon’s family was working on making it a museum. Told him he should give them a call and go visit. By then his mood had totally lifted and I could tell he couldn’t wait to go. And he did! I didn’t get to go to the concert the next night, but heard that he did a whole speech about Chess Records and encouraged everyone to go visit that mecca of great blues and R&B.
This encounter with Tom Petty goes down as one of my favorite memories of my journey through this marvelous music. For all of the joy and pleasure I’ve received from his music over the years, I felt honored to help lift his spirits after a difficult patch. Any self-respecting Beatle fan would want to help someone George loved so much. If someone had taken our photo before the interview, it would have been formal and serious. I think you can tell by this photo that the picture was taken AFTER the interview. We had that experience of reminding each other why we got into this “business” in the first place.
Отправлено: 15.07.11 16:00. Заголовок: Спасибо. Очень интер..
Спасибо. Очень интересный материал. Особенно меня зацепил кусочек про концерт для Джорджа. Автор статьи подтвердил мои мысли о том, как Том переживал во время его.
stvol
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Зарегистрирован: 18.05.10
Откуда: Москва
Отправлено: 20.07.11 13:56. Заголовок: В блоге dirty.ru сег..
В блоге dirty.ru сегодня вспоминают фильм "Мертвец" Джима Джармуша. В интересных фактах есть любопытное для нас: "— Двое из охотников, сидящих у костра вместе с героем легендарного Игги Попа, носят по сценарию имена участников группы Тома Петти «The Heartbreakers». Том Петти относится к числу любимых исполнителей Джармуша."
Информация с сайта imdb.com: "Billy Bob Thornton's character is named Big George Drakoulious. George Drakoulias is a musician and has produced music for The Black Crowes and Tom Petty and the Heartbreakers. Jared Harris' character is named Benmont Tench. Benmont Tench is a member of Tom Petty and the Heartbreakers."
SLQ
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Зарегистрирован: 28.10.09
Откуда: Санкт-Петербург
Отправлено: 21.07.11 13:51. Заголовок: Music Stars Includin..
Music Stars Including Madonna, Lady Gaga, Jimmy Buffett, Rod Stewart, JAY-Z and Justin Bieber Team up with Live Nation Entertainment, Bravado International and City of Hope to Raise Awareness, Funds for Cancer Research
LOS ANGELES --(Business Wire)-- Fans of Lady Gaga, John Lennon, Tom Petty and the Heartbreakers, George Michael, Green Day, Shakira and more than 25 other top musical acts can rock out in collectible edition t-shirts showing off their favorite artists and their support for City of Hope, a leading research, treatment and education institute for cancer, diabetes and HIV/AIDS. Beginning this month, fans who visit the artists' official websites and CityofHopeShop.com can purchase "Hope, Love and Rock & Roll" t-shirts featuring their favorite artists, with not less than 50-percent of the retail price benefitting research and treatment programs at City of Hope.
"I'm a big believer in the power of music to connect and heal," said Irving Azoff, chairman of Live Nation Entertainment. "I'm so grateful to the many artists and friends who are contributing to the unique 'Hope, Love and Rock & Roll' merchandise program supporting City of Hope, an organization my wife Shelli and I are deeply committed to."
Added Shelli Azoff, a longtime member of the City of Hope Music and Entertainment Industry Group, "The artists in this program inspire millions of fans through their music and example. I'm personally inspired by City of Hope's doctors and researchers, who work every day to develop treatments and cures for life-threatening illnesses, and am delighted that music fans can join Irving and me in supporting this important organization just by purchasing one-of-a-kind t-shirts."
Featured artists in the program include:
Avenged Sevenfold Avril Lavigne Barbra Streisand Eminem
George Michael Green Day JAY-Z Jimmy Buffett John Lennon Journey Justin Bieber Kiss Lady GaGa Madonna New Kids on the Block Nickelback No Doubt Ozzy Osbourne Rihanna Rod Stewart Shakira Shania Twain Slipknot Stone Sour Sublime Sugarland Tom Petty & The Heartbreakers ZZ Top
"Music plays such a vital role in our lives, comforting us in our times of need or galvanizing us into action to make a positive change," said Alexandra M. Levine, M.D., chief medical officer, City of Hope. "We are grateful for the support of these talented musical artists and rock n' roll merchandise companies, Live Nation Merchandise, Bravado International and FEA, which will help City of Hope raise awareness and funds for research to help patients and families who face a life-threatening disease."
The launch of the new merchandising program is the latest in a long history of music industry programs in support of City of Hope. Since its creation in1973 by key music industry leaders, City of Hope's Music and Entertainment Industry Group has raised more than $96 million. Irving Azoff, chairman of Live Nation Entertainment and a member of the Music and Entertainment Industry Group, and his wife, Shelli, were recently honored with the Spirit of Life Award, City of Hope's most prestigious honor that recognizes individuals who have committed their time and resources to helping those in need. Irving Azoff is the first person ever to be honored twice with this philanthropic honor and the Azoffs were the first couple to receive the award. For more information and to purchase the limited edition "Hope, Love and Rock & Roll" artist t-shirts benefitting City of Hope, please visit www.CityofHopeShop.com.
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