"Американский поп-рокер Том Пети отправился в прощальный мировой тур со своей группой The Heartbreakers. За несколько дней до начала гастролей корреспондент RS побывал на заполненной термитами студии Петти, чтобы расспросить его о 30-летней карьере и выяснить, как можно спастись от хронической депрессии при помощи разведения кур.
«Часа через полтора наше интервью закончится, и я больше не скажу репортерам ни слова», — бросает мне Том Петти и принимается допивать уже остывший кофе. Наш разговор проходит в довольно нервозной обстановке: студия Sony старается не подпускать лишних людей к певцу, который вместе со своей группой The Heartbreakers готовится к прощальному мировому турне. Единственный чужак, допущенный в команду Петти, — режиссер Питер Богданович, который во время гастрольного тура должен отснять про The Heartbreakers фильм-концерт. Поставив чашку на столик, Том начинает жаловаться, что Богданович не отстает от него ни на секунду. В голосе певца, который назначил мне встречу на террасе своего дома в Малибу, явно сквозит ирония: «Какую бы песню я ни репетировал — от стареньких вещей Fleetwood Mac до совсем недавно написанной баллады “Square One”, — Питер всегда тут как тут со своей камерой. Он говорит, что таким образом ему будет проще выбрать положение камеры во время будущих шоу».
«Сейчас со мной все возятся, как с младенцем, — Петти скептически поглядывает на ассистента фотографа, устанавливающего свет для съемки. — Можно сказать, что я наверстываю упущенное, ведь в детстве я был предоставлен самому себе. Мама умерла, когда я был совсем маленьким, а отец постоянно где-то шлялся. Пять лет назад я женился на Дане Йорк, и они с моей тещей как будто бы меня усыновили. Дана ведет все хозяйственные дела, а ее мать не дает мне соскучиться — постоянно что-то стряпает и рассказывает разные дикие истории». Несколько часов назад в домашней студии Петти закончилась репетиция, и певец сразу же побежал искать свою супругу — через какое-то время мы уже знакомимся с бывшей хиппи Даной, щеголяющей в такой же, как у мужа, замшевой курточке. Прощальное турне Тома Петти и The Heartbreakers пройдет в поддержку сольной пластинки Тома «Fleetwood Mac», которая появится на прилавках в августе. «Предыдущий сольник я записал двенадцать лет назад, а с The Heartbreakers не работал года три, — загибает пальцы Том. — Да какие три — четыре! И это притом, что я каждый день давал себе обещание засесть за сочинительство. Зато новый диск удалось сделать всего лишь за четыре месяца». Петти на секунду умолкает и после паузы признается, что у него нет четкого ответа на вопрос о причинах столь длительного молчания. «В конце концов это мое дело, за тридцать лет карьеры c The Heartbreakers я заслужил право быть затворником». Мне тут же приходит на ум провести параллель между Томом и другими отшельниками от музыки — Слаем Стоуном и Капитаном Бифхартом. «Я всегда хотел на них походить, — утвердительно кивает головой Том. — К тому же у меня был повод — я невероятно тяжело переживал развод».
Когда в 1996 году том Петти развелся с Джейн Беньо, которая была его супругой более двадцати лет, друзья музыканта всерьез опасались, что он подсядет на иглу — без героиновых вечеринок не обходился ни один тур The Heartbreakers. Петти предпочел совладать с депрессией иначе: он переехал на уединенную ферму и начал работу над мрачной пластинкой «Echo». «В лесах есть такие места, куда едва пробиваются лучи солнечного света, — в этот момент тон музыканта становится зловещим. — Моя берлога располагалась в глухом районе Пасифик Палисэйдс. Я наслаждался одиночеством и жил как настоящий фермер — ходил с ружьем, разводил кур. И однажды, сидя на кровати, я снова задумался о браке с Джейн и понял, что для меня она умерла. Этого оказалось достаточно, чтобы я смог вернуться к нормальной жизни среди людей». Вместе с Томом мы подходим к студийному пульту, из-под которого певец вытаскивает бутылку минеральной воды и жадно пьет. «Раньше здесь была полноценная студия, — Петти обводит комнату бутылкой. — Потом в доме завелись термиты, и железяки пришлось запаковать в полиэтилен. Все здание обработают инсектицидом, но мне почему-то кажется, что из студии они никуда не денутся».
Выйдя из леса, Петти довел до ума пластинку «Echo», а в 2002-м записал концептуальную рок-оперу «The Last DJ», направленную против индустрии звукозаписи. Свою войну с лейблами Том начал еще в начале 80-х, когда между ним и компанией MCA разгорелся скандал из-за того, что в розничной продаже были резко подняты цены на пластинку «Damn The Torpedoes». Тогда снимок Петти, разрывающего долларовую банкноту, появился на обложке Rolling Stone. «Меня раздражает бездействие коллег, как-то я размышлял над этим целую ночь, — Том начинает раздражаться. — Я убежден, что, если бы цены на компакт-диски держались на более-менее разумном уровне, интернет-магазины типа iTunes не имели бы сейчас такого влияния на музыкальную индустрию». Сидя в кресле на веранде своего дома в Малибу, Петти разошелся не на шутку и горячо рассуждает о том, как низко сейчас оплачивается некоммерческая музыка. Однако спустя некоторое время певец успокаивается и начинает потягиваться в кресле, щурясь на солнце. «Сейчас мои мысли заняты только работой с The Heartbreakers, мы планируем наконец-то доделать концертный альбом. Надеюсь, он все-таки появится в этом году. Также я хотел бы восстановить свою старую кантри-группу Mudcrutch — она существовала в 70-х, и мне было бы интересно снова поработать в этом жанре». Петти одергивает бахрому на куртке и вдруг замирает, роняя пепел от зажженной сигареты на пол веранды: «Я что-то забыл тебе сказать… Что-то важное…» Кажется, что за последние лет двадцать он совсем не изменился — возраст выдают только несколько глубоких морщин. Но когда Том начинает улыбаться (что происходит с ним крайне редко), в его бледно-голубых глазах появляется мальчишеский огонек. «Мне стало страшно, когда я начал прикидывать, сколько времени мне осталось провести на сцене, — признается Петти. — Именно поэтому я и работаю сейчас как заведенный».
В школе Томми Петти активно подражал Элвису Пресли, которого он увидел на съемочной площадке фильма «Следуй за мечтой» («Follow That Dream», 1962). Поиграв немного в рокабилльных командах (The Sundowners и Epics), Том попал в группу Mudcrutch и вместе с ее участниками Майком Кэмпбеллом и Бенмонтом Тенчем организовал проект «Том Петти и The Heartbreakers». Их дебютный альбом поначалу прошел абсолютно незамеченным, однако был довольно быстро переиздан, попал в американский Top-40 и неплохо продавался в Англии. Том Петти закидывает ногу на ногу и смущенно улыбается: «Я думаю, что The Heartbreakers оценили по достоинству. Мы были последовательны и не позволяли себе записывать слабые пластинки. Как ни странно, мы оказались последней калифорнийской группой, развившей наследие The Byrds». Певец закуривает сигарету и констатирует: «На нас завершилась целая эпоха в музыке, а все из-за того, что мы не раскисали и поддерживали семейную атмосферу». Петти просит жену принести нам еще пару чашек кофе и заявляет, что доволен своим последним альбомом. «Я свожу его очень тщательно и ни за что не отправлю на лейбл отдельными файлами. Моя музыка должна восприниматься концептуально, иначе она потеряет всякий смысл». Когда я задаю вопрос о том, правда ли, что Red Hot Chili Peppers позаимствовали гитарную партию из томовского суперхита «Mary Jane’s Last Dance», певец недовольно морщится и прикуривает очередную сигарету. «Слышал-слышал. Меня всегда обдирали, но здесь, наверное, не тот случай, — Петти по своему обыкновению смотрит куда-то мимо меня. — Слишком несерьезная причина для обвинения. Вот, скажем, The Strokes слегка переделали песенку Чака Берри “American Girl”, назвав ее “Last Nite”, а потом еще долго смеялись. Они даже ничего не отрицали, эти мальчишки. Если так поступили бы с моей песней, я тут же подал бы в суд».
В 1981 году Том Петти бросил своих партнеров по The Heartbreakers и отправился гастролировать с новозеландской группой Split Enz — таким образом Петти хотел прославиться в Канаде, где Enz были чрезвычайно популярны, а тех, в свою очередь, раскрутить в США. Из этой затеи не вышло решительно ничего, однако Том еще вернется к идее создания коммерческой супергруппы: в самом конце 80-х Петти вошел в состав The Traveling Wilburys, где к нему присоединились Боб Дилан, Джордж Харрисон и Рой Орбисон. С одним из партнеров того времени — лидером Electric Light Orchestra Джеффом Линном — Петти работает до сих пор. «Вдова Джорджа Харрисона Оливия попросила меня и Джеффа представить Харрисона в Зал Славы Рок-н-ролла, — вспоминает Том, выливая лимонный сироп в стакан минеральной воды. — Сейчас Линн совсем не выступает живьем, мне это не нравится, но на сцене он держится превосходно. На церемонии в Зале Славы мы отыграли потрясающий сет, и когда мы возвращались после шоу, то договорились сделать одну песенку. Потом еще одну, и пошло-поехало». The Traveling Wilburys просуществовали всего несколько лет, их последний диск «Traveling Wilburys, Vol. 3» вышел в 1990 году. Когда Том вспоминает о том времени, на его худом лице появляется какой-то намек на улыбку. Он вообще редко общается с журналистами, да и те его не особенно ценят — из Петти не вытащишь ни острого комментария, ни какого-то жареного факта. Зато в откровенности с Томом могут поспорить разве что Брюс Спрингстин да Эрик Клэптон, которые так же трепетно относятся к собственным словам, опубликованным в СМИ. «Меня критикуют все кому не лень, — бросает мне Петти, когда я задаю ему вопрос об ироничных рецензиях на его рок-оперу “The Last DJ”. — Считают меня наивным? Ну что же, пусть считают, я от этого не заплачу, поверь. Я отношусь к своей работе не как к шоу-бизнесу, а как к чему-то более возвышенному. Как-то Боб Дилан сказал мне, что с большим удовольствием послушал “The Last DJ” и что, по его мнению, это настоящая актуальная поп-музыка. Лучшего отзыва о своей работе я не получал за всю жизнь."
Вместе с Томом Петти мы отправляемся в его рабочий кабинет — просторную комнату, заваленную огромным количеством компакт-дисков и винила. «Год назад я понял, что с этим барахлом надо что-то делать, — сообщает мне Том. — В общем, мне пришла в голову мысль открыть программу на радио XM. Она называется “Остров сокровищ”. Представляешь, вот уже второй сезон я кручу записи из собственной коллекции и пока еще не повторился ни разу». На рабочем столе Петти я замечаю его портрет в компании покойного басиста The Heartbreakers Хауи Эпштейна, умершего от рака. Поговаривали, что смерть Хауи была связана с героиновой зависимостью, от этого в свое время пострадали многие участники The Heartbreakers. Лицо Петти искажает гримаса, ему явно не хочется поднимать эту тему, но в конце концов он все-таки говорит: «Пойми, мы всегда были одной семьей и старались поддерживать эту атмосферу. Когда Хауи умер, мне показалось, что в нашем механизме что-то разладилось. Мы не хотели видеть в The Heartbreakers нового, чужого нам человека, и я позвонил нашему старому басисту Рону Блэйру».
В колонках кабинета Тома начинает звучать его новый альбом «Highway Companion » — умиротворенная гитарная музыка, которую издал на своем лейбле American Recordings великий продюсер Рик Рубин. Пока мы слушаем «Saving Grave» и «Big Weekend», Петти приносит мне легкое кресло и предлагает выкурить по сигарете на прощание. 55-летний певец пускается в пространные рассуждения по поводу мифологии своей пластинки. «Почти каждый персонаж на “Highway Companion” передвигается — на машине, по морю, на борту самолета. Этот альбом — о разбитых иллюзиях и взрослении. Наверное, чем-то все герои напоминают меня — они по-своему одиноки, они плывут по течению и хотят, чтобы старая любовь и потерянные чувства пришли к ним хотя бы во сне». Петти задумывается и внезапно хлопает себя по колену: «Проклятые термиты, я опять забыл позвонить на эпидемстанцию!»
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 03.11.09 23:32. Заголовок: Да это сам Джефф нав..
Отправлено: 04.11.09 01:33. Заголовок: Реклама на главной с..
Реклама на главной странице мне понравилась
Ленок
постоянный участник
Зарегистрирован: 01.11.09
Отправлено: 03.11.09 23:40. Заголовок: Посмеялась от души -..
Посмеялась от души - вот уж прикол так прикол
SLQ
постоянный участник
Зарегистрирован: 28.10.09
Отправлено: 10.11.09 18:19. Заголовок: Том Петти дал неболь..
Том Петти дал небольшое интервью по телефону для радиостанции Kauai Radio (KKCR.org). В нем он на вопрос о новых проектах сказал, что у него готово около новых 15 песен для альбома, который возможно выйдет уже летом следующего года.
Отправлено: 22.11.09 02:23. Заголовок: Настала пора огласит..
Настала пора огласить хотя бы вкратце, о чём речь идёт, для тёмных душ
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 22.11.09 15:12. Заголовок: Для поклонников Тома..
Для поклонников Тома сегодня праздник,выходит очень живая Антология,о чем Том,Майк и Бен рассказывали по радио.Весьма солидное издание.
The Live Anthology, Disc 1
1. Ladies And Gentlemen... June 30, 1981 The Forum Los Angeles, California
2. Nightwatchman June 28, 1981 The Forum, Los Angeles, California
3. Even The Losers March 6, 1980 Hammersmith Odeon London, England
4. Here Comes My Girl March 6, 1980 Hammersmith Odeon London, England
5. A Thing About You June 28, 1981 The Forum Los Angeles, California
6. I’m In Love December 7, 1982 Wembley Arena London, England Written by Bobby Womack
7. I’m A Man September 21, 2006 Stephen C. O’Connell Center Gainesville, Florida Written by Ellas McDaniel 8. Straight Into Darkness December 7, 1982 Wembley Arena London, England
9. Breakdown June 30, 1981 The Forum Los Angeles, California
10. Something In The Air November 4, 1993 Stephen C. O’Connell Center Gainesville, Florida Written by John Keen
11. I Just Want To Make Love To You March 17, 1995 Maple Leaf Gardens Toronto, Ontario Written by Willie Dixon
12. Drivin’ Down To Georgia November 4, 1993 Stephen C. O’Connell Center Gainesville, Florida
13. Lost Without You November 4, 1993 Stephen C. O’Connell, Center Gainesville, Florida
14. Refugee June 11, 1983 Irvine Meadows Irvine, California
The Live Anthology, Disc 2
1. Diddy Wah Diddy February 1, 1997 The Fillmore San Francisco, California Written by Ellas McDaniel and Willie Dixon
2. I Want You Back Again February 7, 1997 The Fillmore San Francisco, California Written by Rod Argent
3. Wildflowers March 17, 1995 Maple Leaf Gardens Toronto, Ontario
4. Friend Of The Devil February 3, 1997 The Fillmore San Francisco, California Written by John Dawson, Jerome Garcia, and Robert Hunter
5. A Woman In Love (It’s Not Me) June 29, 1981 The Forum Los Angeles, California
6. It’s Good To Be King September 21, 2006 Stephen C. O’Connell Center, Gainesville, Florida
7. Angel Dream (No. 2) April 19, 2003 The Vic Theatre Chicago, Illinois
8. Learning To Fly June 16, 2006 Bonnaroo Music and Arts Festival Manchester, Tennessee
9. Mary Jane’s Last Dance September 21, 2006 Stephen C. O’Connell Center Gainesville, Florida
10. Mystic Eyes October 27, 2006 The Greek Theatre Berkeley, California Written by Van Morrison
The Live Anthology, Disc 3
1. Jammin’ Me February 7, 1997 The Fillmore San Francisco, California
2. The Wild One, Forever March 6, 1980 Hammersmith Odeon London, England
3. Green Onions February 6, 1997 The Fillmore San Francisco, California Written by Stephen Cropper, Al Jackson Jr., Booker T. Jones, and Lewie Steinberg
4. Louisiana Rain December 7, 1982 Wembley Arena London, England
5. Melinda August 26, 2003 UNO Lakefront Arena New Orleans, Louisiana
6. Goldfinger January 31, 1997 The Fillmore San Francisco, California Written by John Barry, Leslie Bricusse, and Anthony Newley
7. Surrender June 11, 1983 Irvine Meadows Irvine, California
8. Dreamville October 16, 2002 Grand Olympic Auditorium Los Angeles, California
9. Spike July 29, 1986 Portland Civic Stadium Portland, Oregon
10. Any Way You Want It June 11, 1983 Irvine Meadows Irvine, California Written by Dave Clark and Lenny Davidson
11. American Girl April 13, 1983 The Cow Palace San Francisco, California
The Live Anthology, Disc 4
1. Runnin’ Down A Dream September 21, 2006 Stephen C. O’Connell Center Gainesville, Florida
2. Oh Well June 16, 2006 Bonnaroo Music and Arts Festival Manchester, Tennessee Written by Peter Green
3. Southern Accents September 21, 2006 Stephen C. O’Connell Center Gainesville, Florida
4. Crawling Back To You August 26, 2005 The Greek Theatre Berkeley, California
5. My Life/Your World June 23, 1987 Blossom Music Center Cuyahoga Falls, Ohio
6. I Won’t Back Down November 15, 2007 The American Museum of Natural History New York, New York
7. Square One June 17, 2006 UMB Bank Pavilion Maryland Heights, Missouri
8. Have Love Will Travel July 5, 2002 Saratoga Performing Arts Center Saratoga Springs, New York
9. Free Fallin’ August 14, 2005 Irvine Meadows Irvine, California
10. The Waiting June 28, 1981 The Forum Los Angeles, California
11. Good, Good Lovin’ June 30, 1981 The Forum, Los Angeles, California Written by James Brown and Albert Shubert
12. Century City July 8, 1980 The Spectrum Philadelphia, Pennsylvania
13. Alright For Now March 17, 1995 Maple Leaf Gardens Toronto, Ontario
The Live Anthology, Disc 5 (Disc 5 is only available in the Deluxe Box Set except for three tracks below labeled with % that also exist on the VINYL set.)
1. Think About Me July 24, 1987 Jacksonville Memorial Coliseum, Jacksonville, Florida
2. Down South September 17, 2006 Austin City Limits Music Festival, Austin, Texas
3. I Need To Know% June 29, 1981 The Forum, Los Angeles, California
4. Billy The Kid May 28, 2001 Chronicle Pavilion, Concord, California
5. I’d Like To Love You Baby April 21, 2003 Soundstage Studios, Chicago, Illinois Written by JJ Cale
6. Image Of Me October 15, 1987 Wembley Arena, London, England Written by Wayne Kemp
7. Born In Chicago April 21, 2003 Soundstage Studios, Chicago, Illinois Written by Nick Gravenites
8. Like A Diamond% October 16, 2002 Grand Olympic Auditorium, Los Angeles, California
9. The Last DJ December 7, 2002 Palace Of Auburn Hills, Auburn Hills, Michigan
10. No Second Thoughts July 27, 1981 The Spectrum, Philadelphia, Pennsylvania
11. Ballad Of Easy Rider July 24, 1987 Jacksonville Memorial Coliseum, Jacksonville, Florida Written by Roger McGuinn
12. Don’t Come Around Here No More% July 7, 2001 Saratoga Performing Arts Center, Saratoga Springs, New York
13. Too Much Ain’t Enough December 31, 1978 Santa Monica Civic Auditorium, Santa Monica, California
14. County Farm February 4, 1997 The Fillmore, San Francisco, California Arr. Tom Petty
Кстати насчет охоты,не знаю чем Том так напугал пиратов,но в сети я пока релизов не встречал.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 23.11.09 22:43. Заголовок: Это уже кое-что,дума..
Это уже кое-что, думаю, скоро появится целиком и скорее всего там же.
SLQ
постоянный участник
Зарегистрирован: 28.10.09
Откуда: Санкт-Петербург
Отправлено: 26.11.09 12:38. Заголовок: Tom Petty Looks Back..
Tom Petty Looks Back With the release of his career-spanning "Live Anthology," Petty talks about the Heartbreakers' early days, plus Jagger, Harrison and Dylan DAVID FRICKEPosted Nov 25, 2009 9:52 AM To mark the release of The Live Anthology, a multi-CD boxed set covering 30 years of road work with his band the Heartbreakers, Tom Petty spoke to Rolling Stone for nearly six hours over two days — including his 59th birthday, October 20th — about his rock & roll life. Those conversations, at the Heartbreakers' rehearsal space in a warehouse in Los Angeles' San Fernando Valley and at Petty's home in Malibu overlooking the Pacific Ocean, ran the length of rock itself, including the day in 1961 that the young Gainesville, Florida native met Elvis Presley (Petty forgot to bring a record for the King to sign); Petty's trials and adventures as a long-haired garage-band kid in redneck territory; his rough late-Seventies tours with the Heartbreakers; the musically rich encounters, on stage and in the studio, with Bob Dylan, George Harrison, Carl Perkins and Elvis Costello, among many others; and a sneak preview of Petty's next record with the Heartbreakers. Looking like a Confederate general with his pointed sandy-blond beard, Petty reflected on his 40 years in music with a laconic wit, deep Southern drawl and constant amazement. "It has been a great journey," he said at the very end of the second interview. Here, in these outtakes from the published story from the December 10, 2009 issue, are a few more reasons why. How has the time you spent working on Live Anthology affected the new record you're making with the Heartbreakers? It may have had some influence. We're trying to catch it all live, just use the five or six instruments at most. And I've gotten the guitars up front. I've gotten the best out of Mike [Campbell] that I've ever gotten out of him. It's blues-based. Some of the tunes are longer, more jam-y kind of music. A couple of tracks really sound like the Allman Brothers — not the songs but the atmosphere of the band. The muscularity? Yeah. I don't know where it came from. I recently played with the Allman Brothers at the Greek Theater [in Los Angeles]. They had come on our 30th anniversary tour. They did five or six shows with us. They had no idea how bowled over I was to be out there with them [laughs]. So they invited me back — me and Mike and Benmont [Tench]. We went down to their gig and played a few songs with them. Maybe that's got something to do with that influence creeping in. But I'm trying to make a record that is more like a band-playing kind of record, rather than a produced record, where you play the studio. This is catching a performance. Who were your early models as a band leader? I was watching the 1979 concert DVD included with the deluxe edition of the box set, and there was this weird combination in your stage presence — very cocky control but with a genuine band camaraderie, like a mix of Mick Jagger and John Lennon. It's almost like the band you wanted was not quite as loose as the Rolling Stones but not as rigid as the Beatles. That's a pretty good assessment, very much on the money. I always admired — and felt for — Mick Jagger. I've been to the Stones' rehearsals. You gotta run that band — and he does, maybe to a fault. I wanted something that fell between the Beatles and the Stones, more of an organic music than the Beatles. But I thought Jagger was a great band leader, because the Stones always had a good show, and the material was well picked. You also wanted the integration of a band — you didn't want to just be out front. I never felt comfortable having to take all the light. I was always in bands. So from the get-go, I was determined that this not be a backing-band kind of thing. I'm in the band. I'm a member of the band. And I don't want it any other way. Just before the Heartbreakers, I did a couple of sessions. I had really good musicians. Those were the solo recordings you did with Al Kooper. Al Kooper, Jim Keltner — great players. But I felt weird, like "This ain't what I wanna do. This could be anything. I want to be in a band." With the Heartbreakers, the idea was, "We're going to keep it to five people, and whatever they can do, we'll make something out of it." I didn't want eighteen people up there. I wanted a small group. And that\s the way we did it. I dont know any other way now. In your opening-act days, who were the headliners that taught you stage presence? The ones I studied were Ray Davies of the Kinks and Peter Wolf of the J. Geils Band. Ray was a brilliant entertainer. Every night, I would go out and watch him. He knew how to pace the show — when to speak, when to let the music talk. He knew how to work the set so when he was going to do his big ballad, it was going to count, and there wasn't going to be a dry eye in the place. And he used to do this amazing thing with "Lola" — he'd keep teasing the audience with the [opening] lick. He'd start the intro and then go, "Ah, you're not ready yet." So finally when you got, "Da, da, da-da-da-da . . ." [hums the guitar intro], it was like "Hallelujah!" Peter Wolf was a master at working the crowd. He knew how to get the place really rockin'. I learned a great deal watching him — but not many others [laughs]. I was also on shows with a lot of people that I thought weren't too good: "I don't get this." One singer-songwriter who came up at the same time as you was Elvis Costello. You both had similar roots — American R&B, the Sixties canon — but made very different music with them. I remember seeing him on our first trip to England, in a pub called the Nashville Rooms. I don't think he had a record yet. He played alone — just him and his electric guitar. But he had good songs. We're very different musically. But that is the magic. Everyone hears music a little differently, then turns it into their own thing. [Smiles] I just flashed on him, being at my house one night. It was my 40th birthday. We were having this big party, and there were a lot of players there. Elvis wasn't there yet. It had coalesced into this jam in my living room. Roger McGuinn [of the Byrds], Jeff Lynne and Bruce Springsteen were playing. I know I'm leaving some people out. But the joke was, McGuinn went into "Mr. Tambourine Man" right as Costello comes walking in. He said, "If I ever had to dream up walking into Tom Petty's house, it would be the Byrds playing 'Mr. Tambourine Man.' " -- Mike Campbell once said that the offer to tour as Bob Dylan's backing band came at a good time for the Heartbreakers, because you were kind of drifting, a bit rudder-less. I read that too [laughs]. I think he was kind of bored at that point. This was the time of [1985's] Southern Accents We were a little disorganized. It was weird, because we took time off from the road, which we had never really done. I don't think it was that good for us, because we weren't playing regularly. So when Bob came along, it invigorated us. He made us gel as a band. I don't think he intentionally meant to [smiles]. And it was an eye-opener for me, because I got to step back into the band. You were not the leader. Dylan was. I wasn't the leader of the whole band [laughs]. I was kind of musical director. But watching how he ran his show was a learning experience. A lot of people say he just throws his songs to the wind. I didn't get that feeling. A song might come up that we hadn't rehearsed. But he had confidence in us that we would catch on quick. That was so liberating: "Wow, we just played something we'd never even practiced. That's in the show now." We started to try that when we went back to our shows. And Bob used to do these great things with Benmont, where he'd say, "OK, it's just piano on this one," and he'd go into a Hoagy Carmichael song. And Ben would know it. Ben knew how to play with him. You never got to tour with George Harrison. Did you offer the Heartbreakers as a backing band? Sure. He loved the Heartbreakers, especially Mike. He told me once that Ry Cooder and Mike were the best slide players: "They're my heroes with slide guitar." And he was certainly no slouch either. I told Mike that. I don't know if he believed me [laughs]. Given those two years you did with Dylan on the road, you were ready-made for Harrison. He knew that. But I said, "You have to play lead guitar. People would be very disappointed if you didn't." It just never happened. Thinking back on it, it should have. But I don't think any of us really tried to make it happen. When we did that tribute concert to him at the Royal Albert Hall [in 2002], I remember having a distinct feeling, near the end, that he was there. But it wasn't meant to be. It didn't go that way. When you did the first Traveling Wilburys album with Harrison, Dylan, Jeff Lynne and Roy Orbison, did you feel momentum there — that this could be more than just friends with pseudonyms around a kitchen table? Yeah. It could be our permanent gig. We certainly felt like we were a band, especially after we had a big hit. We were a band. I used to tell 'em all: "Just flash the Big W." Like the Bat Sign. "If you flash the big W in the sky, we'll all come." But then you had to make the second Wilburys album without the late Roy Orbison. Was it hard to recreate something that had originally come so naturally? That album is not as commercial as the first one. But when I hear it now, it's pretty good. There's a great song Bob did called "If You Belonged to Me." And I was out in the yard the other day — we have music playing outside, sometimes just on shuffle — and "She's My Baby" came on. I thought, "This is great!" [Laughs] We weren't trying to recreate the first album. The second one had more edge to it. Bob was more involved. He was pushing it, more upfront in it. We were glad we did it. But losing Roy [Orbison died in 1988] — we just tried to press on. We never considered bringing someone else in. There were rumors — Del Shannon and Roger McGuinn got mentioned. Del Shannon was around, but as a friend. Jeff and I had both done records with him in the Seventies, and he was starting to get active again. One night, I remember Jeff said, "Del's in town, he's at the studio." Jeff, George and I surprised him, just dropped in. We sang some backgrounds for him that night. That's probably where the rumors come from. But it wasn't about finding another famous musician. We were friends. Those were great days. There was a lot of music going on. And I was really having a good time.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 26.11.09 18:57. Заголовок: Очень интересно.А бы..
Очень интересно.А была ли раньше информация,о возможном совместном выступлении Харрисона и Тома с Хартбрейкерс?Ещё надо понимать,что Том наконец хочет положить конец слухам насчет Дела Шеннона.
SLQ
постоянный участник
Зарегистрирован: 28.10.09
Откуда: Санкт-Петербург
Отправлено: 27.11.09 15:25. Заголовок: Были проекты тура W..
Были проекты тура Wilburys, а вот про Джорджа Том заговорил впервые.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 27.11.09 19:43. Заголовок: И мне насчет Харрисо..
И мне насчет Харрисона,тоже так показалось,а жаль что не вышло.
LOS ANGELES (AP) — Tom Petty has grown up, but not too much. The 59-year-old spent a year going through thousands of hours of live concert recordings covering Tom Petty & the Heartbreakers’ tours across three decades. The result is “The Live Anthology” — not a greatest hits album, but a multiple-disc set. There are no overdubs, and the notorious perfectionist can now see why his hard-driven mates were “a good little rock ’n’ roll band.” Petty, who said the process was like looking at a family photo album, talks about how watching three films a day helped hone his acclaimed music videos and how his love of English as a kid helped him write some of America’s most beloved rock songs. The Associated Press: What made you want to pull out hours and hours of tape? Tom Petty: Well, it seemed like a good time to do it and I thought it would be a chore in a way. I started to do it and I just fell in love with the project. It got better and better. I spent a year digging out stuff and mixing it. It was great. It was like looking at a photo album, but you can all be in the picture. AP: Did you ever get overwhelmed? Petty: Well, you can. But we knew we had plenty of time to do it. So, we just went bit by bit and pretty soon into the project, we told them that this wasn’t going to fit on two CDs. There is no way. To get an idea of what the band was and is, there is a lot of stuff you have to hear to take in an accurate document of all those years. AP: Did you find anything that surprised you about yourself going through all that footage? Petty: I was surprised that we were as good as we were. I really didn’t listen to us when we were back in our 20s and starting out. It was a really good little rock and roll band. I see why it caught on. AP: Any difference between that Tom Petty in his 30s and this one? Petty: I tend now to get to what is really important. I don’t let things bother me too much. One nice thing about getting older is that you don’t want to fight about anything. The argument just delays the solution, because now I have to deal with this fight, too. I still care passionately about what I’m doing. But I can get it done a little easier than I could. AP: You have an exclusive deal with Best Buy for “The Live Anthology.” How does that work for you? Petty: I’ve made sure that the four-disc package is everywhere. ... If you want the deluxe package, which is five CDs, you have to go to Best Buy. This is just the way it is going. I don’t know what else to do. These are the people that sell records now. AP: What do you think about John Mayer recently saying he is writing in the context of you and that he wants Taylor Swift to be his Stevie Nicks? Petty: It is a very nice feeling that your trip is handed down. And I think it is wonderful, really — if the music touched people that way. I was the same way. I wanted to be like George Jones and Tammy Wynette. That was my picture of Stevie — George and Tammy. I wanted to duet like that. So it is just the way stuff is handed down. AP: Did you learn poetry when you were younger? What inspires your writing? Petty: I never was a big poem reader. I didn’t study poets. I always did really well in English in school. I don’t know why I could do it effortlessly. It is just something I do. I like language. I like words. ... For the longest time, I think, everything I did I wrote the music, and the words just kind of flowed in at the same time. As time went by, I started to concentrate more and more on the lyric and try to make that better and better. AP: Your videos are iconic. Did that come from your love of film? Petty: I probably watch three or four movies a day. ... I got into it kind of like music, kind of as a hobby. I love film. It wasn’t hard to make something better than everyone else ... I was amazed at just how bad MTV was. It was terrible, just terrible. Terrible videos and terrible songs, and most people made them almost all the same. Very silly and I thought let’s just get out of the box here and do something different. AP: What do you think this all means? This album, this life that you have been handed? Petty: It was a gift I was given and what it means I don’t know. Johnny Cash once told me, he said, “It was a noble job.” And I said, “Really?” And he said, “Well, it makes a lot of people happy.” And I always remember him saying that, because I always remember that and it does. It makes a lot of people happy. You can lose sight of that. People come to me and stop me on the street and tell me how some song played some role in their life or how it got them through a hard time or this and that and I just think, “Damn, that’s what it is about.”
Продюсер Рик Рубин,по мнению сайта musicradar является лучшим продюсером современности из действующих продюсеров.Напомню,Рубин активно сотрудничал с Томом и Хартбрейкерс,вместе они сделали три альбома:Wildflowers ,Songs and Music from "She's the One" ,Echo.Всего выбирали из 19 человек
# Steve Albini # T-Bone Burnett # Rich Costey # Danger Mouse # Dr. Dre # Brian Eno # Nigel Godrich # Josh Homme # Ethan Johns # Daniel Lanois # The Neptunes # Brendan O'Brien # Stuart Price # Mark Ronson # Rick Rubin # Dave Sitek # Timbaland # Butch Vig # Kanye West
вторым стал Брайан Ино,а третьим Джош Хомм.Как видите в списке нет многих известных имен и из каких предпочтений он составлялся не совсем понятно.
Отправлено: 04.12.09 22:36. Заголовок: У голосовавших одноз..
У голосовавших однозначно свои тараканы в голове. Я нормально отношусь к Брайану Ино, но если его всерьёз рассматривают как одного из лучших представителей в продюсерстве, это, по-моему, означает наличие у голосующих специфические пристрастий. Скорее всего, мелодичная музыка входит в них с опаской. Ну да бог с ними... Мы тоже вот голосовалку можем устроить, причём с предсказуемым результатом для всяких музыкальных радаров.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 04.12.09 22:47. Заголовок: Единственно что могу..
Единственно что могу сказать, в колорите Рубину не откажешь.
Отправлено: 04.12.09 22:59. Заголовок: На пророка Моисея по..
На пророка Моисея похож. Или на постаревшего Роя Вуда. Вообще Wildflowers - отличная вышла работа, да и остальные два альбома неплохи.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 11.12.09 22:32. Заголовок: Это не свежая новост..
Это не свежая новость, но хорошо, что её не пропустил Димка. Как говорят англичане: "small world". Регина всё-таки очень энергичная девушка: кроме Джеффа в работе над промоушеном её альбома оказывается участвовала и дочь Тома - Адриа. Вместе с Региной они сделали несколько клипов к её новому альбому, среди них "Blue Lips" and "Genius Next Door". Но сайте Адриа есть клипы и к более ранним песням Регины. В связи с этим возникают некие вопросы о причинно-следственных связях.
Регина, похоже, нашла единомышленницу в лице сверстницы. Двойной булл-сет
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 14.12.09 21:09. Заголовок: Надо отметить ,что о..
Надо отметить ,что очень тепло встретили критики последний бокс сет Тома.Буквально каждый день появляются новые рецензии весьма положительного характера,на вчерашний день было 224 ссылки.Например Post Tribune считает это издание одним из лучших бокс сетов,когда либо изданных раньше.
Отправлено: 16.12.09 20:51. Заголовок: В марте следующего г..
В марте следующего года выходит диснеевский фильм "Алиса в стране чудес" с Джонни Деппом в главной роли .Сегодня вышел первый рекламный трейлер.
По этому поводу MTV затеяли сравнение вышедших ранее музыкальных клипов на эту тематику.Среди них уже классический клип Тома и Хартбрейкерс Don't Come Around Here No More,а также клип Гвен Стифани What You Waiting For?На мой взгляд клин Тома просто великолепен,жалко что раньше его не видел и слопанную в конце Алису,даже ничуточки не жалко.А обкуренный чувак с ситаром в начале смахивает на Дейва Стюарта.Про клип Гвен и писать нечего - лажа.
Отправлено: 16.12.09 23:07. Заголовок: Клип шикарный. Одна ..
Клип шикарный. Одна клетчатая комната чего стоит! А кто не в курсе, Дэйв Стюарт продюсировал эту песню. В Антологии 2009 года, составленной из материала, написанного или спродюсированного Cтюартом, эта песня занимает своё достойное место.
click herehttp://community.livejournal.com/ru_tom_petty/64258.html?mode=reply Наконец-то до меня дошла делюксовая коробка Антологии, до этого принципиально не стала слушать версии, котрые можно скачать. Пока послушала первый диск. Очень подробно впечатления не получилось пока оформить, но кое что попыталась . Кому интерсно, посмотрите ссылку вверху.
Поздравляю!! Отличное приобретение. Как я понял, размер самого издания с обложку для винила? Несколько вопросов по самому изданию: как в нём крепятся сами CD? Насколько толстая книжка? Цена? И где реальнее всего заказать это у нас? Да...ещё: CD записаны в стандартном аудио-формате или в каком-то модерновом, типа 24 бита, на новом носителе и т.п.?
SLQ
постоянный участник
Зарегистрирован: 28.10.09
Откуда: Санкт-Петербург
Отправлено: 22.12.09 13:45. Заголовок: Да, коробка с винило..
Да, коробка с виниловую пластинку размером. CD в кармашках картонных, котрые в свою очередь в небольшую коробку упакованы. Книга не очень толстая, сейчас точно не скажу сколько листов, нет под рукой. Насчет формата CD - вроде бы нормлаьный формат. Но там еще блю-рей диск отдельно есть, на нем все эти же записи но в супер качестве. А вот как у нас заказывать - даже и не знаю. Мне он обошелся вместе с пересылкой (шло посылкой первого класса для скорости) за 150 долларов примерно, со всякими накрутками при переводе денег. Но это мне покупали на Бест Бае в первый день продаж по низкой цене. (за 100 долларов)
Voldar
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Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 22.12.09 22:13. Заголовок: Елена,поздравляю с п..
Елена,поздравляю с приобретением очередной реликвии.
SLQ
постоянный участник
Зарегистрирован: 28.10.09
Откуда: Санкт-Петербург
Отправлено: 22.12.09 13:46. Заголовок: The Top 50 Concert T..
The Top 50 Concert Tours of Decade ranks artists by total box office gross and includes the total tickets sold for shows in North America. The list is based on data provided to the trade publication Pollstar by concert promoters and venue managers.
TOP 50 CONCERT TOURS OF DECADE
1. Dave Matthews Band; $529.1 million; 11.6 million.
2. Celine Dion; $522.2; 4.
3. Kenny Chesney; $455.6; 8.6.
4. Bruce Springsteen; $444.3; 5.7.
5. The Rolling Stones; $426.9; 3.2.
6. U2; $391; 4.4.
7. Madonna; $325.3; 2.1.
8. Eagles; $313.4; 2.8.
9. Elton John; $286.4; 2.5.
10. Jimmy Buffett; $285.8; 4.5.
11. Toby Keith; $273.8; 6.4.
12. Cher; $263.5; 3.5.
13. Elton John/Billy Joel; $261.6; 2.3.
14. Bon Jovi; $241.4; 3.2.
15. Metallica; $225.5; 3.6.
16. Rascal Flatts; $222.4; 4.5.
17. Paul McCartney; $221.4; 1.4.
18. NSYNC; 196.4; 3.8.
19. Britney Spears; $195.7; 3.5.
20. Trans-Siberian Orchestra; $194.9; 4.7.
21. Aerosmith; $193.2; 3.2.
22. Tim McGraw/Faith Hill; $189.9; 2.7.
23. George Strait; $184.7; 3.1
24. The Police; $181.2; 1.7.
25. Neil Diamond; $179.4; 2.7.
26. Barry Manilow; $173.9; 1.7.
27. Bob Dylan; $161.1; 3.4.
28. "American Idols Live"; $156.8; 3.
29. "Ozzfest"; $154.9; 3.4.
30. Rod Stewart; $153.9; 2.1.
31. "Vans Warped Tour"; $152.9; 5.1.
32. Van Halen; $147.8; 1.6.
33. Fleetwood Mac; $146.2; 1.7.
34. Brooks & Dunn; $144.4; 3.8.
35. AC/DC; $144.3; 2.1.
36. Coldplay; $142.9; 2.6.
37. Eric Clapton; $139.3; 1.9.
38. Luis Miguel; $137; 2.1.
39. Tom Petty & The Heartbreakers; $136; 3.
40. Nickelback; $135.8; 3.3.
41. Dixie Chicks; $134.9; 2.6.
42. Tim McGraw; $133.7; 2.7.
43. Backstreet Boys; $132.4; 2.6.
44. Brad Paisley; $129.7; 3.3.
45. Tina Turner; $127.9; 1.7.
46. Bette Midler; $126; 1.1.
47. Billy Joel; $123.4; 1.4.
48. Barbra Streisand; $119.5; 0.4.
49. Phish; $116.7; 2.6.
50. James Taylor; $116.3; 2.6.
Voldar
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Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 22.12.09 22:15. Заголовок: Мне в новостях этот ..
Мне в новостях этот список тоже попадался,но до 25,рыть дальше не стал,а здесь оказывается два наших персонажа.
Отправлено: 23.12.09 10:35. Заголовок: А как хотелось бы ув..
А как хотелось бы увидеть там третьего Ну да ладно - хотя бы нового сольника от него дождаться.
SLQ
постоянный участник
Зарегистрирован: 28.10.09
Откуда: Санкт-Петербург
Отправлено: 23.12.09 17:23. Заголовок: Интервью Тома Петти ..
Интервью Тома Петти для USA TODAY Tom Petty's live legacy gets the mega-box-set treatment
By Mike Snider, USA TODAY What started out as a simple live CD project for Tom Petty and the Heartbreakers evolved into a multi-disc testament to the band's nearly 30 years on stage. Project producer/engineer Ryan Ulyate found 3,509 songs from 169 recorded live shows over the band's career and quickly realized that one disc would not be sufficient. He, Petty and guitarist Mike Campbell got to work pruning. "If it didn't grab us in the first minute, then it didn't make the short list," says Ulyate in an LP-sized book that comes with the new Live Anthology.
What sounds like a chore actually "turned into a really good time, and I really enjoyed it," says Petty, in a recording of responses to questions e-mailed to him.
The final 61 songs in the collection's five discs include all the band's changes over the years. In addition to Campbell and keyboardist Benmont Tench, the original Heartbreakers included bass player Ron Blair and drummer Stan Lynch. Howie Epstein replaced Blair in the early '80s after Blair tired of touring; Blair returned after Epstein's death in 2003. Guitarist and singer Scott Thurston joined the band for its 1991 tour and has remained. Steve Ferrone took over as drummer in 2004.
"It was kind of like looking at the family photo album but everybody was in the picture," Petty says.
The Live Anthology, released in late November, is available in several editions:
•Special edition ($100, www.tompetty.com and bestbuy.com) with five CDs (62 songs), two DVDs (one a New Year's Eve 1978 Santa Monica concert, the other a 1994-95 documentary) and a Blu-ray Disc with all 62 songs in high-resolution audio.
•A four-CD set with 48 songs ($18.49-up) covers 1980-2007 with the band's standards such as American Girl to covers including the Grateful Dead's Friend of the Devil.
•An edition with seven audiophile-vinyl LPs ($140) of 51 songs.
•The downloadable Superhighway Tour ($24.98) with 48 tracks of MP3 or higher-resolution files. Also includes photos and band commentaries.
More from Petty's responses:
Q: How were the songs chosen, and which ones brought back memories?
A: Well, the songs were chosen from hundreds of hours of tape that Ryan Ulyate went through, and he did the lion's share of the listening and brought us 10 or 15 takes of each song. Mike Campbell, Ryan and I would pick the best, and the best was usually pretty obvious. So what I thought might be a chore turned into a really good time, and I really enjoyed it. It was kind of like looking at the family photo album but everybody was in the picture. We really had a good time.
I couldn't remember all of the concerts, but I could remember the time period when I heard the tracks. The strangest things would come back to me about maybe what the weather was like getting dressed in cold dressing rooms in England. There was one particular group of concerts that I had forgotten about that we used quite a bit from the stand we did at the Forum in Los Angeles; there was a three-night stand there in 1981. We found that those shows were really, really good. ... I remember being shut down after the first gig. The fire marshals were very upset at how out of control the crowd was and wanted to cancel the next two nights. We really had to do a song and dance for the fire department.
Q: So how regularly were the band's concerts recorded?
A: We recorded quite a bit. Not every show, of course. It was very complicated in the older days to record because, before the digital age, you had to bring in a truck and you had to have at least two two-inch machines rolling in case one ran out of tape and you had to do long sound checks and bring in a crew. So it was a lot easier when digital recording came in. But before that we always had this live album we were going to make and never did. Usually if we're going to be in a place for more than one day, if there were multiple shows, we'd say, 'Let's record this because we'll have time to get the sound really good.' And a lot of the recordings came from live broadcasts, those were fairly common in the '80s and the '70s. ... For whatever reason, we just hung on to anything that got recorded live, whether it was for a television show or (radio show) The King Biscuit Flower Hour or any number of things.
Q: You have the Blu-ray Disc in the set with high-resolution quality. Was there anything particular that got you interested in making the band's music available in a higher quality?
A: Hearing (the) resolution and the sound quality on the Blu-ray Disc is really exciting. I would equate it to getting a color TV when you had only had black and white. If you are a real music fan, it's worth getting a Blu-ray (player) and sticking this disc in there. It's as good as being in the middle of the crowd. ... I really think this is the way to go for hi-fi if you are a hi-fi enthusiast and you really want the best possible quality recordings. I think we will see a lot more of it in the future.
Q: What do you think about the prevalence of MP3s and typical downloadable digital files?
A: They are kind of the going thing right now. Unfortunately, they are not the best vehicle for sound. You are losing top and bottom, you know. You are not getting as good a picture as you would get even from the CD. And by picture, I mean a sound picture. They have this thing now called FLAC (Free Lossless Audio Codec, a digital music file that offers higher fidelity than MP3) that is terrific. If you are going to download, I would certainly prefer to do that for myself. I think you would enjoy it if you did it. We have that available on our Superhighway Tour (the digital online buying option for the Petty songs that began Sept. 29) for The Live Anthology. You can download in FLAC. You should try it because I think you will like it.
Q: The Superhighway Tour early release of the anthology tracks was certainly innovative. Where do you see online delivery of music going?
A: I think that is a good example of where it can go. The Superhighway thing has been very well received by our fans. I think you can spend entire evenings with it. There is so much than can be done. Who knows where it is going to go, but I think that is a good indication of what you can do.
Интересно ответил Том насчет блюрея,"разница как между цветным и черно-белым телевизором.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 24.12.09 22:18. Заголовок: Несмотря на то,что Б..
Несмотря на то, что Б.Г. рассказывая о Томе, назвал его Родину Гейнсвилл полной дырой, надо отметить, что этот город стал кузницей хороших музыкантов американского Юга. В их число входит и Дон Фелдер - один из будущих "Орлов". Естественно, они с Томом не могли не встретиться и вот что пишет Дон об этом в своей книге:
My job in the store soon extended to that of music teacher. Mr. Lipham recommended me to some of his customers, and before I knew it, I was teaching ten-year-old snot-nosed kids who whined all the time be- cause their fingers hurt and they thought they’d be able to play like Elvis the minute they picked up the guitar their parents had just bought them. My salary doubled, and I’d soon paid off the Stratocaster, even if the price—working with children—often seemed too high. One of my students, however, showed real promise. His name was Tommy Petty, and he was my star pupil. Tommy was three years younger than me, skinny, with buckteeth and an awful guitar. I went over to his house to give him lessons, and he had a microphone set up and was belting it out, standing in his living room, singing and playing for all he was worth. I was impressed. Tommy wasn’t an outstanding guitar player, but he had a voice some- where between Mick Jagger and Bob Dylan, and a whole lot of nerve. Not long afterward, he became the lead singer with a band called the Rucker Brothers. I remember telling Tommy that one day he might even make it.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 25.12.09 19:51. Заголовок: На сайте onlineAthen..
На сайте onlineAthens(американские Афины) размещено короткое сообщение о краже.Вор унес электроники на 6000$,как у доктора Шпака,5 компьютеров,12 DVD,пальто и .....бокссет Тома Петти.
Отправлено: 10.01.10 02:11. Заголовок: Voldar пишет: и .....
Voldar пишет:
цитата:
и .....бокссет Тома Петти.
Ну надо же ему что-то слушать на украденной аппаратуре
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 29.12.09 21:12. Заголовок: Одной из самых любим..
Одной из самых любимых в Америке песен Тома является,что не удивительно,рождественская.Нам же вдвойне приятно,что деятельное участие в её создании принимал Джефф.
Отправлено: 08.01.10 20:22. Заголовок: Сегодня в NORTHAMPTO..
Сегодня в NORTHAMPTON будет проведен концерт посвященный Тому Петти.
Real-life heartbreak adds serious edge to Tom Petty tribute show tonight
Originally the "Don’t Do Me Like That" Tom Petty Tribute concert scheduled for tonight at The Iron Horse was a light-hearted, fun way to bring local talent together to trade songs by the popular rock and roller.
Отправлено: 10.01.10 02:17. Заголовок: Том давно заслужил п..
Том давно заслужил почёт на Родине. Хотелось бы, чтобы у нас тоже помимо трибьют-групп битлов, пёплов и др., появились коллективы, посвящённые его музыке. На данный момент он вполне это заслужил.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 10.01.10 19:27. Заголовок: Том то заслужил,вида..
Отправлено: 13.01.10 16:48. Заголовок: Возвращаясь к разгов..
Возвращаясь к разговору о жуликах... они не только там, они всюду На днях, краем уха слушая по ТВ очередную бредовую рекламу лекарственного средства Панангин, услышал знакомые звуки на заднем плане, за голосом, предлагающим вкусить эту прелесть. Каково же было моё удивление, когда я понял, что это сэмпл из 'Learning To Fly' Петти. 30-секундное использование в ком.целях по закону вроде допустимо, но неприятно, когда пользуются чужим трудом на халяву и совсем не по делу.
Brendan Benson & Cory Chisel - American Girl (Tom Petty cover) Nouveau Casino Paris 26/10/09
While he was crafting his debut album of folk-influenced tunes, 'Death Won't Send a Letter,' Cory Chisel happened to find a spiritual brother in solo rocker and sometime-Raconteurs member Brendan Benson. As the two helped shape the sound of 'Death' and eventually toured together, they also realized that they shared a mutual love for Tom Petty. "The 'Running Down a Dream' documentary had been playing a lot on the bus," Chisel tells Spinner, "and we were all in a very Tom Petty sort of mood."
That mood carried over to a show in Paris, when the two decided to learn the classic Petty track 'American Girl' on the spot for an encore. Chisel said that the Petty encore "worked so well we ended up finishing the show with it every night," and now they've even decided to release a clip of them performing it together backstage at Lincoln Hall in Chicago. Check out the premiere of Chisel and Benson's version of 'American Girl' after the jump.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 16.01.10 18:29. Заголовок: Компания Harmonix пр..
Компания Harmonix проинформировала поклонников Rock Band о скором релизе очередного загружаемого дополнения. На этот раз игроки смогут приобрести набор песен Tom Petty & The Heartbreakers Live Anthology Pack 2.
Как видно из названия, центральное место в нем занимают композиции группы Tom Petty & The Heartbreakers, однако в набор также вошли треки Phoenix и Silvertide. На Xbox 360 и Wii музыкальная добавка появится 19 января, а на PS3 выйдет двумя днями позже. За каждую загружаемую песню разработчики просят $2 (160 MSP), хотя комплект из шести композиций, совместимых с LEGO Rock Band, можно будет купить со скидкой – за $10.
Tom Petty & The Heartbreakers Live Anthology Pack 2 включает в себя следующие песни:
* Tom Petty & The Heartbreakers - A Woman in Love (Live) + * Tom Petty & The Heartbreakers - Breakdown (Live) + * Tom Petty & The Heartbreakers - Century City (Live) + * Tom Petty & The Heartbreakers - Jammin' Me (Live) * Tom Petty & The Heartbreakers - Nightwatchman (Live) * Tom Petty & The Heartbreakers - The Waiting (Live) + * Phoenix - 1901 + * Phoenix - Lisztomania + * Silvertide - Blue Jeans
SLQ
постоянный участник
Зарегистрирован: 28.10.09
Откуда: Санкт-Петербург
Отправлено: 25.01.10 12:47. Заголовок: Читать тут Полный т..
Полный текст интервью Тома Петти журналу RS в 2009 году. Частично я выкладывала интервью ранее.
Увы, пришлось в виде скриншотов выкладывать . Все фото окрываются до больших и читабельных. Вроде как ничего не пропустила. В полной версии интервью много интересных моментов.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 25.01.10 22:39. Заголовок: Это ,то самое интерв..
Это ,то самое интервью,из которого американские СМИ,выделили только длинный хайр Тома в детстве и его отношения с отцом.
SLQ
постоянный участник
Зарегистрирован: 28.10.09
Откуда: Санкт-Петербург
Отправлено: 26.01.10 16:34. Заголовок: Ага. Нашли на что вн..
Ага. Нашли на что внимание обратить :(
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 26.01.10 20:27. Заголовок: Amber Mcdonald в св..
Amber Mcdonald в своем блоге поделился впечатлениями от настоящих живых концертов и концертов Тома и Хартбрейкерз в частности.
Musicology: I dig music
n my opinion, the more a musician or band filters their musical vibes into the crowd through passionate performance, the more the crowd becomes energized. This inevitably creates a harmonic connection between a group of people sharing a melodic moment in time.
I’ve seen Tom Petty several times in concert and would see him again because he is a master when it comes to conducting the musical energy of a show. Petty can make each person, even those up in the nosebleed seats, feel like he is singing especially for them.
During a July 2008 performance at the St. Pete Times Forum — when the musical rush was at an absolute peak as the crowd sang every lyric with swaying arms, guitar solos electrified the stadium and spotlights danced across the room — right in that second, Petty raised his arms and said, “ I thought to myself, what if for one moment everything was all right?” Then he paused briefly, letting the crowd go wild in agreement. “I thought, what if for just-one-moment, EVERYTHING, was ALL RIGHT?!”
And the 20,000-seat venue erupted with claps, whistles and howls because everyone felt a harmonic connection — for that one moment, or maybe even that entire show, everything was going to be all right.
Отправлено: 02.02.10 20:38. Заголовок: На оффсайте Тома выл..
На оффсайте Тома выложена очередная подборка Buried Treasure.Может поточнее рассказать,что означает эти треклисты ,смогут наши более осведомленные любители Тома.
Buried Treasure #107, Season 5 / Show 9, airs January 28-February 1, 2010.
Steppenwolf Rock Me All Time Greatest Hits Roy Head & The Traits Treat Her Right Treat Her Right: The Best Of Roy Head Small Faces What'cha Gonna Do About It Ultimate Collection Slim Harpo Tip On In (Part 1) The Excello Singles Anthology The Band When I Paint My Masterpiece Greatest Hits Big Joe Turner Shake, Rattle And Roll Greatest Hits Dan Penn The Dark End Of The Street Do Right Man Chubby Checker Pony Time The Best of Chubby Checker: Cameo Parkway 1959-1963 Chuck Berry Tulane Gold Rufus Thomas Walking The Dog The Very Best Of Rufus Thomas Sam & Dave You Don't Know Like I Know The Very Best Of Sam & Dave The Rolling Stones Talkin' About You December's Children (And Everybody's) The Temptations Ball Of Confusion (That's What The World Is Today) The Definitive Collection Bettye Swann Make Me Yours Make Me Yours - Golden Classics Creedence Clearwater Revival I Put A Spell On You Creedence Clearwater Revival: 40th Anniversary Edition Sam Cooke Soothe Me The Man Who Invented Soul (Box Set) Rod Stewart Dirty Old Town The Rod Stewart Album Howlin' Wolf Do The Do The London Howlin' Wolf Sessions Robert Parker Barefootin' Barefootin' - Golden Classics Ritchie Valens Ooh! My Head The Very Best Of Ritchie Valens Randy Newman Sail Away Sail Away (Expanded Version Pete Townshend Rough Boys Empty Glass
Buried Treasure - это радипередача, котрую на протяжении уже 5 сезонов ведет Том на одной из радио-станций ЛА. В своих часовых передачах Том ставит песни из своей коллекции записей, старается выбирать что-то не очень известное из рока и блюза . Очень интересно слушать.
Спасибо,Елена.Трек лист действительно хороший,наверно у Тома приличная коллекция.Как у Вас,дела на ферме(Mudcrutch Farm)?В смысле как принимают русских с удивлением или нет?
SLQ
постоянный участник
Зарегистрирован: 28.10.09
Откуда: Санкт-Петербург
Отправлено: 05.02.10 11:24. Заголовок: Voldar пишет: Как у..
Voldar пишет:
цитата:
Как у Вас,дела на ферме(Mudcrutch Farm)?В смысле как принимают русских с удивлением или нет?
ТАм пока относительно тихо, ждем новостей. А к русским там уже привыкли, там довольно много наших. Человек 5-6 точно есть. Не все, правда активно что-то пишут, но все равно.
Отправлено: 05.02.10 10:13. Заголовок: Потому что от Бивана..
Потому что от Бивана как от музыканта давнооо ничего нового не было :( . Последние его метания от ELO к Part2 и к членам Orchestra скорее напоминали действия отчаявшегося, запутавшегося человека без чётких перспектив в музыке, а у Тома хватает времени на всё с лихвой: и новые альбомы, и концерты, и остальное... ему, видать, тесно в рамках одной задачи.
Отправлено: 09.02.10 10:39. Заголовок: Скачал с "торрен..
Скачал с "торрентс.ру" делюксовое издание Антологии и послушал пока три альбома из пяти. Качество записи действительно супер! Подборка песен классная! Полно материала, не издававшегося на номерных альбомах. Петти - молоток!
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 09.02.10 21:12. Заголовок: Ждем с нетерпением,у..
Думаю,что врядли кто то из нас ставил,что Джефф первым выпустит новый альбом,но те кто ставил в любом случае проиграли.
Том и команда возвращаются с новым альбомом и большим гастрольным туром по северной Америке.Подробности о новом альбоме обещают разместить на офсайте исполнителя на следующей неделе.В каждом городе в котором будут проходить гастроли пресса разразилась приветсвенными статьями,всего в количестве 76 штук.К участию в туре привлечены также замечательные гости:My Morning Jacket, Crosby, Stills and Nash, Joe Cocker, ZZ Top, and Drive-By Truckers.
North American Tour and New Album Announcement
We are excited to announce that Tom Petty and The Heartbreakers will mount an extensive tour of North America this summer and also release their first studio album in eight years, Mojo, this spring.
The tour begins May 6 in Raleigh, NC and will take the band throughout the US and Canada all summer long. Special guests on the tour will include a mix of appearances by My Morning Jacket, Crosby, Stills and Nash, Joe Cocker, ZZ Top, and Drive-By Truckers.
Tickets for many of the shows go onsale to the public Monday March 8. Highway Companions Club presales will begin on Wednesday March 3.
Visit the tour page for cities, dates and venues. Click here for details on the new Highway Companions Club and premium ticket packages.
Mojo is Tom Petty and The Heartbreakers’ twelfth studio album and is the sound of a band making some of its most exhilarating music, over thirty years into their career.
Every online ticket purchased to the tour comes with an MP3 download copy of Mojo, delivered via email on the album’s release date, scheduled for this spring.
Upon purchasing their ticket to the tour fans will receive an email with codes entitling them to download two tracks from Mojo right away. The tracks are “First Flash Of Freedom” and “Good Enough.”
Plus, fans who purchase tickets online and download Mojo will also receive 8 tracks recorded during the 2010 Tour to be delivered after the tour. Members of the Highway Companions Club will receive an additional 6 live tracks for a total of 14 at the end of the tour.
More details on Mojo will be released in the coming weeks. In the meantime make sure to check out all the tour dates here!
Расписание гастролей
May 6: Raleigh, N.C. (Time Warner Cable Pavilion at Walnut Creek)*
May 7: Charlotte, N.C (Verizon Wireless Amphitheatre)*
May 9: Tampa, Fla. (St. Pete Times Forum)*
May 15: Dallas, Tex. (Superpages.com Center)*
May 16: Houston, Tex. (Cynthia Woods Mitchell Pavilion)*
May 18: Phoenix, Ariz. (US Airways Arena)*
May 22: Los Angeles, Calif. (Hollywood Bowl)*
Jun 2: San Diego, Calif. (Cricket Wireless Pavilion)*
Jun 3: Irvine, Calif. (Verizon Wireless Amphitheatre)*
Отправлено: 27.02.10 13:13. Заголовок: В потоке восторженны..
В потоке восторженных откликов на “Good Enough”,встречаются и такие гады.
New Tom Petty Song "Good Enough" Is Not, Actually
Posted by Mike Conklin on Fri, Feb 26, 2010 at 11:33 AM
I'm sorry about the joke up there in the headline, but it's really not a very good song. Hopefully the rest of the forthcoming (and very stupidly titled) Mojo is better, but I do not have high hopes. Listen here, if you absolutely must, or just go here and watch a live performance of "American Girl" from 1978. [Vulture]
комменты
You are crazy. "Good Enough" is fantastic. The sound of one of the best rock bands in the world totally killing it.
Отправлено: 02.03.10 12:43. Заголовок: На оффсайте пока нет..
На оффсайте пока нет даже треклиста нового альбома,а обещали на этой неделе,ну ё - MOJO.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 02.03.10 12:48. Заголовок: На сайте guitarplaye..
На сайте guitarplayer в 2006 году к выходу Highway Companion было опубликовано интервью с Томом.Очень интересно почитать о том как создавался альбом,о совместной работе с Джеффом и гитарах на которых играет Том.
Tom Petty: 30 Years & Counting
Art Thompson ,Jun 22, 2006
“We were just listening to Buck Owens on the way over here,” says Tom Petty as he settles into an easy chair at the Heartbreakers’ rehearsal studio after spending most of the day stuck in L.A. traffic. “I was in this band called the Epics when I was 16, and we used to go out on road trips on the weekends. A lot of times, we’d be driving back from the gig, and we’d pull into these truck stops where I’d hear Buck Owens on the jukebox. I thought he was terrific.”
Petty’s recollections of hearing the late country star’s 45s spinning on a jukebox highlight the long road he has traveled since his earliest days with both the Epics and the country-rock band Mudcrutch—the group that would give him his first taste of songwriting success, as well as bring him together with Heartbreakers’ guitarist Mike Campbell and keyboardist Benmont Tench. Petty certainly has a lot to reflect on as the Heartbreakers celebrate their 30th Anniversary this year. The band’s remarkable run to the top—which began with the 1976 release of their debut album Tom Petty & the Heartbreakers—has resulted in 50 million records sold, four Grammy Awards (from 16 nominations), 25 top singles, and more music-industry honoraria than any of the typically self-effacing members of the Heartbreakers probably cares to recall.
Petty’s remarkable band dropped onto the scene at a time when rock fans were salivating for some of the primal elements that were AWOL in the bloated rock scene of the late 1970s. “We probably invented new wave, but we were running ahead of it,” says Petty. “I didn’t want any label to be put on us, and I was very conscious that we were a rock and roll band and not anything else.”
Apparently, that’s all that the millions of new riders on the Heartbreakers’ bandwagon wanted them to be. Following the 1979 release of their powerhouse third album, Damn the Torpedoes, the band had to suddenly balance their phenomenal success with the challenge of figuring out what to do next. And instead of blowing to bits, as did so many other young groups that had skyrocketed to the top of the charts, the Heartbreakers just kept churning out album after album of great music.
To celebrate the band’s 30th year, a couple of exciting projects are in the works. Perhaps the biggest treat for Tom Petty and the Heartbreakers fans is a feature-length documentary directed by famed auteur Peter Bogdanovich. The famously private band members allowed Bogdanovich access that no one else has ever been offered, and the yet untitled film promises to be the most comprehensive overview of Tom Petty and the Heartbreakers ever produced. Principal photography started last year, but, at press time, there was no release date scheduled.
The Heartbreakers’ summer anniversary tour is also designed to be an event, with a revolving cadre of famous guest stars. The actual dates weren’t confirmed at the time of our interview, but the opening acts are reported to include Pearl Jam, the Allman Brothers, and Trey Anastasio.
Petty is also keeping busy doing the second season of Tom Petty’s Buried Treasure—his weekly XM Satellite Radio Network show—and voicing the character of Lucky on King of the Hill. Most recently, Petty, Campbell, and producer (and former ELO frontman) Jeff Lynne joined forces to record Tom’s third solo album, Highway Companion [American Recordings], a spare but deliciously inviting album that sounds in many ways like something the band might have recorded decades ago. It’s a tribute to the consistency and depth of Petty’s songwriting, as well as how timeless his songs sound when Campbell applies his magic to them.
How did you wind up partnering with Jeff Lynne again on your new solo album?
Jeff and I were asked by Olivia Harrison [George Harrison’s wife] if we would go to New York and induct George into the Rock and Roll Hall of Fame in 2004, and we were supposed to play a couple of his songs. Jeff doesn’t like to play live, but I talked him into it. The performance went well, so on the trip back I said to him, “We ought to do a track sometime.” Then, Mike and I went over to Jeff’s house, showed him a tune, and he wanted to cut it right there in his studio. We didn’t have a band, so Jeff said, “You play drums don’t you?” So I wound up being the drummer. Anyway, that first track went really nice, so we just pitched camp at Jeff’s studio. I kept dragging out songs, and, the next thing we knew, we’d recorded ten tracks. It was just the three of us. Jeff played bass, Mike played all the solos, and each one of us would fill in wherever we could on keyboard and guitar.
Was it your intent to produce a very streamlined sound?
Early on, we decided not to use a lot of instrumentation. I kept saying to Jeff and Mike that I wanted it to sound like a combo. I wanted to leave a lot of space, and not try to fill everything in. Of course, Jeff is a master at recording vocals, and he knows how to make a vocal sound full, even when there are not a lot of different textures around it. We didn’t use a lot of keyboards, either. Because this was a solo record, I steered away from anything that was too Heartbreakers sounding.
There’s certainly more slide playing than on most Heartbreakers albums.
Mike kept saying, “Do you really want slide again?” I wanted this record to have a distinct vibe, and a continuity of sound, and his slide playing really does that. There’s slide on just about every number, but Mike was able to find enough tonal variations to produce lots of textures without the album sounding slickly produced. We’ve always paid a lot of attention to the textures and characters the guitars create.
There’s a consistency in the Heartbreaker’s sound that goes back to when you first started, and when you listen to some of the early Mudcrutch songs on Playback, it’s impressive how good you guys sounded even way back then.
It’s amazing, because I think I was 19 when we recorded some of those songs. We had never really been in a studio before, and we did “Up in Mississippi Tonight” and one other song in four or five hours. They were done really fast, put on a 45, and released in the Gainesville area—which is where we were from. “Mississippi” did pretty well on the radio. For a local group, we got a lot of play on it, which was cool, because we got to raise our prices a little bit. But we were just kids, and how we did it I have no idea. It’s all kind of mystical—like it was meant to be.
To what do you attribute the Heartbreakers ability to stay together for so long?
We just like to do it. We’re probably one of the five top rock and roll groups, and I couldn’t think of leaving. To go anywhere else would be a disappointment. But I think the number one reason we’ve stayed together is that we have become a family over all these years. Me and Mike and Ben go back further than the Heartbreakers—back to around 1970. I don’t have a lot of family of my own, and Mike is the same way, so we have that bond together. We’re very much like brothers, and we fight like brothers, too. But the band has somehow become bigger than all of us. I see it in kind of a holy way. The Heartbreakers have made so many people happy that it would almost be a sacrilege to turn my back on it.
Do you think the band could make it if you had to start over today?
No, I don’t. We were so nurtured by Denny Cordell—a great producer who had done all these amazing records, such as “A Whiter Shade of Pale” and all the Joe Cocker stuff. He was the secret. He signed us, and he let us play in the studio for a year before we put our record out. If we had just shown up in town, and were told to cut a record, I don’t think it would have been that good. We were allowed to grow. The first record we put out did okay, the next did even better, and the third one just exploded.
How is the situation different now?
These days, if a group puts out their first record and doesn’t have any success, the record company just moves on to another group. It’s more cost efficient or something. The sort of nurturing we got doesn’t seem to go on today. Denny was looking at us as a band that was going to have a career, rather than a band that was going to make a hit record. And what got drilled into our heads is that it’s not about any particular record, it’s about a consistency of work. You want your work to be the best it can be all the time, and you don’t want to get caught up in what everyone else is doing, or what is an immediate hit. If you do good work it will take care of you. I think that’s what has carried us this far. When you go back and listen to some of these old songs we did, they still hold up. I’m kind of surprised by it, too. I heard “Breakdown” on the radio a few days ago, and it sounded great. That was a really well made little record. And we were just kids. We didn’t know we were making something that was going to last for decades.
The Heartbreakers have a very identifiable guitar sound. Can you explain what you do to create that?
Mike and I have a sound we make together that is particularly us, and it doesn’t happen when we play with other people. There’s something the two of us instinctively do. It’s about the way our chords ring, or their voicings, or how our tones work together. It’s partly because we’ve played together for so long, but it’s also because we always had to make a lot of racket to carry that sound in a small group. We’ve learned how to use it to our advantage—especially when we play live.
What kind of music has inspired you lately?
I really like blues a lot—especially the stuff on the Chess label by Lightning Hopkins, Muddy Waters, and others. There’s something extremely pure and poetic about that music. Some of it is pretty rugged and raw, but there’s also something about it that’s just beautiful. That’s what’s speaking to me lately. But I have to listen to so much music these days for my weekly satellite radio show. I go through a lot of stuff putting the shows together—a really wide range of blues, R&B, rock, and garage rock from the ’50s, ’60s, and ’70s.
How has your setup evolved over the years?
I was using Vox amps for many years, and then I started playing Fender Bassmans, but they sounded a bit too growly for me. Then, I came across this old red Marshall on the road, and I started using that. Last year, we rolled out the old Vox Super Beatles we’d bought back in the band’s early days. They make a pretty cool sound, so we tried them again, and we wound up using them on the last tour. But I still kept the Marshall, which I run though a Vox cabinet. I also have another Vox head and cabinet, and I use a footswitch to select either the Marshall or the Vox or both.
What effect has the Marshall/Vox rig had on your stage volume?
I’m probably playing louder now. I try not to, but when you play big places you need a little air movement. A lot of people are putting their amps under the stage and playing though headphones, but I need to feel some air moving. But I’m not slamming it to 10 and trying to kill everybody. I just turn it up enough to where the sound is full and it has some nice bottom.
What is your main guitar now?
I started playing Stratocasters again last year—mainly early ’60s models. I like Teles, Gretsches, and Rickenbackers, but I guess if I had to pick one guitar to get the job done, it would be a Strat. I used about a dozen different guitars on the last tour—of course, some were in different tunings, and some were acoustics. One of my favorite guitars for recording is an Epiphone Casino. It’s a great guitar, but it’s kind of tough to take it on the road because it feeds back at loud volumes. Even so, the last time we were in here rehearsing, the Casino is what I was playing most of the time.
Do you often write songs in response to things that have affected you on a personal level?
I’m sure that everything you write probably comes from some place in your soul. I mean, you can only write what you know, so it’s all going to creep in there. But I don’t often sit down and say, “I’m going to write about this.” I just start playing, and things come in. When something feels like it has a nice ring to it, and it connects with me, then I trust it. Sometimes, I’ll hear the song six months later, and think, “I know exactly what was on my mind then.”
Have there been songs you thought were too introspective to release?
I thought “I Won’t Back Down” was too introspective. I was hesitant with that one, because there’s not much ambiguity or metaphor in it. It just says it. I remember asking Jeff Lynne—who produced it—if he thought the song might be a little embarrassing. He said, “No. It feels great.” So I was surprised when it was received the way it was. People are always telling me, “That song helped me through the worst time of my life.”
The thing about songwriting is that there’s an exception to every rule. It’s hard to talk about it generally, because each song is so different. I think my best songs are the ones where you can find different levels of meaning in them. Those are the ones I find the most intriguing, but I don’t always write that way. Sometimes, I’ll write a linear kind of thing, such as “Into the Great Wide Open,” which is just straight-on storytelling. But the ones I really like have a bit of ambiguity. I don’t have a method that always works. The process is so random, and yet it keeps happening. I just look up every year or so, and I’ve got ten more songs. It’s not something I work at every day, but I kind of feel that I’m never done writing. I’m always looking for a song.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 03.03.10 11:37. Заголовок: Появился официальный..
Появился официальный баннер гастрольного тура 2010.О новом альбоме пока информации нет,зато в комментариях на странице тура раздаются многочисленные стоны поклонников из городов не включенных в график выступлений.
Сейчас бросилось в глаза,что верхняя часть сердца на баннере выглядит несколько двусмысленно.
Да уж.....
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 04.03.10 11:39. Заголовок: На ферме один из пол..
На ферме один из пользователей разместил отрывок из интервью с Томом с Rolling Stone.com,только на сайте его нет.Из интервью можно узнать как будут называться некоторые песни с нового альбома и в каком стиле они написаны.
From Rolling Stone.com "I knew there was something in the band that hadn't been brought out," says Tom Petty, who let the Heartbreakers run wild on Mojo, his loudest, loosest, bluesiest album ever. "I was listening to early Jeff Beck Group, Peter Green, Muddy Waters, even a little JJ Cale — so that's kind of the way I was thinking when I was writing." To make it all work, Petty pushed guitarist Mike Campbell to let go of his signature restraint and step up as a guitar hero: He solos with almost Buddy Guy-like abandon throughout and riffs Zep-style on the surprisingly heavy "Good Enough." There's more than just blues rock here, though. "First Flash of Freedom" has a psychedelic swing that suggests Love; the stoner's lament "Don't Pull Me Over" is an unexpected stab at reggae; and "The Trip to Pirate's Cove" is a classic Petty story-song ("I've got a friend in Mendocino/And it's getting close to harvest time," he sings). Says Petty, "We were having so much fun recording that we had to force ourselves to pull the plug — it could have gone on and on."
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 05.03.10 11:34. Заголовок: Описание появилось з..
Отправлено: 10.03.10 11:08. Заголовок: На ещё одной фотке с..
На ещё одной фотке с вечеринки вилбурис,Том почему то стоит с палочкой.Может кто знает что с ним?
ТНЮ
постоянный участник
Зарегистрирован: 29.10.09
Отправлено: 10.03.10 23:52. Заголовок: Я уже где-то такое в..
Я уже где-то такое видела..... может, в каком-нибудь клипе? А где Джорджи?
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 12.03.10 11:49. Заголовок: Елена,спасибо за инф..
Елена,спасибо за информацию о колене Тома,наверно ему пора завязывать ходить в кедах.К сожалению все посты за вчерашний день из-за глюка у наших хостеров пропали в том числе и ваше сообщение о релизе Classic Albums (Classic Albums (Eagle Vision) на DVD и BluRay Damn the Torpedoes
...The DVD features newly filmed contributions from the band members Tom Petty, Mike Campbell, Benmont Tench, Ron Blair and Stan Lynch along with co-producer Jimmy Iovine and engineer Shelly Yakus as they analyse the tracks from the original multi-track tapes and through new and archive performances.
Зашел на сайт Eagle Vision,но там как не странно этот релиз пока не объявлен.
Отправлено: 18.03.10 12:05. Заголовок: Александр, я присоед..
Александр, я присоединяюсь к словам Володи по поводу благодарности за антологию. Пятый, бонусный диск, просто радует душу. Очень рад, что имею возможность слушать всё целиком. Спасибо!
krasnovenator
Зарегистрирован: 13.03.10
Откуда: Russia, Ivanovo
Отправлено: 15.03.10 15:31. Заголовок: Вот, кстати еще одна..
Вот, кстати еще одна фотка с презентации. И текст к ней: "...a fab Traveling Wilburys book release party in Beverly Hills. The book is one of those fancy GENESIS books and it’s worth every penny as the photos are mindblowers! At the party were: Tom Petty, Jeff Lynne, Olivia & Dhani Harrison, Jim Keltner, Eric Idle, Gary Wright, Joe Walsh….and Ringo! It all went down at James Perse hip clothing store on North Canon Drive in BH."
krasnovenator
Зарегистрирован: 13.03.10
Откуда: Russia, Ivanovo
Отправлено: 15.03.10 15:36. Заголовок: Re-Voldar
Да не за что! Чем больше петтиманов, тем лучше. Однако, в России трудно кому-то доказывать, что в настоящее время лучше, элегантнее (в музыкальном подходе, аранжировках и т.д.) группы TP&HB НЕТ!!!!!
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 15.03.10 15:41. Заголовок: Ну поскольку у нас т..
Ну поскольку у нас тут довольно много поклонников его другана Джеффа,думаю сможем о этом поспорить,если он наконец все таки выпустит свой новый альбом(я например его уже со страхом ожидаю)
Ну поскольку у нас тут довольно много поклонников его другана Джеффа,думаю сможем о этом поспорить,если он наконец все таки выпустит свой новый альбом(я например его уже со страхом ожидаю)
Я думю, что не стоит бояться. Что будет, то и будет. Заждались уже!
krasnovenator
Зарегистрирован: 13.03.10
Откуда: Russia, Ivanovo
Отправлено: 15.03.10 15:48. Заголовок: Опа! У меня тоже сви..
Опа! У меня тоже свихнутые на Линне его ждут-не-дождут. А чего бояться-то? Выпустит хороший альбом - малацца! Не выпустит - переживём! Короче, апплауз Джеффу!
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 15.03.10 16:05. Заголовок: Это как у Шварца син..
Это как у Шварца синдром "сотого медведя",а вдруг промахнется.
Отправлено: 18.03.10 12:08. Заголовок: Джефф халтуры не дел..
Джефф халтуры не делает - нисколько не сомневаюсь, что мы все будем довольны Только по времени выхода альбомов Линн, конечно, мастер пыток. От Джорджа небось набрался альбом раз в 10 лет выпускать.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 17.03.10 14:54. Заголовок: Среди приглашенных г..
Среди приглашенных гостей в предстоящем туре Тома есть загадочная команда водителей грузовиков - Drive-By Truckers.Так как все остальные гости очень известные персонажи,предлагаю ознакомиться с их творчеством,тем более фирма Гибсон рекомендует их новый альбом к прослушиванию.
5 New Albums You Have to Hear Now
Drive-By Truckers
The Big To-Do
Of the Drive-By Truckers’ six members, three of them are guitarists — making their eighth studio album, The Big To-Do, a real homage to the instrument and one of the best DBT albums in years. Out March 16, this is the band’s first album on Dave Matthews’ ATO Records and is as guitarist Patterson Hood has said, “very much a rock album.”
Hood, a Les Paul loyalist, told Gibson earlier this month, “It was a fun record to make. Everyone came in bursting with ideas, and all the ideas were compatible. It was pretty idyllic. We ended up recording more than 30 songs.”
промо нового альбома
Drive-By Truckers- Birthday Boy
Drive By Truckers -"Goodbye"
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 18.03.10 11:06. Заголовок: Гонщик самой популяр..
Гонщик самой популярной в Америке гоночной серии Nascar Brad Keselowski,выбрал для себя на следующем этапе в Бристоле песню Тома "Won't Back Down".
Отправлено: 19.03.10 10:46. Заголовок: В английской газете ..
В английской газете появилась несколько запоздалая рецензия на Антологию.
SOUNDS WRITE - Sade and Tom Petty
It has always been something of a mystery that Tom Petty’s massive popularity in his American homeland has never been replicated on these shores. He has a loyal following over here for sure but his status is nothing like the same as that of his compatriot, Mr Bruce Springsteen.
Stateside, for the past thirty odd years, Petty has been solid gold rock royalty and a hugely bankable star, especially on the concert circuit where he sells out vast stadiums with easy.
And such is his reputation amongst his fellow musicians that no less a figure than Bob Dylan asked Petty if he and his band (the Heartbreakers) would take on the role of being his backing musicians on a world tour in the late 80’s.
Also, Petty was one quarter of The Travelling Wilburys, undoubtedly the finest supergroup that was ever assembled, along with Messrs Roy Orbison, George Harrison and of course, Dylan himself.
With his signature Byrds influenced chiming guitars and strong melodies, Petty has made consistently fine albums and penned many a song that would be regarded as a rock classic.
He’s all-American but no more so than Springsteen and his songwriting is certainly of a less jingoistic nature than The Boss’s compositions which again makes his relative failing in the UK by comparison perhaps even more difficult to fathom.
However good Tom Petty is on record, he’s better again by half on stage, where he and his trusty Heartbreakers regularly deliver near three hour shows night after night of the tightest, hook-laden, rousing rock and if there is an artist or band that works harder for their audience than Tom Petty and The Heartbreakers then please tell.
Somewhat surprisingly then for a band for whom getting out there and performing on-stage is so much a part of what they are all about, there has been, to date, a distinct shortage of ‘live’ concert recordings available in their catalogue.
Thankfully though, that situation has just been rectified in most splendid fashion in the form of a new box set entitled, ‘Tom Petty and The Heartbreakers – The Live Anthology which has gathered together, across 4CDs, forty-eight stunning concert performances spanning Petty’s entire career, perfectly showcasing his magnificent stagecraft.
There’s also a ‘bells and whistles’ deluxe edition of the box set available that provides an additional fourteen cuts on a 5th CD along with DVD extras that include a previously unreleased 1978 New Year’s Eve gig and a documentary, ‘400 Days’ focusing on the recording and tour of the Wildflowers album. And if that wasn’t enough for your money, you further get the remastered 1976 vinyl ‘Official Live Leg’ bootleg and a Blu-ray disc featuring all 62 tracks.
If you’ve chosen not to embrace CDs and you are a vinyl junkie, still preferring the ‘warm’ sound of that format, then you’ll no doubt prefer to buy ‘The Live Anthology’ as a 51 track, 7LP edition.
Whichever version you choose to purchase though, you’ll get to hear great renditions of Petty classics and crowd favourites such as ‘American Girl’, ‘Refugee’, ‘Even The Losers’, ‘Mary Jane’s Last Dance’, ‘Learning To Fly’, ‘Here Comes My Girl’, ‘Jammin Me’, ‘The Waiting’, ‘Running Down a Dream’, ‘I Won’t Back Down’ and ‘Free Falling’.
‘The Live Anthology’ is an absolute ‘must have’ item for all Tom Petty and The Heartbreakers diehards and it’s a set that will also add value to any self-respecting record collection.
Отправлено: 19.03.10 12:29. Заголовок: На амазоне уже прини..
На амазоне уже принимают заказы на новый альбом.
Mojo Tom Petty & the Heartbreakers
List Price: $18.98 Price: $12.99 & eligible for FREE Super Saver Shipping on orders over $25. Details You Save: $5.99 (32%) Pre-order Price Guarantee. Learn more.
Отправлено: 19.03.10 18:05. Заголовок: Меня вообще всегда р..
Меня вообще всегда радовало хорошое чувство вкуса и фантазии у художников, работающих на Тома. Что CD, что DVD - очень многие оформлены так, что приятно в руках держать. Надеюсь, и на этот раз ничего не изменится.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 22.03.10 13:16. Заголовок: Опять нет новостей о..
Опять нет новостей о новом альбоме,пока только фаны развлекаются.
Елена,огромное спасибо.Я тоже сегодня искал,но так и не нашел.First flash of freedom дают скачать тем,кто приобрел билеты на концерт,так что люди и правда добрые.Это пока второй трек с нового альбома,который мы можем услышать.
First flash of freedom
Судя по двум песням,нас похоже ожидает действительно блюзовый альбом.
Елена в редакторе сообщений вверху кнопка Ut.Туда копируется урла с тюбика
Спасибо. Я ее не заметила вчера, слушала новую песню Тома, было не до технических тонкостей.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 23.03.10 15:39. Заголовок: О,это мы можем понят..
О,это мы можем понять...
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 24.03.10 13:35. Заголовок: Один из главных спод..
Один из главных сподвижников Тома - Майк Кемпбелл,попал в 15 звезд играющих на Gretsch,по версии musicradar.
15 Gretsch electric guitar stars
Although the core of the Tom Petty sound - that Byrds-like ring on hits like American Girl and The Hardest Part - owes much to Rickenbackers, Petty’s right-hand man, Mike Campbell, doesn’t stick to one guitar.
Take that Ennio Morricone-meets-surf solo in You Got Lucky - Campbell used a double-cutaway 6120 Nashville Gretsch to nail that sucker. And his tasteful slide solo on I Won’t Back Down was played on a single-cutaway Country Gentleman.
Campbell is an avid collector who owns dozens of makes and models (he even has a Duesenberg signature guitar), but he has a soft spot for Gretsches and has been known to pull out a couple - a 1956 Fire Jet and a late ‘50s White Falcon, say - during concerts. But you won’t see his early ’60s Tennessean on stage - Campbell leaves that baby at home.
Отправлено: 24.03.10 20:20. Заголовок: Вообще непонятно, ка..
Вообще непонятно, как Брайан Сетзер, при всём уважении, оказался впереди Чета Аткинса и Дуэйна Эдди. Про Джорджа уж молчу. Ну да ладно... ещё один субъективный рейтинг.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 25.03.10 12:51. Заголовок: В новозеландской пре..
В новозеландской прессе обзор о все той же группе Drive By Truckers.В общем то ничего особенного,но там одна очень смешная фраза есть.
Drive By Truckers - The Big To-Do
Rating: 3/5 Verdict: Not as big a to-do as they think
The Truckers inspire great loyalty, but fans may be tested by this outing which was knocked off quickly and suffers for it.
Certainly it rocks like Pearl Jam with Neil Young or Tom Petty's Heartbreakers on a three-day drunk, but songs like the otherwise excellent stripper's story of Birthday Boy stumble to a halt and others just sound undercooked, if bruisingly effective.
The opener, Daddy Learned to Cry, for example, arrives like a rogue steamroller - all buzzy riffs and careering guitar - but the vocal by Shonna Tucker is insipid and lost amid the maelstrom, a shame given the words actually mean something.
Their last album, Brighter Than Creation's Dark, was difficult but terrific, still bridging Southern country-rock with alt.rock.
This time out though songs like The Wig He Made Her Wear, Get Downtown, the Petty-like After the Scene Dies and the weak ballad You Got Another sound like bonus tracks in a box set.
Of course there are some great songs among the 13: the alco-dependent Fourth Night of My Drinking concludes "it will be through with me before I'm through with it"; Drag the Lake Charlie has a streak of Warren Zevon misanthrope about it; and This F***ing Job is bound to be a bar room crowd-pleaser.
Отправлено: 26.03.10 11:34. Заголовок: На форуме оффсайта.о..
На форуме оффсайта.один из участников выложил следующую статью,к сожалению без ссылки на первоисточник.Может кто нибудь встречал этот материал ранее?
Tom Petty tells how a horrible fire helped him lighten up, and explains why we won't be seeing any more solo projects from him.
Tom Petty and the Heartbreakers have been one of America's most enduring institutions, despite the fact that they haven't released an album of new material since 1991's Into The Great Wide Open, produced by Petty's Traveling Wilbury sidekick Jeff Lynne.
Prior to Wide Open, some of the more cynical observers speculated that Petty would cut loose from his band of merry men, after he gained phenomenal success with his 1989 solo album, Full Moon Fever, and newfound cult status as a member of the Wilburys, an outfit made up of some of rock's biggest icons. Although Petty rubbed elbows with Lynne, George Harrison, Bob Dylan, and Roy Orbison, his Beatle-booted feet always were firmly planted on the ground. The rangy Florida native, with his emotionally charged songs of outcasts, American losers, fleeing women, and rebel-hearted fantasies, forged an important link between the pantheon of the gods and the common man.
Two years ago, Petty and the Heartbreakers set up camp at San Francisco's historic Fillmore Auditorium for a 20-show residency to celebrate the band's 20th anniversary, and the chemistry generated between the former boyhood pals (sans drummer Stan Lynch and bassist Ron Blair) reinvigorated their commitment to the band they formed in a Gainesville, Florida, carport so long ago. They headed back into a Los Angeles studio and came up with a record that takes the listener back to the band's very beginnings.
The appropriately titled Echo, produced by Petty, Mike Campbell, and Rick Rubin, is as live and edgy as anything on Tom Petty and the Heartbreakers' self-titled 1976 debut. The title track, with its lament about love gone awry, is the bleakest on the album. But "Free Girl Now," which they recorded in one take, shows a band at its apogee, without sacrificing any of the rawness of the early years. Petty and the Heartbreakers returned to the Fillmore in March for a seven-night stand, which was a thank-you to the fans who allowed them to practice group therapy in front of them two years before.
While he was in San Francisco, Petty talked to the Allmusic Zine about what it's like to be a member of a band, and how all that solo stuff is behind him. He's a man comfortable in his own skin and content with his choices. But that's not to say he's lost his irascible edge. He says the greatest misconception people have about him is that he's laid-back. Still angular and blond at 48, he reveals how the adversity in his life gave him new energy and testily insists that he isn't the pothead that people think he is.
Back to San Francisco
What's with the fascination with San Francisco? Two years ago you staged 20 shows at the Fillmore, and now you're here for seven days. What's up?
I thought the Fillmore would be the best place to do it, because the audience here is much more forgiving in as far as letting you experiment. And it proved true. They just went with us, to the point that we got very comfortable over that long run. I think the long run was a great idea, because we weren't promoting anything, and we had no reason to do it, other than we wanted to do it. We wanted to play a residency, which we hadn't done since 1970. When I first met Mike [Campbell] and Ben [Tench], we played like a residency in this club in Gainesville, Florida. So we did it and it proved very successful in terms of rejuvenating us, and making us feel good about the band, and whether we should carry this thing on a little further.
I think we took that sort of inspiration, or whatever it was, into the studio with us. It felt like we had a really good little rock and roll band, and we said we ought to make a record like we were a rock and roll band. It was kind of fun, because we tried to arrange the music to where we could get it mostly down in one pass. We didn't have anyone in the studio with us. Mike Campbell did the engineering, so he'd literally punch "record" and turn his guitar on and then we'd go. We did about 25 tracks that way. Mike and I had no idea which the best 25 tracks were. So we brought Rick Rubin in, and he helped us sort it out and finish the record off.
This record does have the raw feel of some of your earlier stuff.
It's kind of the way we did the earlier stuff. I don't even think the earlier stuff was quite as live as this was. It's a much better band than we were in '76. We're much more of an accomplished band. We can read each other's minds better than we could then.
And you get all the conflicts and personal politics out of the way by this time.
[Laughing.] You'd think so. [More laughing.] You'd think so, but you've always got new issues. But we get along really good these days. Really.
I apologize for leaving Scott Thurston out of my review of your show. Especially since he was once a Stooge, I feel doubly bad. But is he officially a Heartbreaker?
Well, he is really a Heartbreaker. I don't know if we've ever told him he is.
Well, then it's time you told him that you love him.
We tell him we love him all the time. We hug him and kiss him a lot. Maybe too much. He's been around 11 years now, but he's still the new guy. But I love him. He's really becoming my alter ego, I think. He's so talented. He's really added a lot to the band. He's added a lot of morale to the band. It's nice to have someone come in and say , "You guys are good. You should realize it, and cherish it."
A little praise goes a long way. But you think you'd hear it all the time.
It does go a long way. Especially because people think you get it all the time. But you don't. We don't. People are embarrassed to say too much, because they think we hear it all the time. Everyone thinks that, so you never get anything. Yeah, I like a little slap on the back now and then like everybody else.
An Embarrassing Moment
When I saw the Heartbreakers play on opening night of your Fillmore run, the fans were singing along from moment one. Was that enough love?
It's mostly that way in the arenas with lots and lots of people. That's kind of an overwhelming thing. You sit back and go, "Gee, it's louder than us." But it's nice. No, it's great that the songs mean that much to them that they know them better than I do.
I had an embarrassing moment last night. For some reason I decided I was going to play -- we'd gone way off the set list, way off; six or seven songs off it -- and I decided I 'm going to play "Learning To Fly." I start it, and the whole room starts to sing it, and midway through the first verse I realize I don't know it. And I just stopped and said, "I'm sorry I don't remember it." And I just went into another song. But they all knew it, but I'd forgotten it. [Laughs.] I thought I knew it.
But given your huge body of work, it's understandable. It always amazes me what people remember.
There's so many songs and that was one I probably hadn't played in five years. I thought I knew it because I'd done it so many times. But I didn't really know it. And them singing it actually put me off a little bit, because I knew they knew it. Then it was, "Oh hell, I'm going to do something else." And they were OK with it.
But that's one of the reasons they care. You are so at ease onstage, you're so comfortable. Doesn't anything ever embarrass you?
Yeah, sure. I'm embarrassed all the time. I don't really get embarrassed at the shows. It's kind of a safe environment. I know I'll be OK. I don't like to drop my tray in the lunchroom or any of those kinds of things.
Again, I think one of the reason for your enormous appeal is that you seem like one of us. You're the missing link between the common man and the gods. What with hobnobbing with people like Dylan, or recording with the Traveling Wilburys.
I've never thought of it that way, but I guess it could be seen that way.
That's what intrigues me the most. You're much younger than those guys, and they belong to such an exclusive club that they rarely initiate new members in that pantheon of icons.
I'm seven years younger than them now. They're like my older brothers. It's very strange, you know. I was telling a friend of mine the other day how odd it is that I never sought out any of those people. Any of my heroes. And somehow the ones that really matter to me, I got to know them all well. I got to know them past what we've done. I got to know them really well as people and became really good friends with them. So it's embarrassing. I never mention my friends to people because they think I'm bragging. But it is kind of cool. And I've always been up-front with them too, about how cool I think it is. And they've been a big help to me in many ways. Especially George [Harrison] because he's someone who's been through all this. And I don't have an older brother, and he's always been there to advise me. He'd tell me, "It's like this," or says, "I wouldn't take that seriously at all." It's great to know someone who has been through all that. Because it's an unusual way to live sometimes, and to know someone who has been through it, it's great.
Do you have a relatively normal life when you're not on the road or making a record?
I hope so.
You give the appearance of being one of the more balanced celebrities.
I'm not really all that balanced. I'm really not that normal really. People see me as normal. I'm not really. I think I'm really very complicated. But I don't go around with bodyguards and play that game. But I guess I'm probably normal and not normal at the same time.
But aren't you nice to the little guys? Your fans? People who work for you?
But why wouldn't you be? That's just part of having fun. I can't even understand why you wouldn't be nice to your fans. But I hear these stories about people who really buy into that whole scene. But I personally never have even had time for that. I don't have time for anybody like that. I find it comical. So I hope and pray that I never become that way. Usually when you run into people who are like that -- this goes back to my Wilbury friends and stuff -- people that are really, really good don't act that way. I've never come across someone who was really good at what they did that had any reason to act that way.
I was especially enchanted with the cover songs you did the night I saw you.
What did we do?
"Call Me The Breeze," "Lay Down My Old Guitar."
That's the Delmore Brothers. That's really old. Scott taught me that.
Last night you did "The Letter," which I'm sorry I missed. So what are the criteria for choosing cover songs?
We did "The Letter." We did a pretty good "Heart of Stone." We didn't know we could it that good.
Do you talk about it beforehand?
Sometimes. Steve Ferrone, who joined the band four years ago, he's still not used to playing a song he's never played before. But I'll do that with him. I'll just start playing and just look at him -- and he'll start to play. But he gives me this look that says, "OK, what's this?"
Florida Influences
You're doing some blues covers, and things I imagine you listened to in Florida as a kid, but I always pegged you as a British Invasion type. Did Florida bands have any impact on you?
I was a big British Invasion kid. Our music was all built on that. And then we used to play a lot with Lynyrd Skynyrd when we were Mudcrutch. This was before any of us had made records. They played around there too. I saw their music more taking off towards Led Zeppelin. They were definitely moving that way, but ours was moving in another. We respected them. I know we thought they were good. And we loved the Allmans. The Allmans was the first band I ever saw, but they were called the Escorts. There was four of them, and they wore Beatle suits and Beatle haircuts, and they just played Beatle music. And I thought they were great. Then they started to put Ray Charles in and stuff. And then I watched them move into that Allman Brothers Band thing. And that was really great. But that wasn't what we thought we should do.
It became so immensely popular down there, that people didn't really like us. We were expected to do long solos, which we could do -- we loved blues, we always loved blues and we learned to play it. But we've never really done it much on record. Which is another bone of contention that we were having the other night about why the blues gets thrown off of every record. It's always the first thing to go when the record is too long.
But it was a problem for us. We went up to Capricorn Records and made the drive up. I remember hanging around the studio with this band called the Marshall Tucker Band. They were making their first record, and they invited us in, and we sat around all day and waited for someone to listen to our tape. And the answer was, "It's too British. It sounds too English." So we decided then we were going to California. Florida just wasn't the place for us. We'd done everything we could do there. We had a huge following there. We could do a thousand people there. It had gotten to that when we left. But it wasn't going anywhere for us. So in 1974 we packed up and moved.
Is there any part of you that still feels like a Southern man?
Yeah. I grew up there. So I have roots there. I still have family there. I really think it really helped in some way where we grew up. It was a real musical place. You have lots of good musicians and lots of places to play because of the college. And you had to be good there, too. If you weren't pretty good you wouldn't get a gig, because there were too many people that were good. So when we were really little boys we had to practice and get pretty good. When we got to California we were amazed at like how these bands were that we really looked up to and that had records out. We'd go to see them, and they were really weak on the stage. We'd say, "All they've got is haircuts."
The name of the album is Echo. What are you echoing?
I don't know.
"Echo" is a rather sad song.
I know it is. I think it was just meant as reflection. Reflection and refraction.
I don't know, I think the production values, some of the song content, and just the way it sounds, I think this album seems to hearken back to the beginning of the Heartbreakers.
It could be. It's really hard to nail down in words. I can't do it. But I can go along with it.
I think there's a certain kind of destiny, or following along a road. And maybe it's as simple as this is just another piece of the road. For years people thought there might not even be a Heartbreakers. And here you are with them again.
I never thought that. I always thought we'd come through. We did lose Stan [Lynch], which was a big part of it. For him to leave was a major change, so this is kind of Mach 2 Heartbreakers. I thought I saw Stan from the balcony when I was playing the other night. I looked up and said, "Oh my God, it's Stan." But it wasn't.
Being in a Band
Is there anything that reminds you of Stan [Lynch]? A song that conjures him up?
"The Waiting" always reminds me of Stan when I hear it, because he's the only drummer in the world who could play it. Nobody could play that song but him. That record is completely him. I mean it's all how the drums are played. I have never played it since he's been gone. I heard a record that Linda Ronstadt did of it, and she did it very well. But the main thing was that nobody could play that but Stan. That's the way he played. He played very lyrically.
The band is so tight. But it always seemed to be early on. There was a rumor that you rehearsed incessantly.
We're not as well rehearsed as people think. But it's like one mind. With just the raise of an eyebrow, or the look of an eye can say so much. I really think I'd quit if I had to play with a backup band or studio guys. I'd quit. I'm too spoiled. I'm in a good group. I really think they think I'm just a member of the group.
That's a question everybody always wants to know. Do you have your own dressing room?
I only recently got it a few years back. And that was only because I demanded it. And they could all have them too, if they demanded it.
But you have high-maintenance hair, and they don't.
I just need privacy sometimes. I've got more people looking for me, and I have to get away from it all. Even from people who are back there that can be back there can really drain you before you even get on the stage. I just hide out. They know if Mike [Campbell] wanted his own room, he'd have it.
How do you get ready for a show? Do you have any arcane rituals that you follow?
I need a little time to myself. I like to have a half an hour or so. Then I usually warm up my voice, get my guitar. Sing something and warm up a little bit, and get confidence the voice is working. And when that's OK, I have a cup of tea, and then I'm ready to go on. I usually have the band come down. They all come down to my room about 15-20 minutes before we go on, and we sit there and talk just so we feel like a unit. There's nothing like a band. It's a hard thing to pull off in music these days because your bass player never gets as much as your singer, so it's hard to keep them together. We're beyond a band. We're like a family. I grew up with these guys and they're closer to me than any relatives I have. We've spent all that time together. They really understand what I've gone through. I think I understand what they've gone through. But it's not the kind of thing you can tell people about. They're not going to get it.
It's hard to talk about the love/hate aspects of the relationship, I imagine. Do you see the band on your off time?
Not anymore. Not as much. We do see each other but not as much as we used to because everyone has their own lives -- they're so entrenched in their own lives and their own set of friends. I think we see each other more through mutual friends than we do by calling each other up and saying, "Let's hang out."
Have you gotten more antisocial as you've gotten older? I find I'm fonder of sitting home watching rented movies than going out clubbing.
I like to do that too. I love to watch movies. But I've made myself go out because I don't want to get completely removed.
What do you do when you go out? Go see other bands?
No. I never go see bands very much. I do anything but that. I don't know. Scott and I hang out a lot lately.
And don't you have a relatively new relationship?
With Scott?
Come on, answer the question.
Yes I do.
But didn't you marry your high school sweetheart?
No, I didn't know her in high school, but I have known her forever. But I got a divorce a few years ago, and I have a new girlfriend now, so that's exciting.
"Why Do You Want to Kill Me?"
When your house burned down a few years ago, you said that that was a watershed for you. You said you didn't write any angry songs after that. Can you explain that? Was the fire a metaphor for you?
Yeah. Without even getting poetic, that's what it was. It was so vicious and angry, that it completely scared all of that out of me. I didn't want to do anything except sing really light, happy music after that. In retrospect -- I don't think I always know this while I'm doing it -- but in retrospect, I wanted to go to some much lighter place. I was really glad to be alive and never had that before. I was like someone who had survived a plane crash. You're just really glad that they didn't get you. And they didn't get me. If you've ever had anybody try to kill you, it really makes you re-evaluate everything. Like, "Why do you want to kill me?"
Did they ever find out who it was?
No, they never caught him. But they were sure someone went for it. The funny thing was I kept insisting it was an accident, telling the investigators, "Who'd want to kill me?" And then 10 people confessed to the police. None of them did it. But they wanted to confess. It really turned me around. Fortunately I left on a tour days later. We went on tour and I didn't live anywhere. So it was all contained on the road luckily.
And you never had another incident where someone targeted you?
Well, it's not good to go into that. I've had it, but it's nothing I think about.
But let's get back to how the fire, and the knowledge that someone was trying to kill you, changed you.
I think it revitalized me. I kind of came out of it in a good spot. It just made me glad to be alive for a long time.
What about when you hit your hand into the wall after the recording of Southern Accents? Was that also a turning point for you?
Yes.
A change for the better. Do you think that change is always positive?
I have to think that, or how can you go on? But the hand thing was sort of embarrassing when I look back on it, because I just broke it in a fit of temper, and temper is not good. Not to have that kind of temper. And I think the temper was fueled by drugs and alcohol. It was just a dumb thing. It was as dumb as being a football hooligan. I was just pissed off, frustrated and I really, really, really, really broke my hand. I pulverized every bone in it. It was just powder.
I broke my arm two years ago. I was learning to kick box, and I fell and broke my arm, and when I went into the hospital they X-rayed it. It was the same arm as the hand. Every doctor who would walk in, even doctors who weren't treating me, would walk through the room and see the X-rays and go "Wow! Will you look at this!" It was all the metal in my hand. "Come over here. Look at this," I'd hear all day long. No one was paying any attention to the arm. It was all the metal in the end of the hand. It's all wires and studs. But I've never set off any alarms at the airport. But better than that, my hand works really good. It was a long operation, and a long recovery. But I always thought it would come back. I was never worried about it.
What about the anger? Have you tamed it? You don't seem like an angry guy now.
Not today. I can get mad. But I'm better at controlling my temper now, I think. Yeah, I always worry about temper. I could never have a gun in the house. They won't let me have one. I've had mine taken away. Police took mine, because I'd just start shooting. I wouldn't shoot at people. But I'll go out and kill a tree. My dad always had guns. I'm good with a gun. I really like shooting, and when I'd get mad, I'd take a gun and kill some inanimate object. But finally I got it taken away from me because I was disturbing the peace. I think it's good. It's too dangerous. You don't need it. But I do shoot targets.
What's always impressed me is the way you portray women in your songs. Most men of your age are rather misogynist in their songs. Do you feel that? I'm glad about that. Women are portrayed pretty positively in my songs. I have this reoccurring character that always comes back in different forms. This escaping woman kind of thing. But I can't write her out. I keep trying to. I keep trying to leave that character, but she always comes back in. I though I'd gotten rid of her. We went back to recut at the very end of the album. There was some dissonance about "Free Girl Now." It's a very rough track, it's a very live track and not slick in any way. Or not really what you'd look for when you're writing a record. But we all liked the energy of it, and I didn't want to change it. But Rick [Rubin] said, "Maybe you should have another go at it, since you only did it once." So we went back in, but none of us really had our hearts in doing it again.
So, we're all set up, so to keep from doing that, I just start making up something. Then this song "Swingin'" appears. We did it in one go, ad-libbed all the way through. We actually ad-libbed two of three songs that way. Just ad-libbed all the way through. The band followed me through and followed the changes. When we get to the end of what became known as "Swingin'" Rick says, "That's a good song. Let's do that one once more." So I had to listen to that one, learn it. And we did it once more, and it was on the record. But the character is back. She reappeared out of my subconscious when I ad-libbed it. But I grew up around women. My dad wasn't around a lot. And I've always been sympathetic to them. I enjoy women's company. I never really looked down on them.
Do you have a name for this character? Is it someone who rebuffed you in sixth grade?
No. I'm fascinated. Sometimes I wonder if it's me. I wonder if I'm singing about me in some way, and don't want to do it, so I transfer it over to a woman. Because these other things that you know when you're writing. I'm about to do this show Storytellers. I've always made jokes about the show. I love the fellow who does the show, Bill Flanagan. I have the utmost respect for him. But it doesn't make me stop making fun of the show. "They're making this shit up." Like when you write songs -- if I sat down knowing exactly what I was going to write about, I would never write anything. I always let it come. It's always in retrospect that I go, "Oh I see. That's what that one is about." But I never sit around and discuss my lyrics. When someone comes up to me and says, "I wrote this song and it's about this, this, and this." I know it's going to be shitty. There's no reason to be talking about what you wrote. But I have to go on this show and tell anecdotes about the songs. Sometimes there isn't an anecdote. The songs just fell out. So I don't really know how I'm going to do that. Usually it's the words that come after I have the melody. I'm not good at taking words and sticking in the melodies. I like the words to fall out in the melodies. Usually that means something. That it's really close to the bone. Sometimes it comes as a narrative story. Sometimes it's so oblique you can't tell what it is.
One Scary Song
Everyone refers to "Won't Back Down" as your theme song. How did that song come together?
That song frightened me when I wrote it. I didn't embrace it when I wrote it. I thought it was too much like me. It's so obvious. God, there's not a hint of metaphor in this thing. It's just blatantly straightforward. Everyone else around liked it. And I said, "God, there's nothing to hide behind." Now I see that it was a good thing, because it meant so much to so many people. I get so many letters about it. I was so moved when a pro-choice doctor down in Pensacola, Florida, used this song. And they shot him. And then Eddie Vedder called me one day. I guess Pearl Jam were down in Pensacola and going to do that song. They had the doctor's son on the phone and we talked for awhile. Pearl Jam did it. They opened up with it that night, and they had the same response I do -- with everyone singing it. That was great. That's how I got my idea to do it the way I do it in the show. Because Eddie did it himself with just a guitar and let the room sing the song. So it was beautiful. But when I first did it, it frightened me.
I think some of your strength is not you're obvious, but that you're authentic -- that you're always caught in the act of being yourself.
It's more fun to be yourself all the time. I'm not saying I'm the perfect person, because I'm not at all. But I am right up-front all the time. Which is hard for people. It's hard for my family sometimes. My girls just can't understand why I won't grow up. My daughters just raise me. They're 24 and 17.
Speaking of kids, when I saw Jakob Dylan's band, the Wallflowers, I had a sense of a circle being completed. You paid homage to Bob Dylan early on in your career, and here's his kid saying you're the reason he picked up a guitar.
I remember Jakob sitting behind the amps when we were working for his dad back in 1986. He was just a little boy then. You don't think about what's going into their impressionable minds. We had two years playing with Bob. We pretty much circled the globe. I remember Jakob being around. I'm really proud of him because I think he's really good and I'm glad that he got to do this without Bob's legend resting on his back. He did it pretty cool. He got through that, and his dad doesn't seem to be an issue, and people tend to leave him alone. I got that record really early on before it came out, and I thought it was damn good. I played it over and over and over again. I love that song "Invisible City" that they never put out as a single. But I was going to do that song. I'm really proud that things went so well for him.
Speaking of the father, since you were touring with him for two years, what was the best advice he gave you?
[Laughing.] I don't know. I don't remember. I don't remember Bob giving me any advice. Maybe he was always giving me advice.
Do you feel that working with him changed you in any way?
SLQ
постоянный участник
Зарегистрирован: 28.10.09
Откуда: Санкт-Петербург
Отправлено: 26.03.10 14:35. Заголовок: Дома рахив посмотрю,..
Дома архив посмотрю, может быть найду первоисточник. Год интервью точно 1999. Я так понимаю, что это время,когда он давал концерты в Fillmore .
Спасибо Елена,действительно,если у Вас нет,то врядли у кого найдется.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 31.03.10 10:33. Заголовок: Дочь Тома,наверно ра..
Дочь Тома,наверно радует отца.Очередной её работой стал клип Nadine группы Fool's Gold.
Fool's Gold, 'Nadine' -- Video Premiere
Although their musical stylings may reveal their Israeli, Iraqi, Argentinean, Brazilian and Mexican heritages, Fool's Gold are actually a Los Angeles band. Thus, when they went to shoot the video for their latest single, 'Nadine,' they took to a distinctly local landmark. "This video was shot inside a mausoleum at the Hollywood Forever Cemetery on one of those rare rainy nights in Los Angeles, where we were able to perform for a few dozen our close friends," lead singer Luke Top tells Spinner.
"The song itself is a trance-inducing nod to early American R&B and Ethiopian soul music," he explains. "When playing it live, sometimes the simplicity and repetition of this song allows my consciousness to become altered ... for the better."
Directed by Adria Petty (Tom Petty's daughter) and filmed in stylish black and white, the video itself almost suggests a certain elevated consciousness, as achieved through music, even if the musicians themselves (including members of We Are Scientists, Foreign Born and the Fall) are surrounded by, you know, dead people.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 31.03.10 12:14. Заголовок: Очередные варианты о..
Отправлено: 06.04.10 10:47. Заголовок: Фаны Тома из Сент-Лу..
Фаны Тома из Сент-Луиса находятся в полной неопределенности,так как на оффсайте в расписании гастролей их город не значиться.Но в последнем номере Ролинг Стоунз на афише,ясно напечатано в конце - Сент Луис.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 06.04.10 10:51. Заголовок: Наверно в предверие ..
Наверно в предверие нового тура,Lee Zimmerman делиться своими воспоминаниями,относительно первого.
Backstage in South Florida: Tom Petty's Rocky Introduction to West Palm Beach
Music vet and New Times scribe Lee Zimmerman shares stories of memorable rock 'n' roll encounters that took place in our local environs. This week, Tom Petty and the Heartbreakers play their first official gig and get a heartbreaking rebuke.
During a pleasant fall evening in 1976, I was in an otherwise inconspicuous shithole of a club in West Palm Beach, the name of which I've long forgotten. Indeed, its most distinguishing feature was the piles of peanut shells that littered the floor, as if a trashed appearance might otherwise pass for ambiance.
And yet, within these shabby surroundings, history was made. This was home to the official launch of Tom Petty and the Heartbreakers, a band that gained hometown notoriety in its native Gainesville under the name Mudcrutch before moving west, signing a contract with Leon Russell's Shelter Records label, and rebranding themselves in anticipation of the national spotlight. I was the Florida promotion representative for Shelter's parent company, ABC Records, at the time, new in the business and about to experience my first artist encounter as a record rep. The band's eponymous debut album had recently been released, but like most of those who chanced to be in attendance that night, I didn't know what to expect. The album cover finds Petty striking a punk pose, but their music seemed to pay reverence to a kind of arched Americana, a synthesis of the Byrds and Velvet Underground. My job description dictated that my presence was required, so I dutifully trudged up from West Kendall to show the label's support.
I was introduced to the musicians by their manager, Tony Dimitrades, a Brit with an extensive music biz background that all but assured the group would be accorded instant credibility. Petty was short in stature, and a bit reserved, but he emitted an unmistakable charisma and star-like quality. On the other hand, the Heartbreakers were amiable and exceedingly friendly, particularly their then-drummer Stan Lynch, and they seemed all too eager to share their stash in the dimly lit recesses of the parking lot prior to the show.
If anyone was nervous, it wasn't evident at all during their performance, even though this would be their first concert that found them billed as the Heartbreakers. Petty and company performed their initial album in its entirely, including a commanding take on their soon-to-be classic "Breakdown," a haunting rendition of the dreamy ballad "Luna," and a revved-up version of the tune that was destined to become their signature song, "American Girl." The crowd was clearly entertained, and if they weren't wholly rapt with attention, they certainly seemed duly impressed.
As a result, the group was in good spirits as I accompanied them way back to their makeshift dressing room, a dingy-looking space that normally served as the club's kitchen area. Unfortunately, the sight that greeted us on arrival caused those good vibes to instantly dissipate A rude remark was scrawled on the refrigerator, one that read "Heartbreakers suck!"
Who wrote it, and why, remains a mystery to this day. One thing is certain, though. As the band's career ascended, this blatant Petty putdown would likely linger only in the collective memories of those who were there.
Отправлено: 06.04.10 10:59. Заголовок: Блогер Darren Robbin..
Блогер Darren Robbins составил свой список Top 10 BEST and WORST Drummers In Rock & Roll ,где зачем то упомянул всуе Тома как одного из худших барабанщиков:
Tom Petty I love Tom Petty like the older brother I never had, but his decision to play drums on “Highway Companion” was a bad one. I love the songs, but Petty’s playing detracts seriously from my enjoyment. I can’t go ten seconds without picking up on the numerous punch-in’s and Pro Tools fixes needed to cobble together a workable drum part for each song when they could have so easily brought in a REAL DRUMMER to just rock the fuck out of the tunes. Maybe Stan Lynch, perhaps…wishful thinking, I know.
3) You can’t include Tom Petty on a worst drummer’s list as he hardly played the drums on anything. However, If you’re going to include musicians that weren’t primarily known as drummers, you’d have to list Paul McCartney, Lenny Kravitz, and J. Mascis - as all of these otherwise extremely talented musicians have inflicted their sorry drumming skills on audiences to a far greater extent than Petty ever did.
Переслушал специально Highway Companion и действительно, партия ударных на альбоме несколько выпирает. Но не думаю что Джефф и Том о этом не догадывались, скорее всего они наверно решили сделать это специальной фишкой.
Отправлено: 09.04.10 10:11. Заголовок: American rockers Tom..
American rockers Tom Petty And The Heartbreakers are to release their new album 'Mojo' in mid-June.
Tom Petty is a man out of time. A hugely respected songwriter, he was the youngest member of the Travelling Wilburys - a group whose alumni includes Roy Orbison, George Harrison and Bob Dylan.
An impressive cast, yet still Petty stood out. There is simply something about his easy going Americana which engages, with his albums selling countless millions across the globe over the past three decades.
Together with his long term backing group The Heartbreakers, Tom Petty has recently been working on his first album in some eight years. Titled 'Mojo' the new release is expected to emerge this summer.
Whetting fans appetites, Tom Petty And The Heartbreakers have announced plans for an ambitious new tour across the United States and beyond. Taking in a mixture of arenas and amphitheatres, the shows will feature a raft of special guests.
Making a guest appearance will be My Morning Jacket and evergreen songwriters Crosby, Stills And Nash. Iron lunged singer Joe Cocker will star, while Texan rockers ZZ Top will preview their new Rick Rubin produced album.
All tickets purchased online will entitled fans to a download copy of 'Mojo'. When fans buy a ticket they will receive a code for two tracks, and when the release date arrives the entire album will be sent.
Also included with the bundle is a selection of tracks recorded on the 2010 tour. As a special preview Tom Petty And The Heartbreakers have begun streaming a track from 'Mojo' on their official website.
В этой статье есть два интерсных момента . Во- первых дата релиза, во- вторых- new tour across the United States and beyond фраза звучит несколько обнадеживающе.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 09.04.10 10:26. Заголовок: Tom Petty is a man ..
цитата:
Tom Petty is a man out of time.
Это точно.Даже с туром получается интересно,он вроде не в поддержку нового альбома ,а сам по себе.А насчет beyond,конечно крючочек хороший.
Отправлено: 09.04.10 11:12. Заголовок: A Happy Ending To Th..
A Happy Ending To The Story Of The Stolen Box Set
Если бы эту историю напечатали 1 апреля,я бы пожалуй призадумался.Речь идет о украденном в американских Афинах бокссете Live Anthology.Парень с помощью фанов получил новый бокс,да ещё с автографом Тома.
In December we posted a story from the Athens Banner-Herald that reported an apartment theft in Athens, GA. In addition to many other valuables, one of the stolen items was a Tom Petty box set.
We posted the story on TomPetty.com in an effort to help try and identify the victim of the robbery so we could replace their box set.
We are pleased to announce that thanks to the help of fellow fans we were able to identify the victim of the crime as Ian Hebel and his Live Anthology box set has now been replaced. Tom even autographed it for him.
Here is Ian posing with the new box set and his friend Kevin Trudel.
Cheers Ian!
SLQ
постоянный участник
Зарегистрирован: 28.10.09
Откуда: Санкт-Петербург
Отправлено: 10.04.10 17:58. Заголовок: Интервью Тома Петти ..
Отправлено: 13.04.10 10:21. Заголовок: Eric Clapton Teaming..
Eric Clapton Teaming Up With Roger Daltry and Top Petty Teaming With ZZ Top For Summerfest
Milwaukee's Summerfest happens June 24 – July 4, 2010. Originating in 1968, Summerfest is now in its 43rd year and recognized by the Guinness Book of World Records as "The World's Largest Music Festival".
Summerfest is currently finalizing and unveiling its monster lineup which to date includes, Eric Clapton with special guest Roger Daltry, Tom Petty with special guest ZZ Top, Rush, Tim McGraw with Lady Antebellum and Love and Theft, Carrie Underwood, Justin Bieber with special guest Sean Kingston, Brooks & Dunn with special guests Gary Allan and Kellie Pickler with another three Marcus Amphitheater headliners to be announced by early May.
Additionally, the festival has signed and announced Sheryl Crow, Jeff Beck, The Moody Blues, Thievery Corporation, The Roots, Colbie Caillat, 311, The Scorpions, Kool & The Gang, Danny Gokey, Joan Jett and the Blackhearts, The Bravery, Phil Vassar, Modest Mouse, O.A.R., The Devil Wears Prada, The Wailers, Sound Tribe Sector 9 and The Hold Steady with many more to come.
Year after year, Summerfest delivers an unforgettable live music experience to fans, showcasing the top touring talent on the planet on 11 stages, including the 23,000 seat Marcus Amphitheater. Approximately 900,000 music fans from throughout the world attend this 11 day mega-event each year.
The music festival takes place at Henry Maier Festival Park, a 75-acre permanent setting on Milwaukee's beautiful downtown Lake Michigan shoreline. Summerfest offers something for all musical tastes, including over 700 performances by today's hottest national touring acts and emerging talent and everything in between. On any given day, attendees can enjoy national alternative rock, country, R&B, Top 40, Hip Hop, Reggae headliners and more.
In 2009, the Marcus Amphitheater rocked with Bon Jovi, Keith Urban with special guest Counting Crows, KISS, Stevie Wonder with John Legend, George Strait with Blake Shelton and Julianne Hough, Earth, Wind & Fire and Chicago, Bob Dylan with special guest Willie Nelson, No Doubt with Paramore, Kenny Chesney with Miranda Lambert and Lady Antebellum, The Fray with Jack's Mannequin and Kid Rock with Lynyrd Skynyrd.
On Summerfest ground stages, fans enjoyed The Offspring, Rusted Root, Phil Vassar, Rancid, Rise Against, Matisyahu, Barenaked Ladies, Cage the Elephant, Frankie Beverly & Maze, Puddle of Mudd, Sara Evans, Los Lonely Boys, Blues Traveler, Loverboy, Anthony Hamilton, Matthew Sweet, Better Than Ezra, Anberlin, Elvis Costello and The Imposters, Dropkick Murphys, Kevin Rudolf, The Airborne Toxic Event, Heart, The Gufs, Flogging Molly, Judas Priest, Train, Gavin DeGraw, Shinedown, Lupe Fiasco, Carolina Liar, Mat Kearney, Buddy Guy, Staind, BoDeans, Jason Aldean, Billy Squier, Guster, Shiny Toy Guns, Conor Oberst and the Mystic Valley Band, The Roots, Huey Lewis and the News, and many, many more.
Один из саксофонистов , игравших с Томом Петти во время тура 1985 года, вспоминает некотрые моменты этих гатролей.
Tom Petty
In April 1985 Tom Petty and the Heartbreakers reunited for a major world tour after taking a break from each other for personal differences. My good buddy, trumpet player, and arranger extraordinaire Lee Thornburg, called one day to say Tom wanted to take a horn section out on the tour. They had used Lee’s old horn section, the Heart Attack Horns, on the, “Southern Accents”, album. We had just returned from a two-year world tour with Rod Stewart and had only been in Los Angeles for a month. Lee conveyed to me he had spoken with Tony Demetreades, Tom’s manager. He said their offer was a little light. As in ridiculously light. They wanted us to double up in hotel rooms and travel with the crew. Ahhh…the perks of being a glorified sideman. Lee asked if I would have a word with him. I said I would be delighted.
When I got Tony on the phone I immediately got into a friendly, gossipy chitchat with him about life on the road with Rod Stewart. Rod was huge at the time and as a matter of fact isn’t doing too badly as we speak. I shared a few tales of the tour when the group was traveling in two Lear Jets. Rod and his entourage would be in one jet and the rest of us in the other which was dubbed the, “Flying Ashtray”, for obvious reasons. We would all manage to have a cocktail and cigarette in hand for takeoff, vodka and grapefruit juice, I believe, was the drink of choice at the time. At some point I asked Tony what type of aircraft they would be traveling in. He said they were thinking of using a G4. Fortunately, we had been traveling extensively in one of these great old birds. They are outfitted with four Rolls-Royce turbo props and the cabin was set up in the executive style complete with a lovely stewardess to cater to your every whim, it made for very comfortable traveling. Not good for long hauls as they are not fast but very comfortable and safe on short trips. We went on to talk about our favorite hotels in different cities around the world and after all was said and done I had managed to get the Soul Lip Horns, which was comprised of Lee, Nick Lane on trombone and myself, around three grand a week each, our own rooms and we traveled with the band. It was a bit less than what I had been making with Rod but not bad for 1985. Hell, it wouldn’t be bad right now come to think of it. The Heartbreakers had not toured together for a while and some of the members were not exactly best of mates. Consequently the Soul Lips became the glue, or the grease, that kept things light and comical between these guys who had been playing together for years. They had reached the pinnacle of the Rock-n-Roll heap and had grown to despise each other to some degree. But don’t get me wrong; I loved each and every one of those guys. You couldn’t ask for better group of easygoing musicians. What a great fucking band! With Lee and Nick’s great sense of humor and my silly stunts we managed to actually get these guys laughing together again. Most of the time at us. Stan Lynch the drummer latched on to our silliness right off the bat. Besides being one of my favorite drummers and a great singer, Stan was one funny motherfucker. Never at a loss for words. One of first things he said to us in that Floridian drawl was, “y’all play real good…..but why the hair?” Well, it was 1985 and a bit of hairspray backstage was not uncommon. We even got him to put some in one night. In hindsight his original take was accurate: we looked ridiculous.
Now Tom Petty’s sense of humor was at the other end of the spectrum. He was a cross between Jed Clampett and Elvis. He would get you all wrapped up on some subject and be twisting and turning the story until you found yourself drifting and thinking to,“is this guy for real?” Ten minutes later you would find yourself reliving the conversation and realize that he’d just taken a complete piss on you and made you look like a pompous fool. Tom’s humor was wicked and dry as Death Valley.
We had just done a concert in upstate New York, Saratoga Springs, I believe, and we were staying in this really nice resort hotel in the pine trees complete with tennis courts. There was to be a party in Tom’s suite and we were informed that the president of MTV was going to be there and to be on our best behavior. I don’t know why they would say something like that to me but maybe my reputation was becoming less incognito. At the time Player cigarettes was sponsoring the tour and there were always cartons of them backstage, on the plane or anywhere we were. I was sitting in a small living room section of the suite with guitarist Mike Campbell (one of my all time favorites and in my opinion highly underrated) and Stan. I said, “I’m gonna blow that guy up”. They give me that, “uh oh, what’s Z up to now look”, and I proceeded to pull out some exploding cigarette loads. I used to go to magic shops before tours and stock up on this silly crazy shit just to keep things interesting. Keep in mind it can be a lot of fun on tour but it can be excruciatingly boring at times.
On all the coffee tables and side tables were fresh packs of Player cigarettes. I grabbed a pack and preceded to put loads in two of the cigarettes and position them so they would be the first ones someone would pick up. I told Mike and Stan of my plan. No doubt we would be introduced to the MTV President and at that time I would offer him a smoke. They shook their heads but the anticipation was written all over their faces.
Sure enough, in comes Mr. MTV and Tom Petty begins talking to him right in front of us. We all got up to be introduced and when he gets to me I say, “Pleased to meet ya…hey would you like a smoke?” He says, “Oh no, none for me, I don’t smoke”. Mike and Stan are enjoying this at my expense smirking and snickering over on the couch. So I go over to them and toss the pack on the side table next to the couch and sit down in a big comfy chair, as we are sitting there Tom comes over and grabs the “loaded” pack taking a cigarette out. Mike, Stan and I are looking at each and I am trying to signal them with my eyes, “be cool…be cool”. Now the music is playing pretty loud and Tom and the MTV guy had their heads close as they talked in each other’s ear. At which point Tom lights up and BOOM!
I don’t know if you are familiar with exploding cigarette loads but they look like a half-inch of toothpick, which can be shoved into the tip of a cigarette. When they blow up it is just like the cartoons. This one must have been on steroids because sparks and tobacco sprayed about four feet. Tom and the MTV President just freaked. Tom starts yelling, “did you see that?! Did you see that? I think the fucking lighter exploded!” Mike and Stan are rolling and losing it on the couch laughing and I’m trying to be cool because I’ve only been in the band a few weeks. Now I have just blown up the boss. So what does Tom do? He goes over to the same pack of smokes and grabs another cigarette, all the time thinking it was the lighter. We are all looking at each other and I am wondering what the odds are that out of twenty cigarettes, Tom is going to grab both of the loaded ones. He goes back over and resumes the conversation and now we are dying in anticipation. I plead with my eyes for Mike and Stan to be cool and not blow it but they love every second of this unintended bit of entertainment. Well, Tom finally lights up and sure enough it blows up too. Now Tom is pissed and I realize now I have to spring into action to save my ass and career.
Jumping up I ran over to him acting concerned and asked him if he is going to be all right. Tom keeps saying,” did you see that? Some motherfucker’s gonna get it.” I asked him what he’s smoking and he said,” Players”, pointing over at the pack on the table. I walked over and retrieved the pack, examining it as if I was a member of the bomb squad. After careful analysis I extracted a cigarette, knowing the coast was clear now and light it up. Tom said, “No, don’t do it, but I convinced him this one was fine and gave it to him. By now I’m just trying to keep the conservation going asking, “Whose cigarettes are these and who smokes Players? Stan immediately jumped up saying, “Howie does!” Tom takes the bait and says, “Yeah, that’s right! Howie!”
I have to explain something here. For reasons unbeknownst to me there was no love lost between Stan and Howie at the time. Howie, may he rest in peace, was the most mellow, non partying, nice guy of the group, at the time. I mean, he was never at the party because he was in his room already most likely asleep in bed. The most unlikely guy to ever do anything like that and here he was getting framed right in front of my eyes. Mike Campbell had to leave the room as he was losing it laughing and was going to blow it any second. A few days later we were on the plane and Howie was playing cards. Tom and I were sitting next to him and Stan walks by and says, “Hey Howie are those your Players?” At this Tom perks up. Poor Howie doesn’t have a clue what’s happening. Tom is being cool but basically intimating that, “Yeah right bro…I know you did it and you’ll get yours.” Howie had to be wondering what the fuck these guys are talking about. I don’t think he even knew what a cigarette load was. Silly little commando tricks can sure take on a life of their own.
One time Tom’s wife at the time, Jane, was on the plane with us. What a character she was. I loved her. She was a cross between Mae West and Ma Kettle. A true Southern girl without an ounce of Hollywood in her bones. She was a tough, no bullshit kind of girl. Thank God she took a liking to me. We were sitting next to each other on a couch on the plane facing a booth table. Benmont put his book down and went to the bathroom. I guess there was a little bad blood between Benmont and her because she starts ragging on Ben and his, book reading, as she put it. I reached over and grabbed the book and said, “Hey Jane, ya ever seen this one?” Acting as if I had tore out the last page of Benmont’s book. Oh my God the looks I got. Everyone looked at me like I was Satan saying that they could not believe what I had just done. Well I assured them that the page I had ripped out was just filler and they calmed down. I explained the way the trick is properly done is to rip out the last page and keep it. Then when the person realizes the last page of the book is gone to put it some place where they will find it. Like taped to their hotel room door. So Benmont is still in the john and Jane is warming up to this prank and she keeps saying to me, “Come on, Jimmy, do it. Rip it out.” And I’m saying no way. “You want to do it ….do your own dirty work.” So she does. And immediately she starts getting nervous and feeling guilty. I mean she was a wreck. She starts begging me to help her and that she doesn’t know what to do. I let her suffer a while then told her to snap out it. I took the last page from her on the condition that she keep her mouth shut (fat chance). Benmont returns from the bathroom and picks up his book and continues reading, none the wiser. Later that day I was walking to my room and here comes Benmont storming down the corridor. I tried to say hello but he was obviously uptight and rushed on by to the elevator. I don’t know why, instincts maybe, but something told me it was time to take care of some business. So I retrieved the last page of his book and taped it to his hotel room door. Come to find out later Benmont was on his way to the bookstore to buy a new copy of his novel, he ended up having to go to three stores until he found a copy of his book. Only to arrive at his room staring at the last page taped to the door. Oh my. Although I would never admit to anything he had inkling that I had something to do with it. To his credit I must say he was a good sport and got a good laugh out of it himself.
Live Aid
We’d been on tour for about six weeks throughout the United States and though it was June we had managed to hit rain and bad weather wherever we went. When we heard we would be doing a ten-day leg in Florida the spirits of the troops lifted immensely. We were going to be in the famous Don Cesar Hotel in Orlando? Supposedly Al Capone had holed up during the St. Valentine’s Day Massacre. Tom loved that kind of stuff. Life was good. Sunshine, girls in bikinis, concerts, and parties, great band and crew…girls in bikinis. We had only been in Florida two days when Tom’s manager, Tony Demetriades, informed us that all the concerts in Florida would be cancelled because we had to fly to Philadelphia that night for something called Live Aid. I was in shock. Aghast. No, oh, no…not Philadelphia…this could not be happening. I could not believe our bad luck…What the fuck is Live Aid anyway? Of course Live Aid was to be one of the biggest, if not the biggest benefit concert, or concerts I should say, in history. It started in London at Wembley Stadium playing to over one hundred thousand people and broadcast to over a billion people worldwide. And when that all day affair was over the United States version started in Philadelphia at RFK Stadium with around ninety-thousand in attendance and simultaneously broadcast around the globe. Bob Geldorf was the organizer and what a job he did. Such a good job that he ended up being knighted for it. He had assembled the most incredible array of the top Rock-n-Roll and Pop stars of the day: Eric Clapton, Led Zeppelin, Mick Jagger, Bob Dylan, Madonna…and me!
On that last concert we had a special guest star sit in on a tune that night. Roger McGuinn of the Byrds, who had just a little bit of influence on Tom’s music and vocal styling. It was decided we would play, “So Ya Wanna be a Rock-n-Roll Star.” It looked like the horns would be taking a break, then I remembered the original contained a trumpet solo and told Lee. Tom agreed to give Lee the solo and man did he tear it up. The song turned into a real showcase for him. It was a great performance and just made us not want to leave Florida that much more as Tom and the Heartbreakers are from Florida. But duty called and off to the airport we went. Somehow I had managed to score some party favors for the flight and the plane was always stocked with the best liquor, wine and beer. So as things turned out everyone went to sleep except Tom, Lee and I. We valiantly held down the fort over a bottle of Courvoisier and other spirits, played pranks on victims and chatted the whole night through as we watched the sun coming up over Philadelphia as we entered our landing approach. Since we landed at six in the morning the plan was that we would go to the hotel in downtown Philadelphia, get some shuteye, and then be ready to go around two p.m. When I got to the hotel all these people were just getting back from these great all night parties and I’m thinking, “Great…we missed everything!” Oh well, for once in my life I was sensible and went to my room and actually went to bed and got some sleep.
I remember waking up in a huge suite which I would soon be vacating and turning on the TV and flipping thru the channels and coming to a station with the Live Aid concert at Wembley Stadium in London in progress….and I must say it was impressive with over one hundred thousand fans going crazy and as I stated earlier the list of talent was formidable. Phil Collins was being interviewed before playing and then heading to the airport to jump on the Concord to New York City and then to Philadelphia. They then cut to RFK stadium in Philly and there were already ninety-thousand people in attendance and one couldn’t help thinking that a bit of history was in the making that day.
When we arrived backstage it was already eighty-five degrees with about the same in humidity but spirits were high and abundant if you know what I mean. As impressive as the lineup was in London it wasn’t too shabby on our side and maybe just a bit bizarre to me at the time to see the likes of Eric Clapton and Mick Jagger chatting it up with Madonna. My tennis buddy Tony Kaye along with rest of the band,“Yes”, and I was about to record a harp solo on their new record,“ Big Generator”, so I had plenty of mates and old drinking buddies there. All the roadies were there as well so things were starting to look up for a good little knee up to say the least.
Just for the record Sean Penn was there also, sitting in a folding chair with a leather jacket on in what by then had to be ninety-degree heat and humidity looking miserable. I felt sorry for the poor bastard as Madonna totally ignored him and according to the tabloids he had just got out of jail for punching some photographer and he didn’t seem to know anyone. If he did I doubt it would have made any difference, as he didn’t seem to be feeling too sociable.
The promoters had some T.V. monitors up back stage to see what was happening on stage but you could hear everything clearly since we were fifty feet from the stage. I remember standing around one T.V. and on stage at the time were the Thompson Twins and Madonna doing a version of the Beatles’ classic, “Revolution”. Oh my God, it was dreadful. They were playing and singing so far out of tune it was amazing anyone could keep a straight face. Come to think of it they couldn’t. I looked around, people were giggling and smirking. So with my usual diplomacy I reached over to the TV and whacked it a couple of times. Commenting to the people next to me that something seemed to be wrong with the sound on this TV I proceeded to change the channel. A basketball game came on and I said, very pleased with myself, “aaahhh…that’s better! Don’t’cha think?” I started laughing but the people standing next to me did not seem to share my sense of humor, if looks could kill…well, I whacked the TV a couple more times, put it back to the stage channel and moseyed on over to some friendly faces who were busting a gut over what had just occurred. I mean my God; these guys were so out of tune and obviously fucked up on something. I had heard the Thompson Twins had a bit of a problem with heroin but from where I was standing it was more to do with pitch. I think it was the manager of Tom Petty, Tony Demetriodis who asked, “Do you know who those people are…. that was Madonna’s and the Thompson Twins management.” I looked at him wide eyed with false alarm and then shrugged my shoulders. At that moment we all simultaneously heard another clunker from the stage and we lost it with laughter…oh well.
Every act was allotted twenty minutes for their set. Ours went off pretty much without a hitch. One thing I do remember right before we went on, literally on the stairs going up to the stage Pat, a beautiful, curvaceous, well endowed African American goddess of a backing vocalist for Tom Petty, had come to her limit with the heat. That day Pat was wearing a skin tight one piece outfit, kind of like what bicycle riders wear and grabbed a pitcher of ice water pouring it all over her head and body punctuated with a primal scream. Well that got the attention of the male members of the band and any others within eye and earshot. God bless her for that spontaneous bit of self-preservation with the heat. She inadvertently inspired Tom Petty and the Heartbreakers along with the Soul Lip Horns to an inspired and memorable performance at Live Aid.
Bob Dylan
There w where we were after our Live Aid show safely done, the pressure is off and everyone is congratulating us. The party was just starting to heat up as the afternoon wound its way toward evening. At one point I was standing with some people, talking and laughing when all of a sudden everyone went quiet and I looked up and noticed that Bob Dylan was walking by us and everyone just turned so reverent. I half expected the heavens to part and violins to start playing the way some of these people were behaving. They were saying things like “ssshhh…its Bob Dylan…he’s getting a drink.” Or “ooohhh…..its Bob Dylan…he’s going to the toilet!” Now don’t get me wrong, Bob Dylan as a writer and innovator is tops in my book. But Jeez…come on people…he’s just one of us….isn’t he?
Well that’s what I thought that day and still do. There were three porta-potties set up in the back stage area right next to these giant parachute tents which had been set up to protect us from the heat. As Dylan is heading towards the portables, the people around me were saying, “Bob’s gotta take a leak” So right then I decide to saunter on over to the outhouses myself. As I got there, Bob was already inside and I could hear him peeing. I looked back over my shoulder at the expectant backstage crowd and them at me, then back at Bob’s outhouse. I grabbed it with both hands and gave it a good four second shake. Everyone else backstage could hear Bob yelling, “Hey! Hey!! Hey!!!” I was laughing so hard and when I turned around I was greeted by a sight I won’t soon forget. There was Tom Petty, management and probably at least thirty of the biggest rock stars of the day with their jaws on the ground looking utterly aghast at what I had just done. I walked around back to Tom Petty and he laid into me. All that slow southern drawl and laid back humor was gone. He said, “I can’t believe you just did that…I can’t believe it …that was Bob, fuckin’, Dylan! Are you out of your mind?” To be honest I didn’t see what the big deal was. I was still trying not to laugh.
What I do remember is the sight of Bob Dylan coming out of that portable outhouse with a piss stain trail right down the left leg of his Levi’s, looking to see who did this to him, like any other mortal would. And in my mind looking pissed off and humored all at the same time. Any way Bob, I’d just like to say I think you’re a good sport and you handled yourself with grace and aplomb in an awkward situation…I wish you could have seen it from where I was because it was fuckin’ funny…
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А подробностей больше неизвестно? С чьим участием? сольник или со своими сердцеедами?
Спасибо за клипец! Мне понравился со всех аспектов. И отрыжка в конце такая..... аристократическая..... 
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