Отправлено: 09.06.10 02:04. Заголовок: Блин, я сначала пора..
Блин, я сначала порадовался, пару песен начал слушать, а потом понял, что ребёнка лишают рождественского (или новогоднего, кому как нравится) подарка. Неет, всему своё время. Куплю, тогда и буду получать ощущения.
SLQ
постоянный участник
Зарегистрирован: 28.10.09
Откуда: Санкт-Петербург
Отправлено: 08.06.10 12:17. Заголовок: Спасибо за ссылку, н..
Спасибо за ссылку, но я уж альбом подожду, тем более, что большую часть его я уже так или иначе слышала. НАдо оставить себе приятное на момент официального выхода альбома.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 08.06.10 13:02. Заголовок: A я не удержался.....
A я не удержался...
Daria
постоянный участник
Зарегистрирован: 06.06.10
Откуда: Россия, Омск
Отправлено: 08.06.10 19:42. Заголовок: Здравствуйте, я нови..
Здравствуйте, я новичок совсем на сайте/форуме, поэтому не совсем ориентируюсь пока. Не знаю, знаете ли вы про tumblr.com - там есть забавный блог, посвященный Тому.
замечательно! :) на тумблере ограничения есть, в день одну песню можно залить, но вообще там много интересного выкладывают. Очень много фанатов Wilburys и Тома и Heartbreakers.
замечательно! :) на тумблере ограничения есть, в день одну песню можно залить, но вообще там много интересного выкладывают. Очень много фанатов Wilburys и Тома и Heartbreakers.
Review: Critic won’t back down from praise of Petty
There aren’t that many bands like Tom Petty and the Heartbreakers playing arenas any more.
The Florida sextet’s mastery of no-frills rock ’n’ roll is in short supply in these days of Auto-Tuning, lip-synching and “helping” backing tracks. And, let me tell you, it sounds awesome. With a simple lighting rig, some projection screens around the front of the stage and a sound mix that didn’t hide any mistakes, the band got greasy from the get-go. Opening with “King’s Road”, the gang got down to jammin’ the grooves with a slinky version of “You Don’t Know How It Feels” that showcased its ability to play just the right notes and never any more than that. The aroma of homegrown was everywhere. Then “I Won’t Back Down” started the singalong — at least the first one of the night. Guitarist Mike Campbell wasn’t kidding when he said that the set was hit-laden. This band has nearly 40 years of them to choose from. Earlier, I’d been ad watching. It’s always intriguing to study the demographically targeted advertising that precedes a concert. For Tom Petty and the Heartbreakers, it was Steve Nash fitness centres, customizing your diabetes monitors, legal counsel and Air Canada. So, his fans like to travel, stay fit and do drugs to keep themselves rocking with customized tech while occasionally requiring advocacy. Hmmm, exactly the same at most 20-something club shows, with some tweaks. The fitness would be the condom ads, the pharmaceuticals something for being able to function at work the next day and travel — universal. Law firms, guess we all need those. Maybe where the don’t drink and drive PSAs come in? Whatever the target market, once the guys got rocking, all ages were getting a treat. Loved the response to song No. 4. Who wouldn’t when it’s “Freefallin’”? It was surprising to hear a group with the kind of catalogue this one has pull out the old Peter Green-era Fleetwood Mac ditty “Oh Well.” Petty seemed to be having a ball with his dual maracas and Campbell got to showcase that sunburst ’59 Gibson Les Paul that so much of the new album Mojo is prefaced upon. The axe’s attack is fierce. “Mary Jane’s Last Dance” tore it up next. Never noticed how indebted that tune is to Neil Young before. Petty ripped out some fierce leads on this track. He’s no slouch, either. Heck, every time anyone solo’d they were spot-on. Particularly the band’s “secret weapon,” keyboardist Benmont Tench, whose work in familiar hits and lesser known rockers such as the triumphant “Driving Back to Georgia” was aces. If you came for pyrotechnics and posing, you were at the wrong gig. If you came to hear one of the few bands that came after the rock heyday of the late ’60s and early ’70s who can hold its own against any Beatles, Stones, Dylan, Zeppelin, what-have-you, GM Place was the place to be. Woodstock-era legend Joe Cocker opened the night. While I only heard a snippet of the last tune, someone seated next to me said it was a “passable trip down memory lane.” Can’t say, as it’s before my recall, but always loved Cocker’s UK soul stylings on songs by the Beatles and Buffy Ste. Marie. An interesting opening act, but one that appeared to grab the audience.
Tom Petty and the Heartbreakers rocked GM Place in Vancouver on Tuesday, June 8, 2010. Photograph by: Ian Lindsay, PNG
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 09.06.10 10:14. Заголовок: Очень большая статья..
Очень большая статья о новом альбоме и туре.
Tom Petty: Something Good Coming
By: Dennis Cook
Gris-gris, jack ball, hoodoo bag – all different names for the same thing, a totem that signifies rejuvenation, root energy, life force. When one's mojo is workin' they hum from the inside out and their actions strike like a marksman's arrow, sharp and true. So, it's fitting that the latest long-player by Tom Petty & The Heartbreakers is dubbed Mojo (arriving June 15 on Reprise/WEA). Despite 35 years and counting on the ramparts, this band sounds like they scored a swell new mojo bag, coming on as fired up and ready to wave rock's banner as they did back in 1976. Mojo feels engaged on every level, the unadulterated of a rock band making rock music.
"That's exactly what it was. We had a terrific time doing it. I don't think we could have had more fun," says Petty. "We recorded it live-in-the-studio. We did a few overdubs, not a lot, and the rule was to try and not do any. We like it and feel really good about it."
Mojo is the first studio Petty and the Heartbreakers studio release since 2002's The Last DJ and the first time recording together again after the 2008 self-titled Mudcrutch record, where Petty and Heartbreakers Mike Campbell and Benmont Tench reformed their pre-Heartbreakers band. That record was similarly cut with a live approach and influenced Mojo's general feel.
"I think the Mudcrutch record turned a lot of things around for me in terms of how I approach recording. That was such a pleasurable thing. It was a record that we made that I actually like to go back and listen to [laughs]. I don't normally do that; I'm usually fed up with it by the time I'm done with it. [Afterwards], I thought, 'Why would I do it any other way?' and let's see how it works on the Heartbreakers," explains Petty. "With the Heartbreakers, we hadn't made a record in so long I really wanted it to be really good."
The new record has a darker hue in places than some chapters in the Petty catalogue, with a thick, present sound and lyrics so sharp they draw blood. A bit of Mudcrutch's psychedelic bent also finds its way into the proceedings, particularly on standout "First Flash of Freedom."
"The takes were usually very early takes, and I wanted to leave room for improvisation. We didn't really demo this up. I just came in with my guitar, played them a song on it and took it from there," says Petty. "So, everyone had a lot to contribute. I guess 'organic' is an overused word but it is pretty organic because it was created right there on the studio floor. We didn't polish it up. We just took it as it was. The groove was the important thing. I wanted everything to have a deep pocket, and I think we succeeded pretty much on that level."
In 2010, rock has largely lost its hips, ceded the dance floor to urban soul and mainstream pop and country, forgetting its early primary purpose of getting folks to sway and grind together to the beat. Thankfully, masters like Petty and his running partners haven't lost the script.
"Swing is the key word. The swing has kind of gone away, and it's become a little stiff to me. I really admire what Booker T & The MGs do, that sort of groove. JJ Cale has a great groove, too," offers Petty. "This is what the band has grown into [laughs]. This accurately reflects what we've turned into. We've got a lot deeper pocket than we used to. In the early '80s I don't think we would have or could have made this record."
Even Rock Stars Get The Blues
There's a blues undercurrent to the album, from the title to opener "Jefferson Jericho Blues" to something more indefinable and haunted in the shadows. If anything, Mojo hews close to the blazing blues-rock of early Fleetwood Mac.
"I love Peter Green! He's one of my idols. I could listen to Peter Green all day. And that's very much what I had in mind on a lot of the [new] stuff. I wanted to get a sound that mixed up say the Chicago Chess stuff and John Mayall, Peter Green's Fleetwood Mac, early Jeff Beck Group. These were records I played to the engineer a lot before we began the project," says Petty. "I told him, 'I want the guitars right up loud, as loud as the vocals when [Mike] plays,' and I think we succeeded at that. Mike's just amazing. He really stepped up and did his part."
Campbell is right out front on Mojo. It's a refreshing change of pace and perhaps a chance for folks who haven't paid close attention the past 35 years to discover just how tremendous a guitarist Mike Campbell truly is. Often he's an extremely tasteful, subtle, respectful player, working into the muscular of the music rather than riding on top.
"I tried to kinda drum that out of him [laughs]. It was like, 'Okay, let's show 'em what you can do. Just rip and have some fun.' He never let us down," enthuses Petty. "I've known Mike and Ben for so long and they still amaze me. I couldn't dream of playing with anyone else."
Tench, Campbell and Petty have played together for close to four decades, and yet their chemistry and obvious camaraderie make each new chapter feel fresh and exciting for them, which in turn sparks off fan enthusiasm in a very tangible way. Nothing compares with the force of a shared endeavor that guys put their backs into, and these three do that again & again.
"What else would I want? I've always been so satisfied with them and the position I'm in with them," Petty says. "When we came together we had very similar record collections, very similar tastes, and that's always been important to us, that our reference points are really clear. But I've always felt it was a little bit of luck that they walked into my life when they did. And I think we all respect each other and we're who each of us wants to play with."
The impression from the outside may sometimes be that this is Tom Petty's band but spend a little time talking with the man and it's clear he sees this as a full-blooded collaboration. And it always has been in his mind.
"We've never looked at it as me and a backup group. We've always treated the band as equals. Maybe I'm sort of the final stamp of approval, but I think everybody has an equal input. And it's not something we work on; it's very natural. We don't talk about it a lot, we just do it," says Petty. "I'm very grateful for whatever force of nature brought them to me."
"Mike has always understood [me]. If I have a song he'll play something better than I picture it. He'll always hand me something better than what I handed him. There's very little to say but, 'Oh yeah, that's great.' It's a great little group and I'm really glad I'm still in it."
Capturing Mojo
"We did [Mojo] at the Heartbreakers' clubhouse/rehearsal space and studio where all the gear is stored. Literally every piece of gear we've ever bought is there, and it's really handy and accessible," explains Petty. "Over the years it's morphed into more of a studio. We've built a nice control room there, but it's very casual. We'd just roll in and start to play. There's no headphones, and that changes things quite a bit to not be separated and playing in different rooms. So, we're playing with just floor monitors. We can't have them up very loud but that's what we're using. It's pretty much like a rehearsal in some ways. By the time we learn a song we've got a couple of takes."
"And [engineer] Ryan Ulyate (ELO, George Harrison) has really changed my life since he came into the picture. He's very good at understanding what I want without a lot of discussion, and I can stay on the studio floor and worry about the arrangements while he worries about the control room. It's a real good tag-team we've got between he, Mike and myself. And I didn't feel the need to bring a producer in. I felt I had a clear idea of what I wanted to do."
Over the years, Petty has built up his production skills, learning better and better how to capture the sound and vision inside his head on tape.
"The great thing is when it surpasses what you had in mind! I often didn't know exactly what I had in mind; I just had it with a guitar and could sort of picture what they'd bring to it. But they always surprised me and did something better than what was in my mind. I sometimes didn't know if I had that strong a song and they'd turn around and give me something incredible, like with 'Don't Pull Me Over' [on Mojo]. I didn't even intend to show them that song. It's got a slight reggae groove to it and I thought that might rule it out. But we ran out of songs [laughs]. So, I said, 'Well, I've got this thing, but I don't know…' They came out with this fantastic groove on it. We weren't going to put it on the record but anybody who came by the studio said we should put it on the record. So, it got us all thinking it was something."
"We all didn't want to quit. I felt so in the pocket – I was coming up with songs and the band was cutting them so easily and having such a good time doing it. I think we'd still be there but we had to quit because of the [summer] tour coming up on us. It could have very easily been a double album. We still have a few tracks that didn't end up on the record because of time constraints. I just never felt so comfortable recording. I could have just kept going."
The Trip To Pirate's Cove
The lyrics on Mojo have the density and intensity only a life deeply lived could produce. But, it's largely not sing-along Petty fare, instead delving into gray areas and culling memorable but not necessarily bright moments from Petty's long road. One number that slithers with a grimy, realistic underbelly is slow burn "The Trip To Pirate's Cove."
"I think it's probably got some reality base [laughs]. That was a really particular one where I really liked the story so much and Ryan and I talked about it a lot. We really liked the story but when we started to do the song I had a whole different set of music to it. It was much quicker, a faster tempo, and it just wouldn't play," recalls Petty. "It was one of the only difficult ones, and I rewrote it three times and came in with different ideas that we'd try. We got a little discouraged and thought we might have to throw it away. But it was too good a story, so we felt we had to find the right groove for it. We finally found the music that we used, and I was really relieved. Now I can't imagine it any other way."
The track has the quality of Santa Cruz, California on a stormy day after the tourists and college students have left and only the locals move through quiet, windblown streets. Petty says, "That's what I kept thinking – that we had to find something that captured the feel of the story. It just took a while to find the feel and the groove and the melody."
One of the first shows on the brief 2008 West Coast Mudcrutch tour was in Santa Cruz, and it drew in a colorful bunch of bikers, aging hippies, curious roots rockers and Gainesville expatriates [see the original JamBase review here]. It was a marvelous affirmation of rock's power over some folk's lives, not the least of which the five guys up on stage.
"That was the second show we played, and we were just elated by it. That was such a fun little tour. I wish it could have gone on & on. We were just so happy to be back together. They were all staying at my house, and we were all just having such a great time," says Petty, who confirms the impression that what one heard inside the Santa Cruz Civic was the sound of guys rediscovering why they'd picked up instruments in the first place. "Yes, very much so. There was no other agenda other than to enjoy ourselves and play that music. It really did feel like the old days having those guys all together. Everything we played, all the covers, were things we used to play. It was really nostalgic for us. And Tom Leadon and Mike have such a cool guitar thing going together."
Bringing The New Into The Old
The tunes on Mojo seem readymade for the road and likely to thrive once they've had some time to breathe in front of a fired up crowd.
"I didn't ever use more than six pieces. The idea was to keep it down to combo size, and I didn't really go for any major production. I just wanted to get a nice sound on the band and let them play," says Petty. "When we've been rehearsing the new stuff has been very strong, very powerful, maybe more powerful than the record."
Tom Petty and The Hearbreakers began their new tour last week. The challenge with any band that's been around this long and had as many hits as these guys is how to integrate the new material into the existing body of work in a live context, where, face it, many fans pony up the bucks to hear "American Girl" and "Free Fallin'" rather than what's happening today. It's part of the American tendency towards major brand loyalty and fear of the non-familiar that creates a challenge to Petty in balancing audience expectations with artistic needs.
"It's something we've really been talking about a lot lately. You really do walk a thin line when you've got this big a catalog. We can do shows where people sing the entire show, and when we interrupt their sing-along they tend to get testy. But I think it's time we really focus on the new stuff, and we'll give them enough of the old stuff. Okay, I'll give you what you came to hear, but I think it's important that we keep this a contemporary trip or we're gonna start to feel like this is some kind of oldie-goldie thing, which it isn't," states Petty. "I love the old stuff but I think this tour you're gonna hear a lot of the new stuff. And if you don't like that then don't come."
"I really believe we're gonna be able to play a great deal of this new stuff and no one is gonna go for a beer. It's really strong in the rehearsals. And I'm just really taken with how strong it is in general," says Petty, who knocked it out with the band recently on Saturday Night Live, shaking maracas and looking hell bent for leather [see the performance below]. "I did the run-through with the guitar and I just didn't feel good with it. And I thought, 'I'm not really doing anything here,' and I wasn't even playing it till the end of the song. So, I decided to put it down and try it without it."
One can see Petty egg Campbell on in this performance, literally motioning him into the spotlight and firing him up. This is what a great bandleader does – aids and abets his players, draws out the best in them – and Petty is surely one of rock's finest bandleaders at this stage in his career.
"That's my job – to get the most out of them I can get and to keep them focused. It was just fun. It isn't really that hard."
Поскольку мнение исключительно субъективное, то не стало это сюда тащить целиком.
Voldar
администратор
Зарегистрирован: 23.10.09
Откуда: Россия, Москва
Отправлено: 09.06.10 15:34. Заголовок: Елена с удовольствие..
Елена с удовольствием прочитал ваши ощущения от нового альбома,думаю нам в любом случае надо открыть отдельную тему по своим впечатлениям от этого опуса и ваша статья вполне может пойти как заглавная.
SLQ
постоянный участник
Зарегистрирован: 28.10.09
Откуда: Санкт-Петербург
Отправлено: 09.06.10 16:04. Заголовок: ОК. Тогда сейчас сде..
Все даты в формате GMT
3 час. Хитов сегодня: 2
Права: смайлы да, картинки да, шрифты нет, голосования нет
аватары да, автозамена ссылок вкл, премодерация вкл, правка нет
(В фотках Тома не искушён, а то, что там выложено - мне понравилось.) 
Неплохая подборка. Даже я , довольно избалованый в отношении фото человек, нашла там для себя пару новых фото. 
- участник сейчас на форуме
- участник вне форума