Отправлено: 25.10.09 21:52. Заголовок: ЛЕНТА НОВОСТЕЙ ТОМА ПЕТТИ - 3

Новости, факты, интересные статьи, фото и пр.

 Отправлено: 15.06.10 10:23. Заголовок: TOM PETTY AND THE HE..

TOM PETTY AND THE HEARTBREAKERS
Mojo (Reprise/Warner)
(3, 5 out of 4)

After three decades together, it would be easy for Tom Petty and the Heartbreakers to slide into the greatest hits groove, the way the Eagles have, and to rake in the money, without risking disapproval with new recordings that may or may not live up to their glorious past.

But if you’re looking for faults you won’t find one on this 15-track, 65-minute masterpiece, a worthy addition to the Petty/Heartbreakers canon and a showcase for some of the finest instrumental performances in American roots-rock recording history.



Mojo is eerily retro in spirit but thoroughly and joyfully contemporary in style, thanks largely to Petty’s vivid narratives and resonant road yarns and to the stunning confidence exhibited by his band. These rock veterans clearly revel in having all the time they need to stretch out and to display a breathtaking array of musical skills, without wasting a single note, or falling into the pits of vanity and excess.

Each song is a revelation, from the driving opener, “Jefferson Jericho Blues,” with its propulsive harp/guitar riff and lyrics that reflect scornfully on Thomas Jefferson’s dalliance with one of his female slaves, to the loping, dreamlike “Trip To Pirate’s Cove,” an unsettling memory of a California road trip, from the vaguely British waltz-time prog-rock of “First Flash of Freedom” to the Muddy Waters-ish “Takin’ My Time,” with its plaintive observance of the effects of passing years.

It would be hard to find a better road-trip album than Mojo. The combination of relentless forward motion, rear-view reflection and in-the-moment bravado is compelling and infectious.

Greg Quill
http://www.thestar.com/entertainment/music/recordings/article/823507--cd-reviews<\/u><\/a>

Give a listen
Tom Petty's first studio album with the Heartbreakers in eight years is one of three recent releases worth a hearing. The artists are all coming to town this summer.
By Dan DeLuca
Inquirer Music Critic

It's been eight years since Tom Petty made an album with the Heartbreakers, the esteemed band that the straw-haired rocker's been touring with since the 1970s and will back him up when they play the Wachovia Center on July 31 and Aug. 1.
In the interim between their last studio album, The Last DJ, in 2002, and the bluesy Mojo (Reprise ***), which comes out Tuesday, however, the 59-year-old Florida native has hardly been idle.

Petty has seen his stature grow as the most consistently pop-savvy of an elder generation of '60s-schooled American rockers. He's done so while touring extensively with the Heartbreakers, collaborating with director Peter Bogdanovich on the 2007 rockumentary Runnin' Down a Dream, and knocking out a dependably catchy solo album - Highway Companion (2006). In 2008 he also reunited and toured with Mudcrutch, his jammy pre-Heartbreakers '70s band.

In its leisurely pace, Mojo feels very much an outgrowth of Petty's work with Mudcrutch. It also draws heavily from British electric-blues explorers like John Mayall and Peter Green, who turn up regularly on the Sirius/XM satellite radio show Tom Petty's Buried Treasure.

That's good news for fans of the Heartbreakers, which get to stretch out beyond confining pop-song conventions. Two of the three opening cuts, "First Flash of Freedom" and "Running Man's Bible," are more than six minutes long. And while the third, "Jefferson Jericho Blues," is considerably tighter, it's a Howlin' Wolf-inspired roadhouse workout that will almost certainly turn into an extended boogie when the band gets hold of it on stage.

All that extra room means that Mike Campbell, the ace guitarist who's been Petty's right-hand man for decades, has more space to display everything in his always-tasteful, never-boring bag of tricks. Campbell is an unsung guitar hero precisely because he never aims to attract attention to himself, and his lively, well-thought-out solos and fills, like the snarling lines that brush up against Petty's distorted vocals in "Takin' My Time," always make serving the song top priority.

For all the pleasures to be had in the interplay between Petty and his five-man ensemble, though, Mojo is a moderate disappointment. It's uncharacteristically stingy when it comes to delivering the radio-ready pop hooks that have been second nature to Petty for so long.

There's only one outright clunker - the ill-conceived reggae plea "Don't Pull Me Over." But Mojo sounds like it could have been recorded without Petty's ever getting up from the cross-legged position he's pictured in in the CD booklet. Petty's confidence in his ability to get the job done without raising too much of a ruckus is justified, but his re-engagement with his stellar band would have been more effective if they had occasionally gotten their Mojo working in a higher gear.

Read more: http://www.philly.com/inquirer/columnists/dan_deluca/20100615_Give_a_listen.html#ixzz0quHL8zJS<\/u><\/a>

 Отправлено: 15.06.10 10:31. Заголовок: А вот Рой Вуд не ста..

А вот Рой Вуд не стал дожидаться 15 июня и получил свой MOJO ...смотрите в теме по Рою.

 Отправлено: 15.06.10 22:23. Заголовок: Оказывается не тольк..

Оказывается не только Рой не стал дожидаться сегодняшнего дня.Сегодня обнаружил первый релиз MOJO в лосслессе,аж от 10 июня.

http://avaxhome.ws/music/rock/tom_petty_and_the_heartbreakers_mojo_2010.html<\/u><\/a>

 Отправлено: 16.06.10 07:40. Заголовок: на торрентах давно л..

на торрентах давно лежит. и lossless и mp3

 Отправлено: 16.06.10 09:27. Заголовок: Откуда может взяться..

Откуда может взяться mp3 я ещё могу понять,а вот откуда тырят лоссслесс не очень.Релиз с авакса я ещё не проверял на подлинность - это может оказаться тот же перекодированный mp3,хотя в комментах пишут,что good.

 Отправлено: 16.06.10 09:44. Заголовок: Рецензия от матёрого..

Рецензия от матёрого журналиста из Ролинг Стоунс.

'Mojo' Reviewed in 'Rolling Stone': 4 Stars!

By Dave Fricke

Tom Petty and the Heartbreakers have been one of America's greatest live bands since their first club tours and opening-act jobs, in 1976 and '77. Lethal garage-rock modernists with pop-hook savvy, they've always had the chops and empathy to make a studio record like Mojo: everybody in one room, going for the master take together and getting it fast. They just took 34 years to work up the nerve.

It was worth the wait. Mojo is dynamite – Petty and the Heartbreakers' matured return to the elementary fury of their first golden-twang era, capped by 1981's Hard Promises. The performances are natural knockouts – cocksure grooves, pithy knife-play guitars and little overdub fuss – worked up, then nailed, some on the first full take, at the band's suburban Los Angeles rehearsal space. Petty can't help stressing the authenticity here. The credits include the make and vintage of every instrument and the exact tracking date of each song. That's Petty playing a 1964 Gibson ES-335 guitar and lead guitarist Mike Campbell wielding his steady weapon, a '59 Les Paul Sunburst, on April 28th of last year, in the opening number, "Jefferson Jericho Blues."

That's almost too much detail, a distraction from what actually makes the song work: drummer Steve Ferrone and bassist Ron Blair's blues-train shuffle; Campbell's snarling breaks; the way Scott Thurston's harp dogs the guitars, Little Walter-style, the whole way. "I'm writing it for the band to play," Petty told us last fall, referring to the songs he was bringing to the sessions.

That's just how they sound, like well-oiled treble-armored vehicles built for bruising, driven with all hands on the wheel: "Takin' My Time," with its grinding-fuzz bridge; the heavy Yardbirds-style rave-up "I Should Have Known It"; the closer, "Good Enough," a compound storm of slow-blues Led Zeppelin and the Beatles' "I Want You (She's So Heavy)." "Love hit us hard/Like an overdue train," Petty drawls in the oceanic waltz "First Flash of Freedom," a setup for the real psychedelic wham of the exultant Jerry Garcia-joins-the-Allman Brothers guitars and the meaty, rippled sweep of Benmont Tench's organ break.

Petty surely didn't plan it that way, but Mojo arrives with instructive synchronicity, on the heels of the Rolling Stones' reissued Exile on Main Street. The records have a lot in common: the double-LP length and garage-comrade swing; the constant motion in the lyrics, out of trouble and blown chances toward something that, in the distance, looks like refuge. "I see with the eyes of somethin' wounded/Somethin' still standing after the storm," Petty sings over the dark gallop and skidding guitars in "Running Man's Bible."

But also like Exile, Mojo comes with a creeping grip in its rumble, sly, intuitive details that snag you at every pass, like Tench's raindrop accents on electric piano in the road-trip reverie "The Trip to Pirate's Cove" or the extra beat of smoldering silence before the chorus line in "Lover's Touch." You don't get that kind of cool with Pro Tools and Auto-Tune. It takes a great band, playing as one for the toughest audience in the world: itself.

 Отправлено: 16.06.10 09:51. Заголовок: Небольшой отрывок из..

Небольшой отрывок из интервью Тома на TV PBS вчера с ведущим Tavis Smiley.

 Отправлено: 17.06.10 13:38. Заголовок: http://www.edmontons..

 Отправлено: 17.06.10 20:41. Заголовок: By: Dennis Cook Gri..

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 hand, 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 sound 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 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 isn't really that hard."

http://www.jambase.com/Articles/23022/Tom-Petty-Something-Good-Coming/1<\/u><\/a>

 Отправлено: 17.06.10 22:43. Заголовок: Спасибо,Дарья.Интере..

Спасибо,Дарья.Интересное исследование.

 Отправлено: 18.06.10 09:55. Заголовок: Old rockers never di..

Old rockers never die
June 18, 2010 by Rikki MacCuish
Filed under Arts & Entertainment, Music Diva
Leave a Comment
There’s nothing like a little nostalgia to draw a full house at General Motors Place in Vancouver.

Nostalgia is exactly what draws Tom Petty fans to keep returning to his concerts. I know I’m not the only kid raised on Full Moon Fever or the Traveling Wilburys’ Volume I. Tom Petty has released so many great hits, it’s nearly impossible to keep track of them all.

The June 8 show at GM Place also featured opening act—or first headliner, depending on how you view him—Joe Cocker. Known for his outrageous stage persona back in the ‘70s and early ‘80s, Cocker has put forth hits like “A Little Help From My Friends” and “Up Where We Belong”. His best performance onstage at the Vancouver show was definitely “You Are So Beautiful”, portraying his incredible vocal talent.

When pondering the possible set list for the Tom Petty and the Heartbreakers show, it was hard to picture whether it would be old hits to please fans, or it would include mostly new material from Mojo, the still unavailable new album—a streaming version is available for listening at ESPN.com.

Gladly it was a mix of both, leaning heavily towards the former. Listening to Petty belt out the lyrics to “Runnin’ Down a Dream” brought back the days of sifting through the parents’ CD stack, looking for something other than terrible country records. Thankfully Tom Petty, leaning towards the mellower, simpler side of rock and roll, was among them. “Free Fallin’” was the typical sing-and-drive song or campfire anthem, and of course everyone knows “I Won’t Back Down”, Petty’s own mantra after having survived the arson attack on his home.

The Tom Petty and The Heartbreakers concert at GM Place was flawless, and the band seems really tight after having been together for over 30 years. Dreadlocked guitarist Mike Campbell threw out some great tunes as the band reminded audiences that they will remain as one of the best rock acts to ever produce music.

Tom Petty’s lyrics are ridden with his trademarked simplicity, and so is the rest of the music. Everything is easy to remember, catchy and classic. Very few songs are poetic or complicated with riddles. Straight up lyrics have created Petty’s songs into household anthems that pass from generation to generation. The songs are like the Rolling Stones crossed with Bob Dylan. Petty’s recognizable nasally voice soars as this 60-year-old rocker, donned in a white-collared shirt and black leather vest, recalled good old times for his fans, thanking them in the process.

There’s nothing better than going to a packed stadium with everyone standing up and singing the lyrics to all their favourite old songs. Tom Petty and The Heartbreakers are certainly a band that will go on and be remembered for years to come. This band certainly shows no signs of slowing down.

A listen to the new album Mojo brings back memories of old Tom Petty songs. In particular, “Good Enough” is a great, moody song that sounds both complex and simple at the same time.

This was a memorable concert with insane energy and an amazing band that has not only been inducted into the Rock and Roll Hall of Fame, but also as a household standard, a basis by which families can build great musical bonds from.

Have a listen to the new album, due out June 15 and if you get the chance, definitely catch the next tour.

http://sunpeaksnews.com/old-rockers-never-die-2344.htm<\/u><\/a>

 Отправлено: 18.06.10 09:58. Заголовок: Не очень хорошая ре..

Не очень хорошая рецензия на альбом

Tom Petty and the Heartbreakers: Mojo(Reprise)
2 звезды из 5
Michael Hann The Guardian, Friday 18 June 2010 Article history

In his 50s, Tom Petty seems to be living the Grumpy Old Man phase of his career. His last album with the Heartbreakers, 2002's The Last DJ, bitterly attacked the state of the music business. This record – with the songs recorded live in the studio, and the equipment used by the band all listed (no guitar made after 1965 here, folks) – would appear to be the "Listen, youngsters, this is how we used to do it" one. That impression is heightened by the fact that Mojo is, largely, tasteful blues rock, with Mike Campbell's guitar to the fore. There are sparks of life in the rollicking country rock of US 41 and the spiralling riff of First Flash of Freedom, but it's all very polite. And in Don't Pull Me Over – a plea to a police officer for clemency over marijuana possession, set to an Eric Claptonesque vision of reggae – Petty may have written the worst song ever.
http://www.guardian.co.uk/music/2010/jun/18/tom-petty-and-the-heartbreakers-mojo-cd-review<\/u><\/a>


Насколько же разделились мненитя кртитиков. Кто-то в полном восторге . Кото-то раскритиковали альбом в пух и прах. Да, не все любят блюзовое звучание, увы.

 Отправлено: 18.06.10 12:15. Заголовок: ....караван идет.Тол..

....караван идет.Только Don't Pull Me Over мне тоже как то не очень.

 Отправлено: 18.06.10 09:59. Заголовок: The Word On: Mojo, T..

The Word On: Mojo, Tom Petty & the Heartbreakers


Friday, 18 June 2010


"'Mojo' is the strongest set of songs from Tom Petty & the Heartbreakers in over a decade and a half." esdmusic.com


"'Something Good Coming' is the loveliest, most soulful ballad Petty's written in years. But for fans hoping for a reminder of the band's true greatness, 'Mojo' offers more frustrating proof that the waiting is still the hardest part." popdose.com

"It seems that the actual songwriting has taken a backseat to superfluous bluesy jams." ventvox.com

"The best Heartbreakers record since 'Southern Accents' and the best Petty record since Wildflowers and that is why it belongs in your collection." nodepression.com

http://www.independent.co.uk/arts-entertainment/music/features/the-word-on-mojo-tom-petty-amp-the-heartbreakers-2003163.html<\/u><\/a>

 Отправлено: 18.06.10 12:41. Заголовок: 10 things you didn&#..

10 things you didn't know about Mike Campbell

By Cam Fuller, The StarPhoenix June 17, 2010

Mike Campbell has played lead guitar in Tom Petty's band since the very beginning, which means he's been a key part of every landmark song, from Don't Do Me Like That and Refugee to The Waiting and Free Falling, for the past 34 years. He's known as an unselfish band-mate, the ultimate team player. But as a result, his accomplishments often go unnoticed. Here are 10 things you probably didn't know about Mike Campbell.


1. He's ready to love us. Saskatoon "sounds like a faraway place," Campbell said in a recent interview. It's the band's first time playing in Saskatchewan. But "the last tour we went to Calgary and Edmonton. The audiences really enjoyed it. They were incredibly great. So if you're anything like that, it will be fun. I sincerely mean it. We were stunned at how great the Canadian audiences in the west part of the country were. So we're looking forward to it."

2. A guitar inspired the new album, Mojo. "It's one of my favourite records we've ever done, for a lot of reasons. It came about as a result of a discussion I had with Tom one day about a guitar that I had purchased, an old '59 Les Paul sunburst and I was going on about how great it sounded. And he said 'why don't we make an album around the sound of that guitar? Some great guitar up loud with some great songs underneath it.' And we went from there."

3. He likes the Mojo promo -- free album download with concert ticket. "I think that's a great idea. If I were a fan and could get an album and a concert ticket I would be quite pleased. The industry has changed quite a bit, so there's different ways to get your record out there than there used to be. If that works, that's fine with me. It's a wacky business, it's always evolving and you just have to go with it."

4. He really likes Tom. "He's the greatest. He's my best friend. He's bright. He's funny -- really funny. And he just loves music. Tom is like a hybrid of Bob Dylan and Keith Richards. He's got those two energies together and every band should have one.

5. He wrote the music for Don Henley's Boys of Summer. "I write all the time. I love to write, and that was just a piece of music that I had." Producer Jimmy Iovine suggested he play it for Henley. "So I went over and did and he got inspired by it and wrote a really great song. I was really just in the right place at the right time, I guess."

6. They recorded Free Falling in his garage. "Working with Jeff (Lynne) was a revelation. It was like going to musical college. The guy was so brilliant making records. He came in and said 'OK, here is what we're going to do. Lay down some acoustics. Put some drums on it, put some backgrounds.' And we did it all in one afternoon and by the end of the day it was done and mixed and Tom and I just looked at each other. Wow. Thank you, Mr. Lynne. Then we proceeded to do the rest of the record."

7. He got into music for the music (and the girls). "My generation was the Beatles and Stones generation. We were greatly influenced by that whole era. And when I was young I was moved by (Bob Dylan's) Like a Rolling Stone. What is this thing that's so magnetic and powerful? I started playing guitar and I never dreamed that I would some day work with the guy who wrote that song. But a lot of my dreams have come true. I just feel really blessed. It just came from that. Of course, the girl thing is a joke, but when you play in a band, sometimes it's easier to meet girls and stuff. So that plays into your young testosterone part of it. But mostly it was just the pure spirit of rock 'n' roll music. It's a powerful thing. It's my religion."

8. He ain't exactly a heartbreaker. He and his wife have been married 35 years: "Isn't that amazing? I'm very proud of that. I think I'm in the .1111 per cent. But I have a wonderful wife who's been very patient. It wasn't always easy, but I love my family and they support me in my music and we've managed to make it work. We're just really lucky that way."

9. He has a life off-stage. "I'm addicted to writing and recording. When I'm not doing that, I'm doing family things. I have a lot of dogs and my kids and my wife. We do normal things that most people do. And then I have a little band called The Dirty Knobs, which is my friends here in town, and when I'm between Heartbreaker stuff I take them out into little clubs and try out new songs and have a lot of fun with no pressure. It's a great outlet for me to keep my craft up and also have some fun."

10. He's still amazed by the 2008 Super Bowl half-time gig. "It was over the moon. The best thing for me personally is that it happened to be, like, one day after my birthday. So I had my kids all come out to Phoenix. I was Super Dad that day. The gig was a lot of stress, a lot of pressure because it is so huge. You can't even comprehend how huge it is. But once we got there and we kicked in, it was a lot of fun. You only do it once, fortunately it worked out for us."



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 Отправлено: 21.06.10 11:47. Заголовок: По ссылке можно посл..

По ссылке можно послушать и скачать радио интервью Тома , Майка и Бенмонта, котрое они дали Джиму Ледду. В конце шоу можно услышать еще одну новую песню - "Mystery of Love" ,которая не вошла в альбом "Mojo"
http://www.955klos.com/blog.asp?id=37816<\/u><\/a>

 Отправлено: 21.06.10 15:49. Заголовок: На этой фотографии ,..

На этой фотографии ,Том имеет сходство с одним отечественным рокером.А как песня,которая не вошла в альбом?

 Отправлено: 21.06.10 16:53. Заголовок: Voldar пишет: А как..

Voldar пишет:

цитата:

А как песня,которая не вошла в альбом?

"Mystery of Love"

 Отправлено: 21.06.10 21:05. Заголовок: Лена,я имел ввиду,ка..

Лена,я имел ввиду,как впечатления.У меня сейчас, к сожалению не очень много времени,бороздить по просторам инета.

 Отправлено: 22.06.10 10:21. Заголовок: Voldar пишет: Лена,..

Voldar пишет:

цитата:

Лена,я имел ввиду,как впечатления.У меня сейчас, к сожалению не очень много времени,бороздить по просторам инета.

Хорошая песня. Хотя пока еще как следует ее не послушала.