Goldenday: Новости, факты, интересные статьи, фото и пр.

Ответов - 154, стр: 1 2 3 4 5 6 7 8 All

Daria: да уж, хорошо, что он в порядке. в начале августа выходит DVD Damn The Torpedoes надо брать)

SLQ: Daria пишет: в начале августа выходит DVD Damn The Torpedoes надо брать) В Европе этот диск вышел уже давно, я в Пурпурном легионе его купила несколько недель назад. Очень интересный диск!

stvol: SLQ пишет: я в Пурпурном легионе его купила несколько недель назад. Очень интересный диск! Лена, расскажите, пожалуйста поподробнее про это издание? Я его видел в амазонах, но не понял в чём фишка.

SLQ: stvol пишет: Лена, расскажите, пожалуйста поподробнее про это издание? Я его видел в амазонах, но не понял в чём фишка. Большую часть фильма составляют интервью Тома, Майка, Бенмонта, продюсеров и инженеров которые работали над альбомом. Они рассказывают о записи отдельных треков, всякие тонкости и интересные факты о песнях . + Там некоторое количество архивных видео. Есть английские субтиры, так что все понятно.

Daria: хочу заказать диск, стоит того?

SLQ: Daria пишет: хочу заказать диск, стоит того? Мне было интересно смотреть, много нового узнала. Если интерсно смотреть интервью, то заказать стоит, Музыки там не очень много.

SLQ: Ура! За четвертую неделю песня с 6 места поднялась на 3!. Не забудьте проголосовать на этой неделе! ГОЛОСУЕМ за песню I Should Have Known It на сайте http://www.roks.ru/index.php?chapter=hittop&action=vote

Voldar: Для нашей страны это просто отличный результат.Так держать.

Goldenday: Я ничего против Аха не имею, но Сердцееды Тома - команда совсем другого уровня и их место в хит-параде однозначно должно быть выше. Буду ждать этого.

Voldar: Весьма хвалебная статья и на MTV. Tom Petty Continues Classic Rock Summer Extravaganza In Cincinnati I've been slipping a bit this week with my pledge to see as many classic rock shows as I can this summer (sorry Ringo, Chicago, Santana and Steve Winwood), distracted by more contemporary acts like the Flaming Lips and Band of Horses. But I got back in the saddle Thursday night (July 15) with a band that has never let me down before: Tom Petty and the Heartbreakers. Here's the thing about Petty: The dude is in no hurry. He doesn't chase trends, doesn't pack the stage with unnecessary gadgets to distract you from the music and doesn't move around all that much anymore. But you know what he and the Heartbreakers do? They play rock and roll. A quaint idea, I know. A few years ago, I saw them at the United Center in Chicago and I walked away thinking, "Man, that band has nothing but hits!" Petty and company could easily fill their nearly two-hour set with songs that you know every word to. In fact, they opened Thursday night's show with a handful of tunes they could have easily saved for the encore. "You Don't Know How It Feels" was like a slow stroll through night air that was thick as a wool blanket, with the pumped-up, sweat-soaked faithful eager, as always, to follow Petty's advice to "roll another joint." A jazzy "I Won’t Back Down" rang with the signature sound of Petty and lead guitarist Mike Campbell's 12-string Rickenbacker guitars and "Free Fallin'" was a perfect example of what makes this band timeless. His arms outstretched in a kind of victory pose, Petty led his band through the tune in no hurry, like they knew exactly where this train was headed and were fine with whenever they arrived. Though set list didn't vary much from previous shows on the tour in support of their new blues-inflected album Mojo, surprises like the Fleetwood Mac cover "Oh Well" jazzed up the first half of the show, with Campbell tearing off a tasty dirt floor solo and Petty enthusiastically shaking the maracas behind him. The hazy blues of "Mary Jane's Last Dance" had the perfect lethargic feel for a hot July night on the banks of the Ohio River, and "Honey Bee" was molasses thick and sticky, ending with a barrelhouse piano roll from ace keyboardist Benmont Tench. Every great rock band has one song with an intro so killer your hair stands up on end when you hear the first note. Petty has a couple of those, with "Breakdown" offering one of the finest, with a chorus that was made for audiences to shout along to. The swampy pace of the classic song was fitting for a band that emerged from the bogs of southern Florida, highlighting an economy of movement over flashy solos as Petty looked up from under hooded eyes as he scatted through a teasing mid-section on the way to a fiery blues outro. Even after nearly four decades in the game, the band still have to move units, so the next five (!) tunes spotlighted Mojo, dipping into the doomy, gothic Beatles psychedelia-meets-Led Zeppelin drone of "Good Enough" into the juke-joint boogie of "Running Man's Bible" and the trippy heat mirage stroll of "First Flash of Freedom." Then it was back to the red meat, with a sly, mostly acoustic "Learning to Fly," a loping "Don't Come Around Here No More" that ended with a Slash-worthy solo from Campbell and the still punchy "Refugee." As the crowd hooted "Encore," I kept thinking back to the end of "Refugee." I was concentrating on Petty's face as he wandered the stage and locked eyes with his band mates and I just couldn't help but think that even while playing one of their oldest hits, which they've probably played 1,000 times (or more), these guys looked like they still mean it and are having fun on the road that never ends. They still believe in these songs, and that's why in a summer when some of their classic rock peers are struggling to put asses in seats, the place was still packed as the final strains of "American Girl" rang out, with just a trickle of fans sneaking out early to beat the traffic. http://newsroom.mtv.com/2010/07/16/tom-petty-and-the-heartbreakers/

Voldar: Five questions with Mike Campbell, guitarist for the Heartbreakers By MARTIN BANDYKE FREE PRESS SPECIAL WRITER "A delicate beast." That's how Mike Campbell describes being in a rock band. "The slightest thing can derail you," says the guitarist for Tom Petty's Heartbreakers. "Ego, a woman or money can trip you up, but with us, it's the love of the music that is bigger than all of us." A founding member of the Heartbreakers, Campbell can shred paint with his instrument when he needs to, but he always serves a song's needs first. His tasteful and economical playing has led to recording gigs with the likes of Johnny Cash, Bob Dylan, Warren Zevon and Roy Orbison. Talking to the Free Press by phone from his home in Woodland Hills, Calif., Campbell spoke about the mojo that went into "Mojo," the powerful new album from Tom Petty and the Heartbreakers. Still going strong after forming in the mid-'70s, the group performs tonight at the Palace of Auburn Hills. QUESTION: Why was this year the right time for Tom Petty and the Heartbreakers to record "Mojo," your first studio effort in almost eight years? ANSWER: That's a good question. We didn't realize that it had been so long. It kind of grew out of doing this (documentary) film "Runnin' Down a Dream" with director Peter Bogdanovich, which took up time. Then we did a little Mudcrutch album with our original (pre-Heartbreakers) band, then our (four-CD) "Live Anthology," and that took us quite a bit of time to go through the tapes. Tom and I came to a new appreciation about how good this band is and wanted to record an album featuring the band without all the production bells and whistles. We're so excited about how it came out. Q: What did you do to make this album sound as great as it does? A: We didn't want to go into a studio; we wanted to do it informally. The setup was the same as what we did for the Mudcrutch album. We have a warehouse in the San Fernando Valley and used the same process on both albums. We set up on the floor with no headphones and all in the same room. It didn't take long to make. We started out with Tom coming in with (the songs) "First Flash of Freedom" and "Jefferson Jericho Blues," and those ended up great. So he kept coming in with another one, then another one. We typically recorded the songs in one or two takes and then moved on; there was little fussing about with it. The vocals were done for the most part live with the band. Sometimes Tom would come up with a better lyric and would drop (overdub) those in, and when I hit the odd clam (bad note) on the guitar, I'd come in and fix it. But there was very little fixing needed because the band is so good. Basically, there are 2% drop-ins here and there; the other 98% is us playing live. We didn't want to do it the Pro Tools, cut-and-paste, Auto-Tuning way; we got rid of all that. What a concept! The band is really, really tight right now, and it's the best we've ever sounded. Q: You had a hand in cowriting some of the strongest material on "Mojo," including that soulful track "First Flash of Freedom." How did that one come together? A: It's a rhythm we haven't used before, a 6/8 shuffle, sort of a jazzy-bluesy kind of swing thing. That came out of a piece of music I had for quite a while. I did a demo of it for Tom. He put a chorus bit in the middle and turned it into a pretty good song. That song, and really the whole album, gets its sound from this guitar I bought -- a '59 Les Paul. I've always wanted one, but it's taken me so long because only 600 were originally made -- and around 100 of those have been destroyed or lost. There's something magical about that sound; it's what Eric Clapton, Jimmy Page and Peter Green used in the early days. A friend of mine who sells vintage guitars called me and told me he wanted to buy a house and was willing to part with his Les Paul. I paid half now and will pay the rest after the tour. It's a really beautiful instrument I fell in love with. The guitar's tones lead you into that style and really inspired the album. Q: The album's first single, "I Should Have Known It," has a very cool, Led Zeppelin-ish swagger to it. What's the story behind that one? A: We had already done most of the album and it sounded really good. But Tom wanted one more song -- something epic, with a good guitar riff up front. I worked this one up with that in mind. Tom loved it, and it made the album at the last second. Q: You worked with Bob Dylan on his latest album of new songs, "Together Through Life," and were also in the studio with Johnny Cash on his amazing, late-career albums. What was it like working with them? A: Tom Petty and the Heartbreakers toured with Bob back in the '90s, and it was so much fun to record with him. I got the call to come in and play on the album, and the sessions were very spontaneous. A lot was done live with few mics on the band. He's just brilliant; he starts with a rough idea, then we all start playing and mold it into a song. I first met Johnny Cash while the Heartbreakers were in Copenhagen on tour in Europe. He was touring with the Highwaymen (which included Cash, Waylon Jennings, Kris Kristofferson and Willie Nelson). I went up to meet him and said hi and told him my dad played his records. It created a little bit of a friendship, and eventually he asked if I would come down to work with him. It was a chance of a lifetime to be around that man. He was an inspiring artist, kind and generous, and I'm appreciative of our time together. http://www.freep.com/article/20100722/ENT04/7220315/1322/Five-questions-with-Mike-Campbell-guitarist-for-the-Heartbreakers

SLQ: http://www.roks.ru/index.php?chapter=hittop&action=vote Опять на 4 место съехали :( Не забудте проголосовать на этой неделе

Voldar: Я например каждую неделю голосую и очень удивляюсь,что песня вообще столько времени у нас ротации.

Goldenday: Voldar пишет: Я например каждую неделю голосую Тоже делаю это первым делом, как только вырываюсь ненадолго с дачи.

Voldar: First Niagra Pavilion Pittsburgh, PA US Backstage at the First Niagara Pavilion outside Pittsburgh, visiting musicians and roadies alike are invited to test their luck on a chip shot to a small island green in the middle of a lake. While no one on the Mojo Summer 2010 tour ever truly threatened the flagstick, it wasn’t for a lack of trying. On their last day on the tour, Drive-By Truckers Mike Cooley and Jay Gonzalez looked on as members of their road crew traded errant attempts with Heartbreakers roadies in the summer sun. Both Tom and Mike stopped in to thank the Athens, Georgia rockers for joining the tour, and Truckers frontman Patterson Hood dedicated the band’s set-closing “Let Their Be Rock” to the Heartbreakers and their crew, saying the tour was “the best summer vacation I’ve ever had.” 23,000 strong welcomed the Heartbreakers to the stage at First Niagara Pavilion as the sun set on a steamy Pennsylvania night. “You Don’t Know How It Feels” got the crowd going early, but tonight’s highlight was the return of “First Flash of Freedom,” which coincided with the first flashes of lightning of a fast-approaching thunderstorm. As if on cue, the heavens opened just as Mike and Scott Thurston’s twin guitar leads snaked around the amphitheatre like the soundtrack to an ancient rain dance. Despite the nasty weather, Heartbreakers fans showed why they are among rock music’s most loyal, gritting it out to the last notes of “American Girl” to show Tom and the band their love and appreciation for another amazing night of rock ‘n roll. The Big Apple is up next! Come out and see us at Madison Square Garden and check back for more photos, videos and recaps from the tour!

SLQ: Подумала, что может быть кому-то, у кого нет фирменного альбома пока, будет интерсна информация с этих листов вкладки

SLQ: Tom Petty never fails to bring the house down July 29, 11:20 AMNY Rock Culture ExaminerJeff Slate July 29, 2010 (New York, NY) -- Last night Tom Petty and the Heartbreakers tore the roof off Madison Sqaure Garden. For the band it was almost business as usual. But really, that's some business. I've seen Petty and the Heartbreakers countless times over the years. And in the nearly 30 years I've been attending those shows I've never walked away feeling it wasn't one of the best concert experiences I'd had. Think about it, Petty has a peerless catalogue of songs and the Heartbreakers are probably the last, truly great rock and roll band. It's easy to take them for granted. The albums and playing and songwriting are always great. Album after album and tour after tour just sees things get better and better. And there's always a new album or tour to look forward to. In essence, Tom Petty is always there for you. Petty's shows have changed some over the years. He's no longer the skinny young rocker jumping around the stage, dancing. But that's been replaced by the amazing interplay that has developed between the Heartbreakers over the years and the phenomenal pacing Petty brings to the table as the evening's ringmaster. And those songs! For two hours Petty brought the hits. And in the middle of a show that included "Listen To Her Heart", "You Don't Know How It Feels", "I Won't Back Down", "Free Fallin'", "Mary Jane's Last Dance", "Breakdown", "Learning To Fly", "Don't Come Around Here No More", "Refugee" and "American Girl", Petty still found time to play five songs from his stellar new album "Mojo." In the end, crowds just love Petty. And he never disappoints. Even the notoriously tough Garden crowd cheered and sang along to the new songs, which really is something. I mean, when's the last time you saw a 60-year-old artist play a block of new songs and not have the crowd run for the concessions, let alone cheering each one louder than the last? Tom Petty and the Heartbreakers are off to Philadelphia and will be back for a show with My Morning Jacket in New Jersey late next month during a tour that crosses the country and ends in early October. In a concert season dotted with poor ticket sales and lackluster bills and shows, Petty and his band are one you don't want to miss.

SLQ: Taking Fans on a Walk, Going Beyond His Hits By BEN RATLIFF Published: July 30, 2010 Over the years Tom Petty and the Heartbreakers have made a lot of repetitive songs that don’t force you to think about them as such. Sometimes they’ve got sweet bridges and tiny solos; they’re layered and warm and bar-band authentic. They’re about rock ’n’ roll as sacrament, highways, the sun in your hair, boys and girls turning one anothers’ heads. They’re locked into their sentimentality and carry a promise that Mr. Petty will never change much. But on his new album, “Mojo,” the band puts longer solos in the songs. And though they’re not marathons — they’re just a minute or so longer than normal Tom Petty numbers — when he played them on Wednesday night at Madison Square Garden, you could experience time passing: you could hear instrumental momentum; you got a small chance to think about repetition, about yourself and your relationship to music. He was taking us for a walk. Not a long one, and he wasn’t showing us things we hadn’t seen before, but still. The midconcert, 30-minute subset of five songs from “Mojo” that Mr. Petty has been playing on this tour has been getting bad reviews, which all seem to ask why he is trying his audience’s patience. I don’t know about that. I think his audience could withstand having its musical patience tried a little. The new songs establish a vibe. They hang around for a bit, leaving pot smoke behind. They’re not so great in the CD player; they’re channeling late-1960s Southern rock and acid blues. But in context on Wednesday they were just different enough from the rest of the concert — almost all of which came from Mr. Petty’s 10-times-platinum “Greatest Hits” album — that they amounted to a whole other philosophy of art. And the band woke up to play them, especially Mr. Petty, whose sleepy grin looks more genuine after you have seen him in the throes of what has probably worn him down and fulfilled him in the first place: perfectionism. It was nice to see all that vintage gear get more use. There are three guitarists in the Heartbreakers, and at least two changed guitars for each song: rivers of old Gibsons, Fenders, Rickenbackers, Gretsches. Besides the lead soloist, Mike Campbell, who with a Les Paul can pull off almost masterly Jimmy Page impressions, and Mr. Petty, there’s the curious figure of the multi-instrumentalist Scott Thurston, standing behind keyboards with his guitar strapped on, singing, strumming or pressing down keys as the moment requires. (And every moment does: for a couple of words of light backup vocals, a revolving riff holding a tune together, and a short lead in harmony with Mr. Campbell. It was fascinating to see how Mr. Thurston slides into this puzzle, subsuming himself into the whole, no matter what he plays.) The opening act never sounds as good as the headliner. On Wednesday the great blues guitarist Buddy Guy, the warm-up for Mr. Petty on his East Coast dates, grew piercingly loud in the wrong way whenever he started in on his manic, scrabbling solos, of which there were a lot. But this was also a concert at which the headlining band’s new stuff sounded better than anything else. After the Heartbreakers’ set, you came away thinking about guitar tone: in “First Flash of Freedom,” the liquid, harmonized slide-guitar leads; in “Running Man’s Bible,” the mellow nimbus of distortion around Mr. Petty’s lines. If you weren’t just waiting for hits, there was a proper sensory experience in there.

SLQ: Tom Petty Brings His 'Mojo' to Madison Square Garden * Posted on Jul 29th 2010 11:00AM by Dan Reilly "Well, hello New York! It's great to be here with you once again, here in the great temple of rock!" Tom Petty said at the beginning of his sold-out, Wednesday night show at New York's famed Madison Square Garden. "We've got lots of new songs for you. Here we go!" As part of the 'Mojo' tour -- named for their bluesy album, released in June -- Petty and the Heartbreakers have been performing their trademark marathon, hit-filled shows across North America for nearly two months. And if they've grown weary of the road, they didn't show it at MSG. After opener 'Listen to Her Heart,' Petty, decked out in what looked to be a black velvet jacket and a shiny purple shirt, led off with a string of hits. 'You Don't Know How It Feels' featured a long, soft guitar solo from Petty and 'Won't Back Down' ended with the spotlight on the frontman, who received the first of many huge ovations throughout the night. "We've got a little love ballad. It's for all you lovers out there, and those of you with lovers you shouldn't be here with," Petty said before strumming the opening notes to 'Free Fallin'.' With the capacity crowd screaming the chorus, Petty and the band grinned their way through the entire song, the joy of performing it still remaining after 21 years. A cover of 'Oh Well' by Fleetwood Mac (the pre-Stevie Nicks incarnation of the band) was the first of the night's many blues-fueled numbers. 'Mary Jane's Last Dance' featured dueling, call-and-response guitar solos between Petty and "co-captain" Mike Campbell, and 'Breakdown' included a drawn-out, well, breakdown that had Petty ad-libbing lyrics like "why don't you slide on over to me" that slowly faded out, leaving only an unlit stage. Up next, 'Jefferson Jericho Blues' was the first of five consecutive 'Mojo' tracks, with Petty and Campbell ramping up their guitar heroics as if they were inspired by opener Buddy Guy, who put on a blistering blues clinic in his set. On the slow, driving 'Good Enough,' Campbell took an extended, intricate solo that -- thanks to his rock-star outfit and starburst Les Paul -- was reminiscent of Jimmy Page's take on 'Since I've Been Loving You' from Led Zeppelin's 'Song Remains the Same' film, which was also recorded at the Garden. After wrapping up the 'Mojo' segment with 'Running Man's Bible,' 'First Flash of Freedom' and 'I Should Have Known It,' Petty had the house lights turned on so he could see the crowd, which he repeatedly bowed to all night. After thanking the fans once again, Petty donned an acoustic and started 'Learning to Fly' by himself, with the band following soon after. He happily let the audience take over vocal duties as the song progressed, opting to improvise lyrics between the chorus lines. For 'Don't Come Around Here No More,' lasers shone from the huge stage across the Garden, a light show that ended in a huge strobe outro while Petty and Campbell traded riffs in a foot-stomping solo. The set closed with a hard-hitting version of 'Refugee' with the band bowing and walking offstage, leaving only a single spotlight shining Petty's microphone. With the crowd chanting his name, the band returned for its surprising-to-nobody encore, leading off with 'Running Down a Dream.' "Are you ready? Are you ready? How loud can you be?" Petty asked the crowd, which duly responded with deafening screams. Satisfied at the volume, Petty and Campbell hit the opening notes of 'American Girl' and launched into a version of their classic that clocked in a few minutes longer than the album cut. As usual, Campbell shredded the guitar outro and the song culminated with the entire band hitting the final notes repeatedly. Once again, the Heartbreakers took to the front of the stage and bowed, having blown away everyone in the "great temple." "Thank you," Petty said before walking off for the time. "'Til we meet again, New York ..."

Daria: насчет последнего концерта - в Нью Йорке. Знакомая сказала, что фанаты бурно негодовали, когда Том с Mojo песни пел :( такое неуважение. Раз уж попал на концерт к легенде - радуйся каждому моменту. в общем, как-то так.

полная версия страницы