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Voldar: 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 Wont 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

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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 wasnt 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 bands set-closing Let Their Be Rock to the Heartbreakers and their crew, saying the tour was the best summer vacation Ive 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 Dont Know How It Feels got the crowd going early, but tonights 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 Thurstons 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 musics 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!

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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 dont force you to think about them as such. Sometimes theyve got sweet bridges and tiny solos; theyre layered and warm and bar-band authentic. Theyre about rock n roll as sacrament, highways, the sun in your hair, boys and girls turning one anothers heads. Theyre 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 theyre not marathons theyre 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 wasnt showing us things we hadnt 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 audiences patience. I dont 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. Theyre not so great in the CD player; theyre 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. Pettys 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, theres 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 bands 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 Mans Bible, the mellow nimbus of distortion around Mr. Pettys lines. If you werent 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 ..."

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SLQ: DVD Review: Tom Petty And The Heartbreakers: Damn The Torpedoes (Classic Albums Series) Tom Petty And The Heartbreakers' classic third album, 1979's Damn the Torpedoes, is the latest to receive the in-depth, behind-the-scenes treatment of Eagle Rock's excellent Classic Albums DVD series. Previous entries in the series include everything from the Doors' landmark debut to (most recently) Black Sabbath's heavy metal masterpiece, Paranoid. What makes this series so great is the way that it gives you a ringside seat into the way that such groundbreaking rock and roll albums were created in the studio, as well as filling in the blanks of exactly how the artists involved got there in the first place. This entry for Petty's Damn The Torpedoes is no exception. With this roughly one-hour presentation (not counting the extras), brand new interviews with producers Jimmy Iovine and Shelly Yakus, as well as with Petty and members of the Heartbreakers themselves, transport you back to the heady late seventies period when the band was making what was then their "make or break" third record which would ultimately come to be regarded, and rightfully so as a rock and roll classic. Producer Jimmy Iovine, who was an obvious believer in the Heartbreakers' potential from the get-go, provides particularly revealing insight. "I'm a great believer in third albums," the producer explains, pointing to Bruce Springsteen's Born to Run and Patti Smith's Easter (the latter of which he was directly involved in) as just two of the more obvious examples. Petty himself describes the album's subsequent success as the point where "the dam burst, and nothing was ever going to be the same again." At another point, keyboardist Benmont Tench describes calling the local radio station and disguising his voice in the process to request his song, only to be told "we don't play that shit." Although the details of what got Petty and his band of "goober rednecks in velvet clothes" (Tench's description) there in the first place are a little less telling here, the basic story of Petty's journey from Gainesville, Florida to L.A. in search of a record deal is retold in brief, but vivid detail. Interspersed with all of the in-studio details of the recording process (which, as is the norm with this series, take place behind a recording console) are some all-too-brief snippets of Tom Petty And The Heartbreakers live from this same period performing such chestnuts as "Even The Losers," "American Girl," "Listen To Her Heart" and "Refugee" in concert. The DVD extras here (which most likely wont be seen when this airs as the inevitable one-hour special on VH1 Classic) include the original TV commercial for Damn The Torpedoes and Heartbreakers' guitarist Mike Campbell discussing the 12-string Rickenbacker guitar that Petty is pictured holding on the now iconic album jacket ("probably the best $150 I ever spent"). To be sure, a lot of this is mostly nerdy stuff that will appeal mainly to tech-heads and rock historians who uniquely appreciate what goes into the making of a rock and roll classic. But there is just enough of the backstory here to appeal to the rest of us as well. In short, this is another fine entry in Eagle Rock's Classic Albums DVD series, and Tom Petty's Damn The Torpedoes is the sort of rock and roll classic that more than warrants the inclusion. Read more: http://blogcritics.org/video/article/dvd-review-tom-petty-and-the/page-2/#ixzz0vK0DaggM

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Voldar: Tom Petty and the Heartbreakers offer mix of new and old Someone forgot to tell Tom Petty that arena crowds don't want to hear classic rockers play their new music in concert anymore. And they certainly don't want to hear said new music delivered in a 20-minute block. But as they've been doing every night on their current tour, Tom Petty and the Heartbreakers dedicated the middle of their hour-and-forty-minute set Saturday at the Wells Fargo (formerly Wachovia) Center to their new album Mojo, a collection of blues, R&B, and roots-steeped tunes devoid of anything resembling a classic Petty hook or harmony vocal. So as Petty and company offered up four new songs, many in the crowd occupied themselves with trips to the restrooms and concessions, or by sending pictures and updates to their social networks. That's too bad. While the material might have been unfamiliar, the performances were plenty feistier than the early set readings of "Free Fallin' " or "I Won't Back Down." "Good Enough" picked up where the lurching coda of the Beatles' "I Want You (She's so Heavy)" left off. The song's slow-burn grind was tailor-made for lead guitarist Mike Campbell's hazy phrasing and frantically picked solos. And in the up-tempo ode to survival "Running Man's Bible," the 59-year-old Petty spun lines such as "I took on my father and I'm still walking/Took on all comers in some shape or form" in a devilish drawl, capping the tune with some very deliberate lead guitar of his own. By contrast to the mid-set Mojo break, the remainder of the show was filled with familiar safe bets. Some are still sublime after all these years - "Listen to Her Heart," "Breakdown," and "Runnin' Down a Dream" - some a little too familiar. Though they are a comfortable fit for his time-weathered vocal range, Petty might want to think about sending the aforementioned warhorses, "Free Fallin' " and "I Won't Back Down," to the glue factory. Giving the versatile and skilled Heartbreakers just 20 minutes a night to throw out the playbook they have been using for several decades is a waste of a great band and an extremely deep catalog. Those fans who took the time to make banners requesting deeper cuts such as "Zombie Zoo" and "King's Highway" would probably appreciate it. http://www.philly.com/inquirer/magazine/20100802_Tom_Petty_and_the_Heartbreakers_offer_mix_of_new_and_old.html

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SLQ: Petty tries out his Mojo Veteran rocker goes beyond his formulaic music and makes you think; some may not like it August 03, 2010 Ben Ratliff New York Times News Service NEW YORK (Aug 3, 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 another's' heads. They're locked into their sentimentality and carry a promise that Petty, 60, will never change much. But on his new album, Mojo, the band puts longer solos in the songs. And although they're not marathons -- they're just a minute or so longer than normal Tom Petty numbers -- when he played them 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 mid-concert, 30-minute subset of five songs from Mojo that Petty has been playing on this tour has been getting bad reviews, seeming 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 channelling late-1960s southern rock and acid blues. But in context Wednesday they were just different enough from the rest of the concert -- almost all of which came from 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 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 Petty, there's the curious figure of 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 Campbell. It was fascinating to see how 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 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 Petty's lines. If you weren't just waiting for hits, there was a proper sensory experience in there. The new songs establish a vibe. They hang around for a bit, leaving pot smoke behind. And they amount to a whole other philosophy of art.

SLQ: August 2, 2010 Tom Petty has changed with age, but his songs are still Heartbreakers Total People in Discussion: 0 Categories: Concert Reviews, Music, Music News, Wachovia Center Posted by John J. Moser at 08:41:34 AM on August 2, 2010 It was evident from the time Tom Petty and The Heartbreakers took the stage Sunday at Philadelphias Wachovia Arena to the familiar chiming guitar and soaring organ of Listen to Her Heart that time has changed him. Now 20 albums and nearly 35 years into his career, the 59-year-old Petty is no longer the cynical songster who helped carry rock and roll through punk in the late 1970s, nor the hitmaker of the 1980s. Photos by Sheri Bayne, special to The Morning Call But his songs have changed with him, and so has his audience: The near sellout crowd for the second night of a two-night stand was generally older. And as with Dylan and Springsteen, Pettys songs now carry different meanings for his fans than when they first heard them, but they resonate just as loudly. So while Wont Back Down was more mournful than confrontational -- guitarist Mike Campbell played a nice slide -- the crowd still used its chorus as a release value, singing along heartily and cheering at the end. They hear more wistfulness in Free Fallin, but connect to it singing along with the gentle beginning and leaping to their feet to loudly shout the chorus. Breakdown carries more ache than ever, but his audience understands even more, happily singing when Petty turns it into a call-and-response, and spontaneously starting to clap along as if its a Southern gospel service. And when Petty brought out a deep album cut, Kings Highway from 1991s Into the Great Wide Open, it was a song that was lovely and wistful, made even more so by Campbells melancholy guitar and keyboardist Benmont Tenchs piano. Some songs didnt change. You Dont Know How It Feels had the thumping drum and echo-y guitar solo, and gave the crowd the chance to take its refrain lets roll another joint literally. Unfortunately, Petty also has reached the point in his career where any new songs that dont reach the level of his beloved hits wont be accepted as heartily. That was true of the four he sang from his new disc Mojo during the concerts midsection. Jefferson Jerico Blues has enough blues momentum and I Should Have Known It is different enough from most Petty songs to be intriguing. But they, along with The First Flash of Freedom and Running Mans Bible were more tolerated than embraced. Luckily, Petty has enough hits to let him finish strong. Learning to Fly was even more gentle than the original, starting with him alone in a spotlight on acoustic guitar before the band kicked in, as the crowd began singing again. Dont Come Around Here No More also was more mournful than harsh, though the audience emphatically sang the chorus Stop! and Campbell finished with a fast, thrashing solo. Only Refugee, which closed the main set, seemed diminished. The crowd cheered its first notes, and Campbell later played a ripping solo. But it carried far less of the menace it requires. The encore was flat-out rock: Runnin Down a Dream gave Campbell space to do a longer, elaborate solo. Even Petty exclaimed Oh, baby! after the song. A cover of Chuck Berrys Carol was a rollicking good time. And then Petty asked Are you ready? And the band kicked in with the closing American Girl. And his older audience was connected enough to break into dance. Of course, with as many hits as Petty has, theres bound to be disappointment in whats not played. In a 105-minute, 19-song set that found room for a cover of Fleetwood Macs Oh Well, I would have liked to hear Change of Heart and desperately missed The Waiting. But I found it absolute sacrilege that he skipped Dont Do Me Like That. But such are the changes in life. And when Petty closed by saying Lets get together again sometime, it was like saying goodbye after spending an evening with someone important in your life, and hoping you will.

SLQ: 4 .... ! I Should Have Known It http://www.roks.ru/index.php?chapter=hittop&action=vote

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SLQ: New material helps Tom Petty stay connected with Darien Lake fans Updated: 15, 2010, 3:51 PM Why Tom Petty managed to become the massive crossover success that he is, I have no idea. It would be easy to suggest that brilliant, economical songwriting has something to do with it, but far too many brilliant songwriters toil in obscurity for that to hold true. ----- Concert Review Tom Petty and the Heartbreakers With Crosby, Stills and Nash. Saturday evening in the Darien Lake Performing Arts Center. Also, Aug. 28 in the arts center. ----- It might make sense to suggest that Pettys Heartbreakers are such an incredible band that fame was inevitable. Thats true, but again, you can see a killer Buffalo band at Nietzsches any given night of the week, and most of them arent going to be famous. Why does Tom Petty sell out Darien Lake so quickly that a second date needs to be added to accommodate demand? My guess is the strength and endurance of the songs, the musicians and the need for something that sticks to the ribs amid all the dreck and dross that clogs the valves of the music-lovers heart these days. These songs 30-odd years worth of them, most of them made with the same group of musicians Petty hooked up while still a kid just manage to connect. They are simple, yes, but man are they powerful. A kid from southern Florida managed to gather a bunch of the most memorable tunes of his era beneath his pen. That he was best friends with some of the finest musicians within his immediate surroundings might easily be written off as blind luck. Id prefer to call it destiny. So Petty and his Heartbreakers took over Darien Lake on Saturday, offering hits, a nice mini-set of tunes from the brilliant Mojo album, Pettys latest, and a platter-full of ditties that every sentient rock fan whod been paying attention over the past three decades either knew or thought they mightve heard one time at their brother-in-laws house, at a party. The high point of the show was, without question, the new stuff. Good Enough, the song that concludes Pettys new album, provided guitarist Mike Campbell with the first of several spotlights. Campbell is one of the finest guitarists going, and his playing on Good Enough suggested some unholy cross between Howlin Wolfs guitarist Hubert Sumlin and Led Zeppelins Jimmy Page. This was likely the finest solo fans will be treated to this summer. Crosby, Stills and Nash ran through their back-catalog with grace and poise, and the blend of those three voices can still raise the hair on ones arms. Graham Nash, in particular, was stunning on Saturday, but all three delivered. As Petty declared halfway through the gig, Rock n roll is clearly not dead. Phew. http://www.buffalonews.com/entertainment/gusto/concert-reviews/article102143.ece

SLQ: Eagles' Don Felder Gave Tom Petty Guitar Lessons 8/15/2010 6:14 PM ET (RTTNews) - Before he became a member of the Eagles, Don Felder taught guitar lessons in his hometown of Gainesville, Florida. In a recent interview with Gibson.com, Felder revealed that one of his early students was a young Tom Petty. "I was working in that music store in Gainesville and like I said, the only way I had to make money was after school I would go teach guitar in this music store. One day this kind of scrawny, scraggly blond-haired kid came in and wanted guitar lessons. I started teaching him guitar and we became friends and I went over to his house a couple of times," Felder explained. "He had actually set up a microphone in one of the rooms in his house and he was playing bass in this little band," Felder said. "He wanted to learn guitar so he could play guitar instead of just bass in the band. So I went over to his house and was hanging around and he would play songs." http://www.rttnews.com/ArticleView.aspx?Id=1393681

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Voldar: Darien Lake "". Seven arrested during Tom Petty concert Seven people were arrested Saturday night during the Tom Petty and the Heartbreakers concert in the Darien Lake Performing Arts Center, the Genesee County Sheriff's Office reported. In addition, sheriff's deputies said they charged Joseph A. Bishop Jr., 35, of Olean, with criminal trespass after he allegedly entered the backstage area without permission Friday during the Kiss concert. The eight were arraigned in Darien Court and remanded to jail in lieu of bail of $200 to $300 each. Eight additional people were issued appearance tickets for other charges at the two concerts, including stealing beer, harassment and marijuana possession. Twenty-two others under age 21 were charged with possession of alcohol with the intent to drink and were also issued appearance tickets, officials said. http://www.buffalonews.com/city/police-courts/police-blotter/article102289.ece

Voldar: . When Heartbreaker Mike Campbell met a young fan, he didn't just string him along It's not always easy being a classic rock fan while my friends are listening to rap and hip-hop, but I'll take bluesy guitar riffs and meaningful lyrics over synthesizers any day. I guess I should explain myself a little bit. I am 14, I live in Virginia and I love to play guitar. My interest in guitar is why I enjoy listening to Jimi Hendrix, Eric Clapton, Jeff Beck and Stevie Ray Vaughan more than more recent artists. I have left out one key band in this list of legends, however. I'm not just a rock fan, I'm a Tom Petty and the Heartbreakers fan. In January, having never seen the Heartbreakers play in person, I was enjoying YouTube videos of past performances while saying to myself, "Please don't retire! Just one more tour!" Then I stumbled upon a video labeled "Mike Campbell (All the best Bits!)." Campbell is the lead guitar player for Tom Petty and the Heartbreakers, and in this video, which was obviously from 20 or so years ago, he walked out onstage with a brilliant red '60s Fender Telecaster around his neck. It was unlike any guitar I had ever seen. It had three pickups, where there should only be two, and a shiny whammy bar. I wanted to learn more about this guitar, but found little. I did, however, find a video of Mike playing the guitar in the video for "Refugee" (my all-time favorite) and the guitar was called "Red Dog." It was used on the band's breakthrough album, "Damn the Torpedoes," so I had to have it. But how could I get hold of a guitar like that? It had obviously been modified several times and was not a standard Fender model. I had never built a guitar before, but I decided to build my own Red Dog. Over the next three months I endured hundreds of eBay searches, many calls to local music stores, constant e-mails to dealers and a slow, sinking feeling in the pit of my wallet. Finally, I got everything I needed on a table: a body, a neck, two Gibson pickups, one Telecaster pickup, a pick guard, a Bigsby B5 tremolo kit and enough wires to supply electricity to my house. Three days later, I no longer had a table of parts. I had Red Dog. But my story isn't complete; it hasn't even started yet. An idea slapped me in the face over sushi one night: "What if Mike Campbell signed my guitar?" I had tickets for the band's upcoming tour, and that meant I would see him soon. From that point on, I could settle for nothing less than meeting the master himself. My dad helped me find Tom Petty's manager online. I punched in the number in my cellphone and waited. I quickly asked if the company managed Mike Campbell. The answer: no. DEFEAT. The lady on the phone quickly put me on hold to someone else. I stated the question again. The answer: Yes, we manage all of the Heartbreakers. SUCCESS. I quickly spat out my story, and she seemed impressed, but I knew they heard this sort of thing all the time. I got her e-mail, sent her my information, and nothing happened for a few days. At this point, I was playing guitar with my friend at summer camp. My phone rang, and I fumbled around to find it. I picked up, and a woman named Ramona Mark (who works for Petty's manager) told me Mike Campbell and his guitar tech saw my Web site! They liked the project and wanted me to come backstage at the Philadelphia concert on July 31. By this point, I was freaking out. Question: "Are you excited, Griffin?" Response: "Yeah." (This was all I could say on the phone and still sound composed). I'll fast-forward a few days. It was Saturday night, and I was on a train with my dad to Philadelphia. I was about 20 minutes from Philadelphia when I received a call from Laurence Freedman, a member of the Heartbreakers staff. We decided to meet at 6:45 at a gate of the Wachovia Center. He would then take me backstage to meet Mike. Laurence met me and led me through a doorway and down a dark staircase. I was officially backstage at a Tom Petty and the Heartbreakers concert. The backstage reminded me of a school during summer. There were desks lying around, a cafeteria and deserted rooms. I was the only non-personnel person there, which made me feel rather special. What I was doing finally hit me. I was about to meet the greatest guitarist in the world, someone I had respected and looked up to for years. We passed a door with a laminated sign on it: "TOM." I peeked in and saw Tom Petty, in the flesh, sitting on a sofa with his eyes closed in a sort of meditative state. Then, standing three feet away from me was Steve Ferrone, the drummer! We kept walking past more doorways: "Benmont" (keyboards), "Ron" (Bass), "Mike"(if you don't know who he is, you have not been reading my article carefully) and "Scott" (vocals, guitar, harmonica). Finally, the last door on the right was the snack room, providing the band with anything they could possibly want, from water to Raisin Bran. Next to the snack counter were two couches facing each other. And facing me was an incredibly rare Rickenbacker 12-string, made in the '60s, plugged into a vintage Fender amp. By this point, I was getting a little nervous; at any moment -- oh my, he just walked in! Mike was wearing a leather vest, purple collared shirt, jeans, a crazily tied tie, and a sick guitar cloth hanging out of his back pocket. Even though he was about to play guitar for two hours, he still wanted to look sharp. He put his arm around my shoulder, smiled for the cameras and exclaimed, "Here we are, two guitar lovers!" Once the introductions were done and the cameras had had their fill, he asked, "So where is this guitar?" I unzipped the case and he quietly stated, "Oh, yes. This is Red Dog." He held the guitar in his hands and told me it was heavy, just like his. Without wasting the time to sit down, he planted his boot on the coffee table and began to play my guitar. For a split second his playing reminded me of my countless hours practicing guitar -- then he quickly ripped out a speedy, powerful riff, and the thought was gone. After a test shred, the guitar was deemed amp-ready. Mike asked me to explain the pickups, and how long the build took me. He plugged it in and continued to play. I congratulated him on the new album, "Mojo," and told him I loved how the entire album was completely about the guitar! I explained what inspired me to build the guitar, and as soon as he heard "Refugee" was my favorite song, he began to play it. "Do you know this part?" he asked as he began the crunchy smooth intro to the most powerful song ever written. "The key to the entire solo is letting the E string ring," he said. I stared in awe at how he manipulated the strings and neck to make the tone he wanted. He began to do something I like to call "death-bending." This is when you bend one string upward so it matches the pitch of the next, higher string. When these strings are picked fast, they begin to blend into one dynamic note that can crumble an arena. "Can I play it?" he asked. "Sure," I said, rather puzzled. "No, I mean onstage. I would like to play this for the second song, "You Don't Know How It Feels." My amazed response: "Absolutely." Then I asked if he could sign my guitar, three records, and a shirt for my uncle. His reaction made it plain that his reason for being there was not to sign my guitar and leave; it was to meet me and encourage me. With a quick "Oh, yes, of course!" he signed everything with messages like, "To Griffin: Awesome Job!!" or "Keep Rockin'!!" Before leaving for dinner, he shook my hand and said, "Have you started writing your own songs, because you should. I waited too long to start." Later, just before the Heartbreakers came onstage, the lights dimmed, the filler music stopped and the crowd exploded. I was lucky enough to get third-row tickets in front of Mike. We could all see those dark silhouettes moving toward their positions. The high hat on the drums started pulsing. *tap tap tap tap* Bursting from within the amp came the familiar opening ring of "Listen to Her Heart." The song sounded amazing, but all I could think about was the next one. The song ended, and Mike's guitar tech ran onstage to hand him his next guitar, MY guitar! "You Don't Know How It Feels" hit the audience with a heart-stopping beat. As if from a dream, Mike Campbell was right in front of me, hitting each powerful chord with Red Dog. His guitar fills were bleeding out from the amps and flooding the arena. I was jumping up and down and screaming my head off. Mike (I had told him where I was going to sit) saw me, smiled and lifted the guitar up in the air. A guitarist's salute! Mike started death-bending with my guitar! (I almost feel bad for my guitar now, because it will never experience that again.) I was enveloped in the song around me, breaking the spell only to look and smile at my dad. Laurence returned my guitar after the show; my ears were still pounding with the amazing songs I had just heard. I had just witnessed "Refugee" burn a hole in the world with solos, and "Free Fallin' " filling it back up with body-swaying chords. Laurence told me that when Tom had heard about my guitar, and me, he was so impressed he had left a "surprise" in the guitar case for me. When I got back to the hotel, I opened the case to find Tom's signature right next to Mike's. Mike's read, "To Griffin: Amazing Job!! Mike Campbell, 2010" and Tom's read, "Hi G! Tom Petty." In the 1989 song "Runnin' Down a Dream," Jeff Lynne, Tom Petty and Mike Campbell wrote the lyric "Something good's waitin' down this road, and I'm pickin' up whatever's mine." So what did I pick up that night? I picked up an amazing, ear-numbing concert. I picked up seeing my guitar played onstage by Mike Campbell, in front of 25,000 people. But something I will never let go is a friendship with the most powerful, cool and kind guitarist, whom I will continue to look up to for the rest of my life. And I won't forget the first part of the "Dream" lyric: "Something good's waitin' down this road." Something tells me that this story is not over and that I must never stop experiencing, enjoying, sharing, remembering and picking up "whatever's mine." Griffin Black has been playing guitar for three years. He'll begin his freshman year at Georgetown Day School this fall.

SLQ: MUSIC REVIEW Concert review of Tom Petty and the Heartbreakers at Jiffy Lube Live By Chris Klimek Tuesday, August 17, 2010 When Tom Petty allowed himself a few words in praise of his since-forever band, the Heartbreakers, on Sunday night at Jiffy Lube Live, he introduced drummer Steve Ferrone as "the man who gets the job done." Petty could just as easily been doing something he seems to detest: talking about himself. Everyone knows you don't go to Tom Petty for flash or invention. You go to him for the thing he has come to embody more than any other rocker of his generation: excitement-free dependability. Since 1976, he's rarely let more than a couple of years go by without giving us another song or three that sounds just perfect on the radio of a car with the windows open. He's always made writing great -- well, greatish -- songs look easy. So a workmanlike 100-minute set like Sunday's registers as a letdown: the same 17 or 18 songs in the same order as the night and the month before, with just enough unexceptional exceptions, such as that cover of Chuck Berry's "Carol," to prove the rule. Petty has long evinced a Zen resignation: Even on the line, "You could stand me up at the gates of Hell/But I won't back down," he sounds like he just woke up. As a result, his best-loved material has neither lost urgency nor gained resonance as he's aged (he'll turn 60 in October). He nestled four tunes from "Mojo," the bluesy, just-released new Heartbreakers product ("Running Man's Bible" and the Led Zeppy "I Should Have Known It" were the two that went over best) deep inside a protective cocoon of a half-dozen weather-beaten classics ("Listen to Her Heart," "Learning to Fly," "Refugee") on either side. His greater interest in the new songs vs. the old was palpable. (I probably imagined the note of apology in his voice when he introduced 1991's "Kings Highway" as "an album cut.") The multigenerational crowd bellowed along the choruses of "Free Fallin' " ("I get a lot of requests from girls for this song," Petty said) and "I Won't Back Down," but Petty seemed determined to squander their enthusiasm. After rocking out an extended bridge, or turning a song over to the audience for a verse, instead of powering through one more ecstatic chorus, he'd just unceremoniously end the number. And for a group of vets marching through the same set every night, the between-song intervals felt longer than Peter Bogdanovich's Petty documentary "Runnin' Down a Dream." (Three hours, 59 minutes, since you asked.) The most playful part of the night was the extended breakdown in, er, "Breakdown," when Petty free-associated a few minutes of PG-rated come-ons in that sunburned voice. "Well, what can I say?" he punted later, introducing keyboardist Benmont Tench, a founding Heartbreaker with whom he's been performing music literally since both men were children. I dunno, Tom: How about anything?

SLQ: DVD Review: Classic Albums: Tom Petty and the Heartbreakers/Damn The Torpedoes Read more: http://blogcritics.org/video/article/dvd-review-classic-albums-tom-petty2/#ixzz0wrYzT2iW Tom Petty and the Heartbreakers had already achieved some success with their first two albums, but it was with their third, Damn The Torpedoes, that they really hit it big. Containing such radio staples as "Refugee," "Even The Losers," "Don't Do Me Like That," and "Here Comes My Girl," the 1979 LP in many ways remains the bands defining work. As the subject of the latest installment of Eagle Rocks Classic Albums series, Damn The Torpedoes is examined in depth by the musicians and studio technicians who created it as well as by other discerning commentators. A typical Classic Albums episode provides a fair amount of back-story to set the album in question into the context of its era and its creators career. However, perhaps because the 2007 Peter Bogdanovich documentary, Runnin Down a Dream, already covered such ground in detail, whats presented here concentrates more on the actual making of Damn The Torpedoes rather than the circumstances surrounding it. In doing so, Petty recalls plenty of perceptive anecdotes and kernels of wisdom I was always good, he jokes at one point but the most enlightening insights come from keyboardist Benmont Tench and guitarist Mike Campbell, both of whom are avid students of their musical influences and cognizant of how those influences manifested on Damn The Torpedoes. In one particularly enlightening scene, Campbell demonstrates how he worked from an Albert King riff to craft the basic chord structure of Refugee, which (though he doesnt say so) draws a distinct parallel to Petty and the Heartbreakers latest album, the blues-influenced Mojo. Whats most apparent in a general sense, though, is that the bands ability to deconstruct their own songs isn't in any way compromised by the fact that they wrote them. The bonus material (which runs almost as long as the near-60-minute main feature) continues in much the same vein and is every bit as interesting and informative. Altogether, it makes for one of the best, most informative editions of the Classic Albums series.

SLQ: 4 ... ! I Should Have Known It http://www.roks.ru/index.php?chapter=hittop&action=vote

SLQ: Petty & co. bring their Mojo to Mansfield By Sarah Rodman Globe Staff /August 20, 2010 MANSFIELD Tom Petty and the Heartbreakers new album is called Mojo, and last night at the Comcast Center the veteran rockers made clear that, nearly 40 years in, theirs is still working just fine. Everything else was also working in the 105-minute show. From the joyous energy of the crowd to the high class, yet low-key staging to the finely calibrated set list that included 11 classics, one album cut, four new tunes, and two cant-miss covers, it was a typically excellent outing for the Rock and Roll Hall of Fame-ensconced band. Petty poured on his characteristic slacker charm, punctuating hits like fizzy American Girl and cheerfully defiant I Wont Back Down with sly smiles and slow spins. He busted out the maracas for the nights early high, a hard-rocking and funky run through the Fleetwood Mac jam Oh Well. During the breakdown in Breakdown Petty murmured kiss-offs and come-ons to an unseen vixen and engaged in some sassy call-and-response with guitarist Mike Campbell and the crowd. Like Petty, the song has aged remarkably well, with that slinky riff still powerful enough to coil around the spine and force a swivel into the hips more than 30 years and a countless number of radio rotations later. In between tunes, Petty offered thanks and praised the crowd and his band mates, of whom he believably declared, I love every one of them. And when they play like they did last night and probably will in their second show at the venue tomorrow, why wouldnt he? Well-oiled does not begin to get at the way the quintet gets inside a song and carries the crowd with it. Whether it was drummer Steve Ferrone earning his nickname of Pettys personal locomotive on Jefferson Jericho Blues or Benmont Tench getting fast and loose on his keys for a cover of Chuck Berrys Carol, the Heartbreakers smoked. While the stretch of four Mojo tunes midset may have been overlong by one, sending some to the restrooms, those who stayed were treated to a spicy spectrum of blues-soaked rock. The righteous, near head-banging stomp of I Should Have Known It with its zig-zag-Zep lick and the epic psychedelic meanderings of Good Enough, which saw Campbell scorching his way through a giddy, damn-the-torpedoes solo, clearly jazzed the musicians. Petty also cut loose repeatedly, taking a lyrical flight at the close of You Dont Know How it Feels and heating up the outro of Mary Janes Last Dance. An indication of the groups multi-generational appeal came near nights end when, after a rollicking Refugee, an equal number of lighters and cellphones were hoisted aloft by the jam-packed house. Petty is always generous with time and sound for his opening acts, and My Morning Jacket got a full hour and 15 minutes to stretch out on their reverb-soaked anthems to the slowly growing crowd, By the time MMJ lit into the wall of sound of Im Amazed, many had warmed to the keening sounds of Jim James and his gang.

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SLQ: Petty breaks out old faves at concert By JANE STEVENSON, Toronto Sun Last Updated: August 26, 2010 12:36am Tom Petty clearly still has his Mojo - also the name of his first album with The Heartbreakers in eight years. But the 59-year-old singer-songwriter-guitarist, initially suited up in a black duster coat with a neat beard accentuating his long hair, focused on hits and older songs rather than the jammy, blues-based new material at the Air Canada Centre on Wednesday night. "Well how are you tonight," said a smiling, overwhelmed Petty as the audience went wild. "We are excited Toronto - here we are. " Later he turned up the lights to wave to the audience: "You're a good looking crowd." Playing on a stripped-down stage with floating video screens above it to show off closeups of each band member - outstanding lead guitarist Mike Campbell, keyboardist Benmont Tench, keyboardist-harmonica player Scott Thurston, bassist Ron Blair, and drummer Steve Ferrone - Petty kicked off the hour-and-45-minute evening of music with an early song from his 30-year-plus back catalogue - Listen To Her Heart. But it didn't take long for him to reach into the hits - You Don't Know How It Feels, I Won't Back Down and Free Fallin' - before covering an early Fleetwood Mac rocker Oh Well with Petty losing the coat, his guitar and shaking some maracas as he snaked around the stage. He also offered up Mary Jane's Last Dance and Breakdown - with Campbell's playing and Petty's vocal performance on the latter song leading to a spirited crowd clap-along as the song slowly wound down. Of the four Mojo songs sandwiched in the middle of the set, the scorching slow blues number Good Enough and the harder-rocking I Should Have Known It stood out over Jefferson Jericho Blues and Running Man's Bible with some expert playing from Campbell. But when Petty returned to his hits - a gentle Learning To Fly, Don't Come Around Here No More and Refugee, he had the audience firmly on side again before the encore barnburners Running Down A Dream and You Wreck Me. Opening was '60s California folk-rock heavyweight act Crosby, Stills and Nash, one of several high profile openers on Petty's tour - a list which has included Joe Cocker and ZZ Top. The harmony-heavy threesome - David Crosby, Stephen Stills and Graham Nash, now all in their mid to late '60s - are always warmly welcomed in these parts, particularly when they bring fourth member and hometown boy Neil Young with them. And even if he wasn't on stage this time, the Canadian musician was represented as CSN delved into the music of Stills' earlier band with Young, Buffalo Springfield, with Bluebird and For What It's Worth, and Long May You Run, from the The Stills-Young Band. They also tackled The Rolling Stones' Ruby Tuesday. The trio, backed by four musicians, opened their 85-minute long set with perhaps their most famous song, Woodstock (written by Canadian Joni Mitchell about her then-boyfriend Nash), with a slimmed-down Stills still sounding as good as ever on his blistering guitar solos, particularly on later numbers, Long Time Gone, Deja Vu, Almost Cut My Hair (featuring some big notes from Crosby) and Wooden Ships. Nash took over on piano for the sweet domestic bliss song, Our House, while Southern Cross and Teach Your Children, featured all three musicians on acoustic guitars. Also noteworthy were the Stills solo hit, Love The One You're With. Frankly, with this quality of material, it's hard to put a false step forward. RATING: 4 out of 5 TOM PETTY SET LIST Listen to Her Heart You Don't Know How It Feels I Won't Back Down Free Fallin' Oh Well (Fleetwood Mac cover) Mary Jane's Last Dance Kings Highway Breakdown Jefferson Jericho Blues Good Enough Running Man's Bible I Should Have Known It Learning to Fly Don't Come Around Here No More Refugee ENCORE: Runnin' Down a Dream You Wreck Me

SLQ: Tom Petty unstoppable at the Air Canada centre By Ben Rayner Pop Music Critic Tom Petty makes a pretty convincing case, I must say, for devoting ones life to rock n roll, weed and takin it easy, maaan. A couple of months shy of his 60th birthday, the dapperly attired Petty who led his faithful backing band, the Heartbreakers, into the Air Canada Centre on Wednesday night looked and sounded almost indistinguishable from the Petty who gained his first foothold on radio and on the permanent pop consciousness from which hes become inseparable with Breakdown and American Girl nearly 35 years ago. Theres something to be said for only exerting yourself just enough. For no matter how much the critical chorus might chronically fuss over how little Petty has bothered to broaden his songwriting palette over the past three decades, the mans best work is utterly freakin unstoppable. Unstoppable. Pettys hits are self-regenerating in the same way that all classic songs from Dear Prudence to Honky Tonk Woman to More Than a Feeling to Blitzkrieg Bop are self-regenerating. They never really wear themselves out, no matter how many times theyre thrust into your ears. I was in a bar crowded with hipsters and indie-rock musicians on Sunday night when someone threw on Full Moon Fever in its entirety and the reaction to the moment when I Wont Back Down kicks into its Heeey, baby refrain was the same then as it was at the ACC on Wednesday; everyone within earshot turned into a giddy teenager and couldnt help but sing along. And the reaction was similarly joyous to each of the tried-and-true chestnuts Listen to Her Heart, Free Fallin, Mary Janes Last Dance, Dont Come Around Here No More and a beautifully restrained version of Learning To Fly among them that Petty and the Heartbreakers trundled out during their crisp, 90-minute set. Material from the bands recent album Mojo, basically a blues-leaning excuse for Petty to sit back and cede the spotlight to longtime sideman Mike Campbells wailing guitar prowess, met with a slightly cooler reception. As maybe it should have, since Tom Petty and the Heartbreakers fare about as well with their late-career dabbling in the blues as most ageing white men. The band dug into the new tunes with evident eagerness, though, establishing at least one of them the knowingly Zeppelin-esque behemoth I Should Have Known It as a bona fide keeper and, along the way, rescuing more tedious Mojo excursions such as Running Mans Bible and the long-fused Good Enough at the 11th hour with dynamic climaxes built around Campbells (and occasionally Pettys) sustained six-string heroics. A slight change in direction appears to have reawakened as much of a fire in Pettys belly as his ultra-chilled persona will allow, at least. Some of Mojos jammy spirit found its way into You Dont Know How It Feels which noodled out into some fluid soloing towards the final chorus that justified the songs invitation to roll another joint and a sultry, simmering take on Breakdown. Those moments, combined with the mid-set blues explosion, served notice that Petty and the Heartbreakers still care enough about and, most importantly, still enjoy what theyre doing enough to do more than just go through the paces onstage.

SLQ: Tom Petty drummer Steve Ferrone talks groove Steve Ferrone has sat in the drummer's seat for Tom Petty And The Heartbreakers since 1994. But the British-born sticksman is still seen by many as 'the new guy.' It's a label he's grown accustomed to over the years. "I'm always the second man asked to the dance," he says, laughing. "But I'm not complaining because I've been to a lot of nice dances." And that dance card has been full ever since Ferrone replaced the late Robbie McIntosh (not to be confused with the guitarist of the same name) in the Average White Band in 1974, right as the group was releasing their breakthrough smash Pick Up The Pieces. Over the past four decades, Ferrone's impeccable taste, timing and groove have paid off handsomely: he's been 'the new guy' for Eric Clapton, Duran Duran, Peter Frampton and The B-52s, among others, and has played on countless sessions for everyone from Johnny Cash to Michael Jackson. Even so, when it comes to touring bands, does he mind being thought of as 'the new guy,' or even 'the replacement'? "Not at all," he says, again chuckling good-naturedly. "I've replaced Stan Lynch in Tom Petty And The Heartbreakers. I've replaced Phil Collins with Eric Clapton. I've replaced Roger Taylor with Duran Duran. There's a few choice ones right there. No, see, these drummers have played on amazing records, and I have a tremendous amount of respect for their work. To be asked to go in and sit down and play the parts that they established, I'm flattered and honored. Also, I guess it means that, on some level, I'm that good - or at least in somebody's mind I am." Having now clocked in 16 years as a member of Tom Petty And The Heartbreakers, currently touring behind their latest release Mojo, it's doubtful that Ferrone will be abdicating his drummer's throne to anybody else in the near future. "It's a wonderful group of people in this band," Ferrone says. "Tom and Mike Campbell are such brilliant writers. No, I'm quite happy to be a Heartbreaker." He thinks for a second. "That always sounds funny, doesn't it? I'm a 'Heartbreaker.' Of all the bands with great names, this one's right up there." In the following interview with MusicRadar, Steve Ferrone talks about playing with Tom Petty And The Heatbreakers, along with some of the other illustrious names on his CV. He also discusses his approach to playing, and it's one which involves, oddly enough, the art of the dance. What is general philosophy about drumming? Do you have one? "What I like to do is feel the song - I see it and figure out what I like to call the 'light and shade.' When I was a child, I was a tap dancer, and I remember a big part of our instruction revolved the light and shade of certain routines. I see drumming the same way I see dancing. It's all dynamics. "Because of my tap dancing, I can visualize a piece of music and feel it physically. Basically, I can sit down with a band and pretty much play a song without ever having heard it before. I'm not saying I play it perfectly the first time. [laughs] But I have a sense of the flow, the dynamics, where the choruses and verses are going. If you have rhythm - and let's face it, dancing is a great starting ground for a musician - you're usually able to know how a song should go." I would assume this helped in recording Mojo, which is the most 'jam-oriented' album the band has ever done. "Well, yeah, we recorded the whole thing live pretty much. Tom would come in and start playing a groove, and I'd start playing along. He didn't present finished demos or anything. The songs fell together during rehearsals. That's the way it's been with us for a while. "Songs used to develop during soundchecks, too, although we rarely do soundchecks anymore. With the new technology like Pro Tools, we just record the sound from the gig before and adjust the levels to the next room. Soundchecks are kind of a thing of the past now." What kind of direction do Tom and Mike Campbell give you? Or do they give you free reign to come up with your parts? "They give me free reignuntil I do something they don't like! [laughs] Their music is pretty straightforward, so if I do something too complicated or come up with a groove that just won't fit - anything that gets in the way - that's when they'll say something. And then I'll say, 'Fine, I just won't do that again.'" [laughs] When you were asked to join, what specifically did Tom tell you was the reason? What made you the right guy to replace Stan Lynch? "He never really told me, and I never asked him. I got a call to go out for an audition, but I wasn't told who it was for. This was in 1994. So my gears were turning'Who could it be?' It was all very top secret, you know? But then I showed up at this studio and there's Tom Petty and Mike Campbell sitting there. Well, I figured out pretty quickly who I was auditioning for." What did the audition consist of? Did you have to play through some of Tom's hits? "Well, I should stress that I'd worked with Mike before - he and George Harrison; in fact, I'm pretty sure that George recommended me for the gig. So we started to play You Don't Know How It Feels, and that felt pretty good. Then we listened back to what we'd played and Tom said, 'Wow, what a difference a drummer makes.' Then he turned to me and said, 'Don't worry, Steve, you've won.' [laughs] And that was it." How have you adapted your style to the older songs in Tom Petty's catalogue? Some of the material that Stan Lynch played was quite energetic. I'm thinking of songs like American Girl. "Yeah, well, that song speaks for itself. It has a pattern that is very recognizable and I don't really change it at all. The kick pattern, especially, is very important to play right. The song has a swing to it. "My job isn't to re-arrange songs that are etched in people's minds. But the newer songs, the ones I've played on, they're mine, if you will. So I don't have to adapt my style to fit them; my style is already a part of them." Who do you listen to in the band? Do you listen to Tom's vocals? Ron Blair's bass lines? "I listen to the whole thing. I let the music fall all around me and I make it work. If Ben [keyboardist Benmont Tench] plays a nice little line, I try to leave space so it can be heard. If Tom hits a certain vocal line and really punches it, I might reinforce it, but I don't get in the way. I don't try to set the tone and the tempo of the band; I let them guide me and I keep it all together. The band works really well as a team. "However, you mentioned vocals: I will sing along as I play. It's not just 'cause I like to sing [laughs]; it's because I'm checking the tempo. If you're shifting things around too much, particularly with songs that are so dependent on the vocals, then all you're doing is messing things up." You play with a traditional grip. Have you always done so? "No, I started out with a matched grip, and I switched when I was about 18 or 19 years old. I remember watching this French drummer who played with a traditional grip, and I was very impressed with his ability to get all of these grace notes in. The big thing was figuring out how to incorporate the traditional grip but still have a strong backbeat. So I worked out a way to play traditional but power down the stick with my thumb - which is why I have a very messed-up thumb now!" [laughs] Let's talk about your tenure with Eric Clapton. What was that like? What kind of directions did he have for you when it came to what he wanted from the drums? "His whole thing was, 'Make me play.'" "Make me play." "Yeah, he wanted the band to kick his butt. You know, it's a hard job to be 'Eric Clapton.' He's gotta go out there every night and live up to this legend. He has all these solos to play, and he's gotta blow people away. It's a lot of pressure. So he would just say, 'Steve, go out there and play your ass off.' He looks for fire. I think he really liked being pushed. It helped keep him on his toes, I think." Playing with Eric, you performed material from all of the eras of his career. How did you handle the Cream material? You and Ginger Baker have styles that couldn't be more different. "Absolutely. I would just sort of grab it and make it mine. I played Sunshine Of Your Love totally different. I took a hint of his groove, but there was no way I could match what he did. I didn't even try. "All drummers have their own particular quirks - some you try to work with and others you can't. When you're talking about somebody as flamboyant on the drums as Ginger Baker, there's no way you can play like him. "The point is to take the essence of what he did and use that. Again, Eric's whole thing was, 'Play with fire, Steve. Give me everything you've got.' He didn't want his musicians to play it safe. And you can still play a groove and be non-flashy while giving the music everything that's inside of you. Sometimes that's the hard part - playing with heart but not making it all about yourself." On a somewhat related note, you played with both Eric Clapton and George Harrison when the two toured Japan together in 1991. It was basically Eric's band backing up George. "That's right. What an amazing time." OK. How hard was it, when playing Beatles songs with George, not to try to re-create Ringo's parts? "I didn't really think about it. George told me what songs to listen to, I listened to them and we played them. What I did was what I always do: I listen to the song, I get the groove, I figure out the key elements and then I do my thing." How was George to work with? "Oh, he was wonderful. What can I say? He was a great guy. A tremendous human being. I walk past his star on Hollywood Boulevard a lot, and every time I do I say, 'Hey George, how ya doin'?' What a sweet man he was." One other mega-famous artist you worked with was Michael Jackson. Tell me about that experience. "Oh, it was great. I was hired to play on a couple of songs, and one of them was Earth Song. I was working with the producer Bill Bottrell. So we're in Westlake Studios in Los Angeles, working on the song, and I turn around and there's Michael Jackson. It's like he materialized right next to the drum kit." Wow. What do you say? "Hey Mike"? "Yeah, basically. [laughs] And what was funny was, he looked at me and said, 'Steve, can you dance?' And I go, 'Well, are you asking?' [laughs] Maybe he could tell by the way I played, I don't know. "What was interesting about doing that song was that Michael wanted me to play electronic drums - that was the big thing in those days. And I said, 'Michael, the song is called Earth Song. You've got to have real drums on there.' I could tell he was hesitant, but we cut a deal to do it both ways. "He listened to the electronic drums and liked them, and I could tell he was about to go with that track, but I reminded him about our deal. So I went in and cut the same track on acoustic drums. He listened back and started movin' around, going, 'Yeah, yeah! That's it.' And that's when I told him, 'There you go, Michael. Now you've got a true Earth Song! [laughs] The acoustic drums won out in the end." http://www.musicradar.com/news/guita...-groove-273410

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Voldar: , . True Rock and Roll is About Freedom by Joseph F. Connor I have never heard Tom Petty talk politics. When it comes to performers, that generally is a good thing. Last week my wife and I took our kids, 13 and 11, to see Petty and the Heartbreakers. Having seen them a few times before, they put on a predictably tremendous show, (though doing Jammin Me and Change of Heart would have been great). Mike Campbell, Petty, and crew belted out raw, old fashion rock and direct, soulful, no nonsense lyrics. Awesome. As the band played Refugee I couldnt help but focus on the audience, including my children, singing in unison everybodys got to fight to be free. Like many Petty lyrics, its a simple, direct, powerful line; easily repeated but probably rarely internalized. We, as Americans, do have to fight to be free. The upcoming generations need to understand that. Our grandparents had to fight to be free of Nazism. Our parents and my generation (though we can discuss The Who at another time) fought to be free of Soviet style communism. But for this generation and the at least the next, not only do we have to fight to be free of radical Islam but more insidiously we have to fight to be free from the tyranny of our own federal and even local governments designs on our liberty. We, who are parents, have a responsibility to educate our children. Our freedoms are threatened by those within and without. We must teach our children about the Declaration, the Constitution, our God given individual rights, the brilliance, morality, sacrifice, and bravery of our forefathers and instill in our kids the motivation to become active participants in guaranteeing their own freedoms. Pink Floyd asked, Mother, should I trust the government? The answer is no. It is filled with too many people who would gladly step in and decide our freedoms for us. The best rock and roll has always brought inspiration. Its time we took Pettys advice; stand our ground, not get turned around and dont back down or we may all be living like refugees. http://bighollywood.breitbart.com/jfconnor/2010/09/07/everybodys-got-to-fight-to-be-free/

Voldar: , . "Mojo" Tom Petty And The Heartbreakers "Mojo" , , The Heartbreakers. - . The Heartbreakers ("Tom Petty And The Heartbreakers", 1976; "Southern Accents", 1985; "Into The Great White Open", 1991), ("Full Moon Fever", 1989; "Wildflowers", 1994). . "Mojo" . , , - "", -, "First Flash Of Freedom", "The Trip To Pirate's Cove", "Don't Pull Me Over" "I Should Have Known It". "Mojo" 16 , iTunes, - . . http://www.kommersant.ru/doc.aspx?DocsID=1486235 , http://www.myspace.com/tompetty

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SLQ: Only Rock n Roll Tom Petty gets his Mojo (half-)working Monday, September 13, 2010 Comments: 1 The past five years have been a busy time for Tom Petty. At an age (his mid- to late fifties) when most major rockers are (in Toms own words from Takin My Time off Mojo, his new album with the Heartbreakers) takin their time, slowin down a little bit, he has produced a series of five new albums (one of them a four-CD live set) and collaborated on an excellent four-hour documentary movie on his career with the Heartbreakers. Most of the new material is good to great, too; only Mojo itself falls below his customary high standard. Petty is, for some reason, generally at his most tuneful on albums on which the contribution of the Heartbreakers is kept to a minimum as his first solo album Full Moon Fever (1989) and its follow-up, nominally with the Heartbreakers, Into the Great Wide Open (1991), amply demonstrate. The musicality was again evident on the Rick Rubin-produced second solo album, 1994s Wildflowers, and Pettys third solo effort Highway Companion (2006) did not disappoint: filled with sweet melodies and ringing Rickenbacker guitar reminiscent of the Byrds (who are one of Pettys major influences), Highway Companion was a relaxed but assured album by an established master of his art, making music that could stand alongside the classic tracks recorded with the Heartbreakers in the 30 years that preceded it. And stand alongside those classic tracks the opening song from Highway Companion, Saving Grace, did at Petty and the Heartbreakers 30th anniversary concert held on 21 September 2006 at the OConnell Center at the University of Florida, in their hometown of Gainesville, Florida. The show was recorded and filmed, and a DVD of the concert is available as part of the four-disc de luxe edition of Runnin Down a Dream, director Peter Bogdanovichs epic biopic of the history of Pettys career up to that time. The show featured two guest appearances by Stevie Nicks, who almost three decades after she made millions of men around the world fall in love with her, through her alluring singing and stunning appearance on Fleetwood Macs classic album Rumours (1977), still looked gorgeous and sang up a storm on Stop Draggin My Heart Around (her 1981 single with Petty, originally from her first solo album Bella Donna), I Need To Know (from the Heartbreakers second album Youre Gonna Get It! (1978)) and Insider (from the Heartbreakers 1981 album Hard Promises). Students of film biographies of rock bands should not miss Runnin Down a Dream, which boasts extraordinary footage of Petty and the Heartbreakers first trip to LA in search of stardom, clips from several of their early television appearances, interviews with past and present members of the group, a fascinating account of Pettys periodic fights with the major record companies over recording deals, record prices and artistic control (all of which he has won), live recordings with Bob Dylan in the late 1980s, and the harrowing story of one-time bassist Howie Epsteins death from heroin addiction. A bonus soundtrack CD included in the set incorporates rare rehearsal and live takes of well-known early songs like Breakdown and American Girl, a previously unreleased 1982 track entitled Keeping Me Alive and a 1994 performance on Saturday Night Live of Honey Bee (from the Wildflowers album), with Dave Grohl (of Nirvana, Foo Fighters and later Them Crooked Vultures) on drums. With work on Runnin Down a Dream complete, Petty then turned his attention to his first band, Mudcrutch, from among whose members the core of the Heartbreakers had been drawn. Comprising Petty on bass and lead vocals, Benmont Tench on keyboards and Mike Campbell on lead guitar, together with two non-Heartbreakers musicians, Tom Leadon on lead guitar and Randall Marsh on drums, Mudcrutch had never released a record in over 30 years until Petty wrote almost an albums worth of material for the band. Combined with a couple of traditional country songs, cover versions, a good song by Tench and a weak song by Leadon, Pettys new material turned up on the eponymously titled album Mudcrutch in 2008. Unsurprisingly, Mudcrutch sounded like a (middling) Tom Petty album, its strongest tracks being the ones written by Petty and its weaker moments being the numbers on which other members of the group took over on lead vocals. (None of the other group members can hope to match Pettys engaging and distinctive Southern drawl.) Live shows followed, yielding Mudcrutch Live!, a four-song EP featuring three of the songs from the debut album and a fiery cover version of Jerry Lee Lewiss High School Confidential. That, in turn, led Petty to open up the vaults of his live recordings with the Heartbreakers and make a selection of 48 live tracks, which appeared late in 2009 on the four-CD collection The Live Anthology. Recorded between 1980 and 2007, this outstanding live set is the best of the body of material Petty has released on to the market during the past five years, and contains (in addition to expected classics like Refugee, Century City, I Wont Back Down, Free Fallin, The Waiting and Southern Accents) a clutch of covers of unexpected songs: Willie Dixons I Just Want To Make Love To You, Booker T and the MGs Green Onions, an instrumental version of the James Bond soundtrack title song Goldfinger, Van Morrisons Mystic Eyes and James Browns Good, Good Lovin, among others. Set aside an afternoon or a full evening and listen to the whole set straight through from the top, treating it as one long gig; you will be left with a feeling of elation and exaltation that all the greats and only the greats can conjure up in their live audiences, no matter which musical route they follow. All of which makes Mojo so disconcerting, coming as it does 34 years into such a formidable and barn-storming career. Mojo is an album by a group of professional musicians hemmed in by caution and afraid to cut loose, led by a singer/songwriter who seems scared to rock the house lest a hairline crack should appear in one of its walls. After a desultory attempt to kick-start the album with Jefferson Jericho Blues (about Tom Jeffersons love for the little maid out back and the apparently unrelated topic of driving out to Jericho), the band settle into First Flash of Freedom, the first of a series of slow and overlong tracks with unexciting arrangements and jazzy guitar solos, punctuated only sporadically by more uptempo songs with any spark of life to them. Of the 15 songs that make up this 65-minute album, only about a third would have been worthy of a place on any of the Heartbreakers previous albums; the rest of the material is so mellow as to be limp. Only Candy (which comes on like a rewrite of J J Cales Call Me the Breeze), I Should Have Known It (which sounds like an outtake from the Heartbreakers noisiest album, Shes the One (1996)), the strangulated blues US 41, Takin My Time (a fuzz-guitar blues that could have come from one of Led Zeppelins first two albums if only the power had been turned up), the mid-tempo High in the Morning and the album closer, appropriately entitled Good Enough, have any bite at all to them and even then the bite feels as though it has been administered by a set of false teeth (retrieved perhaps from the glass to which they were consigned in 1990 by Petty and the Traveling Wilburys on Wilbury Twist). So, thanks, Tom, for the wonderful live set and the 33 years of great rock n roll which preceded it. But if the next batch of new songs turns out to be as dull and listless as those on Mojo, rather stay at home than tarnish your considerable legend any further by recording and releasing them. http://www.newstime.co.za/column/MervynDendy/Tom_Petty_gets_his_Mojo_(half-)working/87/2237/

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SLQ: Concert review: Tom Petty & the Heartbreakers with ZZ Top at St. Pete Times Forum September 17, 2010 at 2:00 pm by Eric Snider When the critic starts pondering a concerts meaning in the overall context of the modern music business model, and the critic does so right in the middle of the concert, perhaps thats a sign that the show is not as captivating is it should be. And so it was with me and Tom Petty & the Heartbreakers last night at the St. Pete Times Forum. The band delivered a solid show in front of nearly 15,000 adoring fans, but for this critic who loves the band and cant quite recall how many times hes seen them, only that it has to be in double the figures it elicited more nods of appreciation than genuine enthusiasm and emotional involvement. (Yes, the veteran critic is still capable of getting pretty worked up at a great rock concert.) Perhaps thats a comment on the critic, but Petty and company usually move me and last night, well, they didnt. Not much. Now regarding that chin-stroking about context and the music biz: There was a time when bands like Tom Petty & the Heartbreakers would tour to promote a new album, play nearly the whole damn thing, and tack on a few catalog hits near the end. Dont like it? Fuck you. Were into playing the new shit. Petty and the guys have a new album out, Mojo, which is their best in a long, long time. They didnt pimp it last night. Instead, they performed four songs in a row about two-thirds into the set, with Petty introducing the title to each. (Subtext: Try these songs out; we like em; we hope you do to.) For my money wait, I got in free it was the best part of the show. The band played Jefferson Jericho Blues, Good Enough, Running Mans Bible and I Should Have Known It with the verve of kids riding a new bicycle found under the Christmas tree. (Had I made the setlist, it would have included First Flash of Freedom.) Mojo is Mike Campells coming-out party, and the 60-year-old has embraced the role of Guitar God with an adolescent energy, not only strutting his chops but repeatedly going for the hair-raising lick and writhing and contorting like any dutiful Guitar God does. For most of his tenure as the musician Petty calls his co-captain, Campbell [pictured left] has been subdued, even taciturn, content to play the chords, add color and a clipped solo here and there. I like the new Mike. More context: Pettys show was an example of how the music business has gone topsy-turvy. With the record industry in the dumper, bands dont dare over-indulge with new material on stage. Touring is the bread and butter now, and its not wise to risk pissing off fans by ego-trippin with a slew of brand new album cuts. They came to hear the hits, by golly, and Petty, no dummy, gave em up. The best oldie? Dont Come Around Here No More (which came, incidentally, after the Mojo sequence), a song the band seems to relish playing again and again and again. That such a weird, wonderful tune would have absolutely zero chance of being a hit today is another commentary on the modern music business. It occurs to me as I near the end of this review that in the context of modern music journalism critics dont often get to ruminate and ramble like Ive doing in the preceding paragraphs. If youve read this far, thanks. Oh, one more thing: You cant tell me that when the two frontmen in ZZ Top put their head on a hotel pillow late at night, they dont sometimes say: Fuck this beard, man, I wish I could just shave the damn thing off. Their opening set was a workmanlike show by cartoon characters. Hey, you gotta do what you gotta do in the context of the modern music business.

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Voldar: . Following a Heartbreaker's trail Petty and his crew easy to find in films, TV We'd sound crazy if we tried to convince you that you don't know Tom Petty. Sure you do. Everyone does. Whether you like the early stuff ("Refugee," "Don't Do Me Like That") or the newer, solo stuff ("I Won't Back Down," "Free Fallin' ") or just the video for "Don't Come Around Here No More," you know Mr. Petty. But we're willing to wager you don't know just how deep his impact is. So we're going to spell it out for you, one pop culture reference at a time. Sweet relief Petty and Co. donated $100,000 to theChildren's Relief Fund of Oklahoma City in June 1996 to help with costs after the bombing of the Alfred P. Murrah Federal Building. The funds came from two sold-out shows he'd played in OKC that week. 'FM' Steely Dan may own the title song to the 1978 comedy about a radio station being targeted for corporate takeover, but a live performance by the Heartbreakers earns Petty his first mention on the Internet Movie Database, as "himself." Blond ambition Petty, George Harrison, Roy Orbison, Jeff Lynne and Bob Dylan formed the Traveling Wilburys in 1988. Petty was the only blond. He's a Rebel Johnny Depp played Eddie Rebel in the video to "Into the Great Wide Open." Petty himself played The Roadie Named Bart, a tattoo artist and reporter. Petty later repaid the favor by playing a gig to christen Depp's Viper Room bar in 1993. The Heartbreakers As in "Tom Petty and ...", previously Mudcrutch, was dreamed up by Denny Cordell,who helped Leon Russell launch Shelter Records. Before that, Mudcrutch recorded its eponymous album at Shelter Records in Tulsa. Those tapes are allegedly still floating around somewhere in the 918. Some place to go Petty apparently was sick and tired of Joe Piscopo, Vanessa Redgrave and Eddie Murphy. He called them all out on his song "Jammin' Me" from the album "Let Me Up, I've Had Enough." Apparently the song was his anti-tribute to over-commercialization. Eddie Murphy, at the height of his popularity in 1987, wasn't pleased. Very coincidentally, that same year, Tom Petty's house was burned to the ground by an arsonist. Buffalo Bill soldier Who could forget that scene in "Silence of the Lambs" where Catherine Martin (Brooke Smith) is jamming out in her car to "American Girl"? Moments later, she would get out of her car and be asked by Jame "Buffalo Bill" Gumb if she was "about a size 14." We want our MTV For the second annual MTV Video Awards, Tom Petty and the Heartbreakers won the "best special effects" award for "Don't Come Around Here No More," one of the creepiest videos of all time. Back when MTV played videos. Danish with that? "Portraet af Tom Petty," directed by a Danish dude named Jørgen de Mylius, is an international documentary on Petty. You probably can't find it at Blockbuster or Redbox, FYI. Free Jerry Jerry Maguire (Tom Cruise) screams the lyrics to "Free Fallin'" after leaving his cush (deep cut: "This Cush, I'll surf or ski!) job as a sports agent to start his own business that wasn't so shady. The song might have temporarily relieved Jerry's malaise, but he's soon crying in the car. Petty in 'Postman' In the 1997 movie "The Postman," Petty played the Bridge City mayor. The post-apocalyptic movie featured Kevin Costner trying to resurrect society that's been wiped out in 2013 by getting the postal service back in order. Cliff Clavin would be proud. 'It's Garry Shandling's Show' Petty and Shandling, buddies in the real world, shared a fake/real relationship on four episodes of the HBO series. 'Made in Heaven' In this 1987 romance-fantasy-comedy about a guy who goes to heaven and meets an un-reincarnated soul with whom he falls in love, Tom Petty plays the character "Stanky." Yes, Stanky. Joining him in this probably forgotten gem are Ric Ocasek and Neil Young. Tom N' Roses At the sixth annual MTV Video Awards, Tom Petty and Guns N' Roses members Axl Rose and Izzy Stradlin gathered on stage to sing "Free Fallin'" and "Heartbreak Hotel." Bridge School benefit The event, benefiting children with severe physical impairment and communication problems, is the brainchild of Neil Young and wife Pegi. Petty and Co. played the very first benefit in Mountain View, Calif., alongside some other folks you might've heard of: Crosby, Stills and Nash, Don Henley and Bruce Springsteen. Keep Smiley-in' This year, Tom Petty has appeared on Tavis Smiley's PBS show as a special guest. It's not his first foray into the political world: He sang "Give Peace a Chance" during a 1991 rally against Operation Desert Shield/Storm (Gulf War Part Une). You got lucky Petty played the character Elroy "Lucky" Kleinschmidt in Mike Judge's animated hit "King of the Hill." Lucky is Luanne's dim-witted redneck husband. He lives on "settlement monies" he received after "slipping on pee-pee at the Costco," which he often refers to as "mah pee-pee money." 'She's the One' Petty scored the entire soundtrack for the romantic comedy with Edward Burns and John Mahoney. http://www.tulsaworld.com/scene/article.aspx?subjectid=269&articleid=20100923_455_WK12_CUTLIN543144 1991 Portræt af Tom Petty. ? IMBD . http://www.imdb.com/title/tt0347803/

SLQ: Free fallin' into history: Tom Petty's Top 10 songs and the pants dropping that inspired one By Jim Beviglia September 26th, 2010 at 1:07 AM Well, here we are, folks. This mighty undertaking ranking the Top 100 songs of Tom Petty's career in the Ultimate Countdown has been a true joy for me because it has given me the excuse to really dive into this amazing catalog of music. While you all may not agree with my rankings, its hard to argue with the consistency Tom Pettys songwriting and recording output. Ranking these songs was not a matter of bad versus good; more like good versus great versus holy-crap-thats-anamazing song. With Tom Petty having blown through the Woodlands this weekend, here's the Top 10 to tide you over. This list is not meant just for debate fodder, but also as a celebration of one of rock 'nrolls singular artists. Song 10: Dont Come Around Here No More Album: Southern Accents Tom Petty was a little frustrated at the stagnancy that he felt had crept into the bands sound on their fourth album, 1983s Get Lucky. He channeled that frustration into the fountain of creativity that led to this one-of-a-kind single. Dont Come Around Here No More was proof to any skeptics that doubted that the Heartbreakers could do anything besides straight-ahead rock n roll. Moreover, the memorable video brought the band to a younger group of fans and helped ensure that their popularity wouldnt be waning anytime soon. Dave Stewart was Pettys simpatico collaborator on this madcap tour de force, and his spirit of experimentation inspired Petty to make some very un-Petty-like choices. For example, theres the sampled drum pattern that repeats throughout the song, which, combined with that mystical sitar that seems to endlessly feedback onto itself for a wash of head-spinning sound, creates the oddest rhythm bed youve ever heard. But that wasnt all of the insanity running rampant with this song. Stewart also sent the track to a bass player (Dean Garcia) whose work was completely unusable save for the quirky little bit that kicks the song into gear. Female backing vocalists were brought in to give some counterpoint to Pettys rejoinders, and Stewart allegedly ran into the control room with his pants down in an effort to get one (Stephanie Spruill) to hit that high note that kicks off the harder-rocking section at the songs end. Its as if Petty included that section to remind everyone that the Heartbreakers were still very much a force, and, thanks to the contrast of all the weirdness before, that section rocks righteously indeed. TP also fully invests himself in the role hes playing here in a performance thats reminiscent of some of Mick Jaggers memorable cads from the Stones catalog. Petty has stated in interviews that he regrets the video somewhat because he feels like no one can hear Dont Come Around Here No More now without imagining Alice In Wonderland. I disagree. At least when I hear it, I dont picture Petty in a goofy hat. I hear a vibrant, slightly-daft, never-dull, whirlwind of a single that reinvigorated a career. Song 9: Swingin Album: Echo Ive always thought of this song as a companion piece to American Girl. Not so much a sequel, but a re-imagining of the story almost 25 years after it was first told. The open spaces suggested by the first songs ringing guitars are replaced by the minor keys and crunching riffs of Swingin. When this girl says that shes free, the music suggests otherwise. The situations in which the heroine finds herself are wholly unromantic, from shenanigans in Vegas to hitched rides with strangers. There is little to suggest any kind of happy ending will take place here. And yet, Petty, as always, has admiration for characters that find themselves at a rough point and yet refuse to give in to their situations. This girl achieves a hollow victory when she makes her escape, but its a victory nonetheless. The Heartbreakers really cop some swagger on this tune off Echo, locking into the groove but never so tight that the song doesnt, well, swing. Pettys vocal is also recorded in a very raw fashion, making it sound like hes hollering above the band without a mike, a powerful effect. The inspired decision to include boxer Sonny Liston at the end of his roll call of his swing musicians indicates that this girl was always more of a fighter than a lover. Throw in the fantastic backing vocals from Howie Epstein, which add a soulful vibe to the proceedings, and youve got a lot to chew. Petty might have been a bit jaded about the prospects of an American Girl circa the turn of the millennium. But Swingin is evidence that he believes that resilience is a quality that never goes out of style. Song 8: Here Comes My Girl Album: Damn the Torpedoes They say that the third album is the one where you supposed to make your jump, and the Heartbreakers adhered to that formula with Damn the Torpedoes. Not that there was anything wrong with the first two albums, but they can seem downright primitive compared to the breadth and scope of the songs on Torpedoes. Add to that the fact that the band was becoming professional in the studio, and it was a perfect storm. Here Comes My Girl may be the ultimate example of the kind of thing that the Heartbreakers were suddenly capable of doing. It was made possible by the burgeoning songwriting talents of Mike Campbell, who had pretty much the entire arrangement all down on tape when he handed it over to Petty for lyrics. The band had to bring the arrangement to life though, and they really show their cohesion here. Notice how they leave open spaces for the music to breathe, allowing for their individual flourishes to make maximum impact. Petty's and Campbells interplay on rhythm and lead guitar displays great chemistry, and then Benmont Tench comes sweeping into the refrain to add some different colors to the mix. Ron Blair skids along subtly on bass, while Stan Lynch powers the song with a beat that seems to get stronger as the song goes on. Pettys vocal is endlessly inspired. He talk-sings through the verses as he describes the disappointments of his day, but then he rises to a shout to describe how his girl soothes his aching soul. In the refrain, he goes into a smooth, multi-tracked croon, yielding one of the Byrdsiest moments in the bands history. This is music thats stunningly assured and accomplished, coming from a band that was really less than a half-decade old. Yes, a lot of bands do make that third-album leap, but few have leapt quite so proficiently and powerfully as this one.

SLQ: Song 7: Learning To Fly Album: Into the Great Wide Open Petty took his inspiration for this crackerjack opening song on Into the Great Wide Open from something a pilot once told him about flying. From those few words he created a song that creates inspiration for anyone who hears it. Its one of those universal songs that can not only mean something different to each person, but it can also mean different things to the same person at different times in their lives. When the problems of the world feel downright Biblical in proportion (And the rocks might melt and the sea may burn), we still all have the capability to survive and even thrive if we want it bad enough, if we take the chance to fail. Of course, that all sounds better through Pettys brief but telling lyrics as accompanied by the Heartbreakers at their most mid-tempo elegant. The warmth of the performance is undeniable, caressing the listener through troubling times. In contrast to that, the guitar-and-drum breakdown is a cathartic jolt of energy at songs end, Stan Lynchs snares popping off like fireworks in the night sky. Whatever message you may take from Learning To Fly, its impossible to deny the sublime manner in which it was delivered. Coming down definitely is difficult, especially after listening to music that can get you so high. Song 6: Walls (Circus) Album: Songs and Music from the Motion Picture She's The One If I asked you which Fleetwood Mac member made the greatest contribution to Pettys recording career, you might answer Stevie Nicks in a heartbeat, and it would be hard to argue against that since she popped up several times and the two sang a duet that was a major hit. But what if I told you that Lindsey Buckingham ran a closer second in this race than you might think? You see, its Buckingham who arranged and sang the endlessly fascinating layers of backing vocals that make this version of Walls so special, elevating a great song into a spectacular one. Since this version is subtitled Circus, Buckingham fittingly creates the aural equivalent of a Hall of Mirrors, his voice seconding Pettys admonitions in skewed proportions at seemingly impossible angles to a reticent girl. One can imagine her, at the center of this barrage, finally grasping the full magnitude of what she has lost. And it is ultimately a loss, as hinted by Pettys final set of opposites in his brilliantly conceived lyrics: Part of me you carry/Part of me is gone. Its a tough position to be in when youre apologizing for someone elses mistakes, but TP never shows anger or disdain for this girls standoffishness; he simply gives her all the evidence he can so that she might see the unseen hurt that such a stance can produce. Some might prefer the quieter charms of Walls (No. 3), but, to me, the huge production here is necessary to thaw this frozen heart. I saw it once, but I honestly cant remember too much about Shes the One, the Ed Burns movie to which Petty granted this song. But if for no other reason than it inspired this magnificent effort, well, then that long-forgotten flick certainly served its purpose. http://culturemap.com/newsdetail/09-26-10-free-fallin-into-history-tom-petty-top-10-songs-and-the-pants-dropping-that-inspired-one/

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SLQ: Tom Petty Concert Postponed Updated: Sunday, 26 Sep 2010, 10:12 PM MDT Published : Sunday, 26 Sep 2010, 10:12 PM MDT PHOENIX - Tom Petty fans were disappointed Sunday night after the 80s icon's concert at US Airways Center was postponed. Petty developed a throat infection, and his doctor advised him not to perform. He was to perform with his band, the Heartbreakers, and ZZ Top was scheduled to be the opening act. A make up day had not yet been announced on Sunday

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SLQ: Friday Night: Tom Petty & The Heartbreakers At The Woodlands By Chris Gray, Mon., Sep. 27 2010 @ 1:00PM In a catalog studded with them, one of the saddest songs Tom Petty ever wrote is also one of the most revealing. As far as we know, it's never seen the light of stage since the tour for its parent album, 1999's Echo, but "Room At the Top" described the scene at the Woodlands Friday night to the letter: I got a room at the top of the world tonight I can see everything tonight I got a room where everyone Can have a drink and forget those things That went wrong in their life Those words may look like a party onscreen, but they don't sound like one in the song. "Room At the Top" was written in the midst of Petty's divorce from his first wife, but we wonder if he thinks about those lyrics differently these days. Or, maybe, if something like Friday is what he meant all along. We don't know how it feels to be him, of course, but from where we were sitting standing, an evening with Petty and his trusty Heartbreakers is as close as we've ever come to a two-hour furlough from this thing called life. Electric word, life, and an electrifying show. Friday made us think of "Room At the Top" for another reason too. Petty and the Heartbreakers are at the pinnacle of their profession, with millions of albums sold, a slew of awards, one Rock and Roll Hall of Fame induction, unyielding adoration from critics and fans alike and, underneath it all, a well-earned reputation as one of the best live bands - if not the best - to ever come down the pike. Almost 35 years after releasing their first album, Petty and the Heartbreakers have absolutely nothing left to prove. So what do they do now? Whatever they want to, naturally. Friday, that included throwing in just enough hits to keep the crowd happy, but besides a sprawling, laser-guided "Don't Come Around Here No More" and riptide "Refugee" that closed the main set, and a potent-as-ever "American Girl" that was the band's goodnight this time around, the hits that stood out were of (relatively) more recent vintage - and the songs that stood out even more weren't hits at all. Yet. "You Don't Know How It Feels" and "Mary Jane's Last Dance" were held up by the virile harmonica of the Heartbreakers' ace in the hole, utilityman Scott Thurston. It turned out, though, that Thurston was just warming up for "Jefferson Jericho Blues," one of four songs in a row the Heartbreakers played from new album Mojo. ​Besides "Jefferson," which could have won Thurston a spot in Muddy Waters' band if Waters were still alive, the Mojo tracks showcased what a demon "co-captain" Mike Campbell has become on guitar - even more than encore opener "Runnin' Down a Dream." Campbell himself had warmed up a few songs earlier, with the stinging blues riffs of Fleetwood Mac's "Oh Well" as Petty patrolled the stage shaking a pair of maracas. Campbell's snaky lead steered the Heartbreakers through the late-'60s psychedelia of "Good Enough," a sort of slower, steamier sequel to "Oh Well." Keyboardist Benmont Tench added some tight, rhythmic B-3 bumps to "Running Man's Bible," the same sort of '40s/'50s West Coast jump-blues that has had such a profound effect on Jimmie Vaughan. The real killer, though, was the howling fury Campbell channeled into his guitar on "I Should Have Known It," which if it came out 20 or 30 years ago, would have been one of Petty's biggest hits and, 40 years ago, would have been one of Led Zeppelin's. Aftermath is willing to bet that a lot of people at the Woodlands Friday had no idea the Heartbreakers - first and foremost bassist Ron Blair and drummer Steve Ferrone - could get so heavy. More than "Free Fallin'," more than the extended stream-of-consciousness "Breakdown," more than a delicate, acoustic "Learning To Fly" and more than the rush we always get when the opening chords of "Listen to Her Heart" signal the beginning of another Petty concert, the Mojo tracks were the best example of what Aftermath took away most of all from Friday's show: How much this band enjoys each other's company onstage, and how much they enjoy playing for their audience, who - whether they know the songs or not - gives it right back. And that's good enough. Good enough for right now, and good enough that we were an even bigger Petty fan at 11 p.m. than we were at 9. Which, if you haven't guessed already, is really saying something. Personal Bias: Ummm... well... maybe a little... Overheard In the Crowd: Not much, really. Everyone near us was either singing along or conversing quietly enough that we couldn't hear them over the band. The Crowd: Petty Nation - white, mid-twenties to mid-fifties, employed and having a blast. Random Notebook Dump: We hope the crowd took heed of the message onscreen between ZZ Top and the Heartbreakers that their ticket came with a free digital copy of Mojo. SET LIST Listen To Her Heart You Don't Know How It Feels I Won't Back Down Free Fallin' Oh Well Mary Jane's Last Dance King's Highway Breakdown Jefferson Jericho Blues Good Enough Running Man's Bible I Should Have Known It Learning To Fly Don't Come Around Here No More Refugee ENCORE Runnin' Down a Dream American Girl

SLQ: Petty, Heartbreakers rock BOK crowd By JENNIFER CHANCELLOR Check out Tulsa World music reporter Jennifer Chancellor's Barrelhouse Beat blog for music news, videos and more. Tom Petty and his Heartbreakers shook a near-capacity crowd Thursday night at the BOK Center, which was celebrating its second anniversary. Six high-definition screens hovered in a semicircle over the band and added depth and drama to Petty's musical prowess. The six smaller screens gave way to enormous LED screens, stories high, up close and personal on Petty. "This is our very first show in Tulsa, Oklahoma," he said as the crowd reciprocated with nearly a full minute of cheers. "I love it here!" He and his backing band thanked the audience often and blew kisses into the crowd. Petty is a consummate professional still in the prime of his game. Thursday night's show proved that. The Rock and Roll Hall of Fame inductee played oldies ("Listen to Her Heart"), goodies ("Mary Jane's Last Dance") and newbies ("Good Enough"). The set spanned his 40-plus-year career, with plenty of crowd- pleasing hits to anchor the bluesy rock mix, including "You Don't Know How it Feels," "Breakdown," "Don't Come Around Here No More," "American Girl," "Free Fallin" and "Refugee." Petty wore a royal blue velvet jacket and oversized red tie, white button-down shirt and black pants as he rocked through Thursday night's set, which included a playful, rumbling version of Fleetwood Mac's "Oh Well," the frontman shaking maracas to the beat. A mini-set in the midst of the concert tackled new "Mojo" album tunes with garagey, blues-rock rambunctiousness and included "Jefferson Jericho Blues," "Good Enough," "Running Man's Bible" and "I Should Have Known it." Petty and guitarist Mike Campbell hurled rock licks toward each other with fiery glee. Texas music stalwart ZZ Top opened the show. Billy Gibbons, Dusty Hill and Frank Beard didn't stun the crowd as much as they wooed them. It seems like every ZZ Top song is a classic. Their fur-bearing guitars and beard-flaunting shtick is as well-rehearsed as it is popular. Gibbons reminded Okies that the trio's been the blues-rock house band for the Sooner state for four decades as they played a roster of hits, including "Sharp Dressed Man," "Tush," "Just Got Paid" and "Legs."

SLQ: - . . . :( - . San Diego Show Tonight Postponed. Both San Diego & Phoenix Rescheduled For Next Week Tom Petty continues to suffer from a sinus and throat infection and on his doctors advice the band is regretfully postponing tonight's concert at Cricket Wireless Amphitheatre in Chula Vista, CA for one week until Tuesday October 5. Tickets for tonights original date will be honored on October 5. The concert at the US Airways Center in Phoenix, AZ, which was to take place on September 26, has also been rescheduled and will now take place on Thursday October 7. Toms doctors have advised him not to perform for the next few days but expect that he will be fully recovered for shows this coming weekend. The show in Phoenix on October 7 will be the final performance on Tom Petty and The Heartbreakers 2010 Mojo Tour. The remaining dates on the Tom Petty and The Heartbreakers Mojo Tour 2010 are as follows: October 1: Hollywood Bowl, Los Angeles, CA October 2: Verizon Wireless Amphitheater, Irvine, CA October 5: Cricket Wireless Amphitheater, San Diego, CA (rescheduled from September 28) October 7: US Airways Center, Phoenix, AZ (rescheduled from September 26)

SLQ: Masters Of Their Craft: On Tour With Tom Petty Modern technology reveals traditional sounds for Tom Petty & The Heartbreakers 2010 tour. The Conservatory of Recording Arts & Sciences took a select group of students to U.S. Airways Arena in downtown Phoenix to observe the setup for Tom Petty & the Heartbreakers' MOJO tour concert date on September 26th, 2010. CRAS was the guest of Petty's front of house sound engineer and 6 time TEC award winner Robert Scovill. Robert has a long history with CRAS as a curriculum developer and member of the CRAS board of directors. Students also got to meet front of house technician Jim Brentlinger and monitor technician Mike Bangs who both work for Sound Image and are graduates of the Conservatory. Amazingly soundcheck was just about to begin when the call came in that Tom Petty was ill and that the show was cancelled! While Petty fans were surely dissapointed, CRAS students still saw an amazing setup for a show that no one ever saw.

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Voldar: Tom Petty Feeling Better and Will Perform Tonight As Tom Petty says, "I am feeling better and looking forward to the remaining shows on the tour. Thank you to everyone for being so patient and my apologies for the inconvenience. 1 Hollywood Bowl. Bob Sockolich doesn't remember anything about the show in '68 when Hendrix played the Hollywood Bowl, but there he is standing on the sidestage as Jimi - head back, eyes closed and his lips barely clinging a lit cigarette - rips a guitar solo in a gorgeous photo hanging across from Tom's dressing room. 42 years later, and Sockolich is still the head electrician at the landmark venue where Tom Petty & the Heartbreakers made their triumphant return to Los Angeles Friday night for a sold-out show in front of friends, family and fans. "It's good to be back in Hollywood!" Tom said at the end of "I Won't Back Down," obviously feeling rejuvenated after a bout with a cold forced the band to postpone shows in Phoenix and San Diego. "We wanna dedicate this next one to all our ex-girlfriends in the audience," Tom said before he and Mike launched into the opening guitar riff of "Free Fallin'," eliciting a wave of screams from the 17,000-plus fans packed into the amphitheater as they held their lighters and cell phones over their heads. For a band that dreamed of playing this hallowed hall while they paid their dues back in the '70s playing five sets for fifty bucks just over the hill on the Sunset Strip, the scene must have been surreal. Standing sidestage as the last notes of a joyous "American Girl" rang out, Bob Sockolich glanced at the scene through his glasses and ran his hands through his grey hair. "What a show!"

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SLQ: Petty wont back downBy Alexandra Andersen Published: October 07, 2010 Suits, stoners, soccer moms, hippie chicks, bikers, bros, hipsters and party girls the eclectic range of fans at Tom Petty and the Heartbreakers Oct. 2 Irvine concert proved that the groups music has yet to back down. Concert-goers young and old filled almost every seat and patch of grass at the Verizon Amphitheater to be a part of the classic bands Mojo Tour, aptly named after their first album release in eight years. A digital copy of Mojo was included with every online ticket purchase, which allowed fans to brush up on the new tunes before the concert began. Judging by the influx of attendees well after 8 p.m. and the massive tailgating party in the parking lot, hardly anyone took the 7:30 p.m. start time seriously. As a result, opener ZZ Top played their last show of the tour to a much smaller crowd than the concerts headliners. Texas blues-rock legend, ZZ Top, played hit songs, like Sharp Dressed Man, Legs and La Grange, ending their 65 minute set with 1975s Tush, as the fashionably late found their seats. After intermission, excited fans grew restless. Suddenly, the stage lit up and Tom Petty and the Heartbreakers started playing Listen to Her Heart. The entire crowd seemed to jump to their feet at once, belting out the lyrics along with frontman Petty, while the air appeared to immediately fill with the smoke of, um, some funny smelling cigarettes. The group formed in 1976 after Petty was in several other bands that didnt last. Currently, the Heartbreakers are comprised of guitarist Mike Campell, keyboardist Benmont Tench, bassist Ron Blair, guitarist/keyboardist/harmonica player Scott Thurston and drummer Steve Ferrone. The soulful band who was inducted into the Rock and Roll Hall of Fame in 2002 has had a multitude of hit singles off their 12 studio albums. They continue to show that their popularity isnt faltering, which was proven by the packed amphitheater and sold out shows across their 2010 tour. What makes a Tom Petty concert a Tom Petty concert, is the communal feeling audience members experience. The night started with groups of meandering fans making their way to their seats, but by the end of the show, the crowd swayed and sang in unison, sharing, er, cigarettes. Saturdays attendees were treated to a rendition of the bands most well-known songs. The lineup included I Wont Back Down, Free Fallin, Mary Janes Last Dance, Breakdown, Learning to Fly and Refugee. The encore included Running Down a Dream and American Girl. While the crowd sang their hearts out during these songs, the moment the Heartbreakers began playing songs off their latest album, listeners flocked to the restrooms and concession stands typical for any band whose hits are decades old. Petty, who turns 60-years-old this month, showed the crowd hes still got it after 34 years with the Heartbreakers. His distinct nasally yet melodic voice hasnt changed a bit, and the aging rockers proved that youre only as old as you feel. The lyrics from I Wont Back Down appear to have become the groups anthem as they show fans theyre here to stay: No Ill stand my ground / Wont be turned around / And Ill keep this world from draggin me down / Gonna stand my ground.

Voldar: Tom Petty in ace form but low on surprises LOS ANGELES (Hollywood Reporter) - Tom Petty turns 60 this month, and his Heartbreakers are about the same age. It's simply amazing how good these guys continue to be in concert. Friday's sold-out show at the Hollywood Bowl was another triumph for one of rock's greatest bands -- a showcase of singular musicianship, sonic clarity, killer songs and the bond between performer and fan. There's really only one thing missing: surprises. The lone knock on the band during its past several tours -- and it's decidedly nitpicky -- is the staid set list. Sure, a fan seeing the band for the first time wants and gets a plethora of greatest hits, but those who've been going since the LP era can go home a little frustrated. There were several reasons for the veteran faithful to get excited about the current tour. For one, Petty, guitarist Mike Campbell and keyboardist Benmont Tench were fresh from a reunion album and mini-tour as Mudcrutch, the precursor to the Heartbreakers. The disc had a more country-rock vibe, and the show included an epic, 15-minute take on "Crystal River" that showed how good the guys can be as a jam band. There also were the past year's releases of "The Live Anthology," a four-disc concert memoir that features so many great old album tracks the band has mothballed for ages, and the home video release of "Classic Albums: Damn the Torpedoes," which chronicles the recording of the 1979 album that catapulted them into the rock 'n' roll stratosphere. This tour was a perfect chance to revisit that outstanding old material and get a few plugs in at the same time. No such luck. "Refugee" was the only song in Friday's set from "Torpedoes," and when Petty announced that they were going to play "an album track," it turned out to be "Kings Highway," a top 5 mainstream rock single from 1991's "Into the Great Wide Open."It sounded great, though. But enough griping: This was, after all, a Tom Petty and the Heartbreakers show, and it was outstanding. Opener "Listen to Her Heart," a beat slow and even more Byrds-y, was followed by a dirty-sounding "You Don't Know How It Feels." And the band got its hard rock off with the (pre-Buckingham/Nicks) Fleetwood Mac cover "Oh Well," which would shred in anybody's live set but gave the underrated Campbell a chance to play more like Vivian Campbell as Petty shook his maracas. Killer. After that rave-up, it's funny that it took a slow song, "Mary Jane's Last Dance," to get the folks in the upper levels out of their seats. Petty's always been able to work a crowd, and he got them to sing the "Learning to Fly" chorus gently and repeatedly as he laid down vocal fills over them. Petty's voice has held up remarkably well and sounded near-perfect all night. The band played four songs in a row from this year's "Mojo," and all sounded even better than on the record. The post-"Mudcrutch" album, promised as a back-to-basics set, features longer songs with more stretched-out jams. The new ones found their rawer edges onstage and fit right in alongside the classics. The "Mojo" barrage ended with lead single "I Should Have Known It," a Zeppelinesque cruncher built around the seething line, "It's the last time you're gonna hurt me." Expect it to be a concert staple going forward. Petty's always been an industry trailblazer, but there's one trend he might consider following: The Heartbreakers are the perfect band for a tour where they play one of their many classic albums side-to-side. With their skills still in peak form, imagine how stirring it would be to hear something like "Louisiana Rain," "Southern Accents," "The Wild One, Forever" or "Straight Into Darkness" -- all of which are on the "Live Anthology." http://uk.reuters.com/article/idUKTRE6922IL20101003

Voldar: Tom Petty and The Heartbreakers at US Airways Center Last Night Tom Petty and The Heartbreakers US Airways Center October 7, 2010 Phoenix fans had to wait a few extra weeks to see Tom Petty and the Heartbreakers. Once the veteran heartland rocker took the stage, though, they didn't have to wait for the hits. Petty came out swinging, opening with four of his more successful singles: "Listen to Her Heart," "You Don't Know How It Feels," ""I Won't Back Down" and "Free Fallin.'" It was the last night of Petty's current tour and it felt like it. The Florida native, who turns 60 in two weeks, seemed sharp but not eager after months on the road. That's not necessarily a bad thing, especially since Petty and his five-piece band seemed ready to indulge fans of his best-selling record. That is, of course, his diamond-certified 1993 greatest hits album. ​ Actually, the loyal but not-near capacity Phoenix crowd earned the straight-forward, hit-heavy set it got. The ill-fated September 26 show (Petty was battling sinus and throat infections, we're told) was actually itself a makeup date for a May show bounced back because the band's new record, Mojo, was late out the door. Five months later, it hardly mattered whether Mojo was on shelves. An announcer informed the crowd that they could download the album for free by texting a special number ("The price was included in the ticket... You already paid for it!" the voice declared) before the show but it didn't look like any area cell towers were in danger of exploding from a sudden onslaught. Mojo's first track, "Jefferson Jericho Blues," didn't get played until late in the hour and 45 minute set. After Petty pulled a deep cut, "Kings Highway," from 1991's Into The Great Wide Open, mind you. Mojo's "Good Enough," which followed, may have caused beer lines to double in length (there was a lot of alcohol consumed at this show considering it was on a Thursday night) were it not the time the light guy decided to flip on the pretty green laser beams. "Learning To Fly," which began simply with Petty strumming his acoustic guitar and had a fantastic piano part added in, was the night's stand-out offering. "American Girl," which came during the encore, along with "Breakdown" and "Mary Jane's Last Dance," which had nifty guitar solos added in, were other highlights. Pretty much what you'd expect, right? http://blogs.phoenixnewtimes.com/uponsun/2010/10/tom_petty_and_the_heartbreaker_2.php

Voldar: Tom Petty Damn the Torpedoes Blu-ray Audio in November Geffen Records (according to a retailer alert) has plans to bring the Tom Petty & The Heartbreakers 1979 album Damn The Torpedoes to Blu-ray Audio on November 9th. The tech specs havent yet been released for this title but Amazon in their PRE-ORDER listing, which carries a $26.99 price tag, lists it as being a 2-disc set and offers the cover art (pictured above). This is first of all not to be confused with the Classic Albums Blu-ray Disc release of this album, from (Eagle Rock Entertainment). This release, UNLIKE that classic albums release, will actually contain the entire album in its original form with what one would assume to be a lossless audio codec and a Stereo presentation, with a slight chance of a 5.1 surround mix as well. Again though, that last part is just speculation. For example, Tom Petty has expressed his love for the Blu-ray format as way to deliver his music, he has several BD-A (Blu-ray Disc Audio) releases already available such as his and The Heartbreakers latest album Mojo and The Live Anthology: Ultimate Collectors Edition Box Set, both of which were through Reprise. One thing we do know via the pre-order listing is that this does include a digital download of the album itself in likely MP3 format. More information on this release hopefully soon, or well try our beats to bring you a review next month. The track listing for this album is listed below, which includes these classic tracks: * 1. Refugee * 2. Here Comes My Girl * 3. Even The Losers * 4. Shadow Of A Doubt (Complex Kid) * 5. Century City * 6. Dont Do Me Like That * 7. You Tell Me * 8. What Are You Doin In My Life? * 9. Louisiana Rain http://www.highdefdiscnews.com/?p=53718

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SLQ: Tom Petty breaks hearts, then wins them back with Rock N RollBy Alexandra Bozich Published: Wednesday, October 13, 2010 After Tom Petty disappointed his fans by cancelling his original San Diego show on Tuesday, Sept. 28, he made it up to them on Tuesday, Oct. 5. His original concert had been cancelled after his doctor instructed him not to sing for a few days due to a throat issue. Luckily, for those who bought tickets to the original concert, he was able to perform just one week later than initially planned. Despite the rain and cold, Tom Petty and The Heartbreakers gave one hell of a performance at the Cricket Wireless Amphitheater in Chula Vista. Fans came out despite the rain, and it's a good thing they did. Tom Petty opened with one of his older classics, "Listen To Her Heart," and then moved into every stoner's favorite song, "You Don't Know How It Feels." Not surprisingly, the scent in the air changed instantly. Petty then continued with many popular hits for a while before he focused a chunk of his set list on songs from his newest album "Mojo," which was released this summer on June 15. Many of Petty's older fans were not pleased with this new album, causing the atmosphere at the concert to fizzle for a bit during this section of his show. After playing four songs in a row from "Mojo," the legend finally settled back in with the classics and kicked up the vibe by playing "Learning to Fly." The band was lively and kept the songs exciting, playing "Refugee" before exiting the stage. Of course everyone was curious as to why a few of his best songs still had not been played. So, after much yelling and cheering, Tom Petty and The Heartbreakers met on stage one last time and gave the crowd an incredible encore. They played "Runnin' Down A Dream" and ended once and for all with "American Girl." The beauty of Tom Petty and his music was evident when looking out at the crowd. There were people of all ages enjoying the show, some sitting and relaxing on the lawn and others dancing nonstop and trampling over anyone, or anything, in their way. At such a large venue, it's sometimes hard for a band to captivate the entire audience. The people in the front seats have a more personal experience with the band, however it was clear that the people way back in the lawn didn't feel left out. That's often hard for a band to do, but everyone was loving the show. From the people in the front row, all the way to the old guys leaning against the beer vendor in back, everyone was clearly enjoying themselves. It's no wonder that Tom Petty and The Heartbreakers were inducted into the Rock N' Roll Hall of Fame in 2002. They are up there with some of the most popular artists of all time ,like The Beatles, The Rolling Stones and Jimi Hendrix. However, one thing that sets Tom Petty apart from many of the other inducted bands is the fact that he's still up and playing. The fact that his fans are still able to see someone who is in the Rock N' Roll Hall of Fame is quite a privilege. I really recommend that people head out to one of his shows, as it's definitely an experience that I will remember for the rest of my life. Knowing that I have seen a Rock N' Roll legend is pretty surreal. http://www.theusdvista.com/arts-culture/tom-petty-breaks-hearts-then-wins-them-back-with-rock-n-roll-1.1688114

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SLQ: Jacks Song Of The Song: Tom Petty Tom Petty turned the big 6-0 yesterday and we hear at JackFM wanted to give him a late Bday gift! So we decide to make his previously unreleased tune, Nowhere, Jacks Song of the Day! The tune will be on the remastered edition of Tom Petty & The Heatbreakers 1979 album, Damn The Torpedos, which is set to drop on November 9th! According to his website, the never-before-heard Nowhere was thought to have been lost in 1979 when the tape boxes were being moved daily to avoid the possibility that court bailiffs would claim them as part of Pettys assets in the lawsuit at the time. The remastered album will come in four different formats: on two-CDs; on one audiophile quality Blu-ray disc; on 2 180-gram vinyl LPs; and as an iTunes LP. The Deluxe Edition includes Nowhere and 6 other previously unreleased tunes! Now, its time to go Nowhere! http://jackontheweb.radio.com/2010/10/21/jacks-song-of-the-song-tom-petty/



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SLQ: Hot Tours: Tom Petty & the Heartbreakers, Metallica, Brooks & Dunn Hot Tours: by Bob Allen | October 28, 2010 12:17 EDT Tom Petty & the Heartbreakers take the top spot on the Hot Tours chart with a box office gross of $17.3 million reported from a portion of the band's Mojo Tour that began in early June and wrapped on Oct. 7. The tour played amphitheaters and arenas throughout North America grossing more than $44 million overall during the entire four-month stretch, This week's chart includes performances from the last half of the tour, beginning with the Aug. 12 concert at Nashville's Bridgestone Arena. Among these reported dates, the top grosser came from the Boston area with two shows at the 19,900-seat outdoor amphitheater, Comcast Center, located in Mansfield. Attendance was 36,172 for both nights (Aug. 19, 21) with ticket sales topping $2 million. Metallica ranks second on the Hot Tours list with more than $6.1 million in ticket sales from three sellouts at the Brisbane Entertainment Centre (Oct. 16, 18-19). The arena was one of five Australian venues booked during the final leg of the heavy metal band's World Magnetic Tour that originally kicked-off in 2008. 42,603 total tickets were sold at the Brisbane arena for the three nights. Support acts were Lamb of God and Baroness. Charting in at the No. 3 position this week is country superstar duo Brooks & Dunn with $5.8 million in reported concert grosses from their final 12 dates on the Last Rodeo Tour. The tour grossed $24.9 million overall this year, playing to over 600,000 fans since its start in April. The final performance for the duo came in Nashville at Bridgestone Arena on Sept. 2. Rank Artist/Event Total Gross Show Dates Show Venue/City (Shows/Sellouts) Total Attendance (Capacity) 1 TOM PETTY & THE HEARTBREAKERS $17,356,433 Aug. 12-Oct. 7 Bridgestone Arena, Nashville (1/0) Darien Lake Performing Arts Center, Darien Center, N.Y. (1/1) Jiffy Lube Live, Bristow, Va. (1/0) Comcast Theatre, Hartford, Conn. (1/0) Comcast Center, Mansfield, Mass. (2/0) Izod Center, East Rutherford, N.J. (1/0) Air Canada Centre, Toronto (1/1) Saratoga Performing Arts Center, Saratoga Springs, N.Y. (1/1) Darien Lake Performing Arts Center, Darien Center, N.Y. (1/0) Blossom Music Center, Cuyahoga Falls, Ohio (1/0) Time Warner Cable Music Pavilion, Raleigh, N.C. (1/0) Verizon Wireless Amphitheater, Charlotte (1/0) Superpages.com Center, Dallas (1/0) BOK Center, Tulsa, Okla. (1/0) Cynthia Woods Mitchell Pavilion, The Woodlands, Texas (1/1) Verizon Wireless Amphitheater, Irvine, Calif. (1/1) Cricket Wireless Amphitheatre, Chula Vista, Calif. (1/0) U.S. Airways Center, Phoenix, Ariz. (1/0) 287,956 (336,603) 2 METALLICA $6,135,710 Oct. 16-19 Brisbane Entertainment Centre, Brisbane, Australia (3/3) 42,603 (42,603) 3 BROOKS & DUNN $5,831,003 Aug. 7-Sept. 2 Verizon Wireless Amphitheater, Maryland Heights, Mo. (1/0) First Midwest Bank Amphitheatre, Tinley Park, Ill. (1/0) Comcast Center, Mansfield, Mass. (1/0) Comcast Theatre, Hartford, Conn. (1/0) Virginia Beach Amphitheater, Virginia Beach (1/0) Ford Center, Oklahoma City (1/0) Verizon Arena, North Little Rock, Ark. (1/0) Aaron's Amphitheatre at Lakewood, Atlanta (1/0) Blossom Music Center, Cuyahoga Falls, Ohio (1/0) Darien Lake Performing Arts Center, Darien Center, N.Y. (1/0) PNC Bank Arts Center, Holmdel, N.J. (1/0) Bridgestone Arena, Nashville (1/0) 151,253 (207,445) 4 JUSTIN BIEBER $2,065,840 Oct. 19-24 Rogers Arena, Vancouver (1/1) ARCO Arena, Sacramento, Calif. (1/1) Citizens Business Bank Arena, Ontario, Calif. (1/1) 36,879 (36,879) 5 RASCAL FLATTS $1,671,025 Oct. 15-17 Shoreline Amphitheatre, Mountain View, Calif. (1/0) Sleep Train Amphitheatre, Marysville, Calif. (1/0) Verizon Wireless Amphitheater, Irvine, Calif. (1/0) 43,185 (57,000) 6 CARRIE UNDERWOOD $1,535,001 Oct. 19-23 INTRUST Bank Arena, Wichita, Kan. (1/1) Ford Center, Oklahoma City (1/0) FedExForum, Memphis (1/1) Mobile Civic Center, Mobile, Ala. (1/0) 31,678 (33,186) 7 SO YOU THINK YOU CAN DANCE TOUR $1,295,218 Oct. 19-24 Air Canada Centre, Toronto (1/0) Joe Louis Arena, Detroit (1/0) CONSOL Energy Center, Pittsburgh (1/0) KFC Yum! Center, Louisville, Ky. (1/0) Schottenstein Center, Columbus, Ohio (1/0) 24,804 (31,068) 8 AMERICA'S GOT TALENT LIVE $995,208 Oct. 1-13 Paramount Theatre, Oakland (1/0) Reno Events Center, Reno, Nev. (1/0) Dodge Theatre, Phoenix (1/0) NOKIA Theatre L.A. Live, Los Angeles (1/0) The Colosseum at Caesars Palace, Las Vegas (1/0) San Diego Civic Theatre, San Diego (1/0) Verizon Theatre, Grand Prairie, Texas (1/0) 16,693 (23,131) 9 GORILLAZ $819,241 Oct. 6-22 Agganis Arena, Boston (1/1) Frank Erwin Center, Austin (1/0) 11,077 (11,362) 10 PARAMORE $708,259 Oct. 15 Sydney Entertainment Centre, Sydney (1/0) 9,246 (10,000) [url=http://www.billboard.com/events/hot-tours-tom-petty-the-heartbreakers-metallica-1004124370.story?sms_ss=facebook&at_xt=4cc9dc48fcc173c1%2C0#/events/hot-tours-tom-petty-the-heartbreakers-metallica-1004124370.story?sms_ss=facebook&at_xt=4cc9dc48fcc173c1%2C0]click here[/url]