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ЛЕНТА НОВОСТЕЙ ТОМА ПЕТТИ - 4
Goldenday: Новости, факты, интересные статьи, фото и пр.
Voldar: Будем надеяться,что Нью-Йорк как и Москва это совсем не вся Америка.
SLQ: Зажрались американские фэны, хотя, как мне кажется, это скорее были не фэны, а так, случайно пришедшие, которые кроме хитов ничего не знают
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
Voldar: Ещё из русской прессы.На этот раз отметилась Российская газета. Медиатор в бокале Почти одновременно новые альбомы вышли у двух супер-звезд мирового блюза - Джеффа Бека и Тома Петти. Американец Петти сразу же поехал на гастроли по родине, англичанин Бек отправился в мировое турне. В его рамках он впервые выступил в Москве и дал мастер-класс в столичном "Крокус Сити-холле". Про Бека можете прочесть на сайте газеты,а про Тома вот что написали: В отличие от Бека американец Том Пети и его группа Heartbreakers выпустили диск эдакого позитивного, самоироничного и немного пижонского блюза. Звук в нем размашист, неугомонен и по-блюзовому задушевен. На "Mojo" Том Петти то забирается на территорию городского мачо-блюзмена Марка Нопфлера, то плетет причудливые гитарные кружева в традициях импульсивного блюз-рока ZZ Top. Освоил реггей. И поет - размашисто, неприкаянно, цепляя за эмоции и мечтания. Альбом в целом вышел очень напористый, душевный, искренний и лихой. В результате график Tom Petty and the Heartbreakers в США расписан аж до конца октября… Поэтому про Европу они и думать пока не хотят. Зря. http://www.rg.ru/2010/07/30/beck-site.html
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
Goldenday: Подскажите, когда (и где именно, если знаете) Том последний раз выступал в Европе?
SLQ: Goldenday пишет: Подскажите, когда (и где именно, если знаете) Том последний раз выступал в Европе? Весна (кажется апрель) 1999 1 концерт Гамбурге ( его видео есть) и в 2 концерта в Лондоне
Goldenday: Т.е. Том больше десяти лет не выступал за пределами своей страны. Значит, тем более шансов лицезреть его на гастролях у нас крайне мало. Не радует. Остаётся надеяться, что может, скорые концерты у нас его земляков ZZ Top сподвигнут в будущем Тома на вылазку в Россию.
Voldar: Я думаю,что все будет ясно после американского тура,то есть насколько тяжело он пройдет для группы,а то Майк уже со сцены падает...Мужики отдохнут и может решат сгонять в Европу.
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 Philadelphia’s 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, Petty’s songs now carry different meanings for his fans than when they first heard them, but they resonate just as loudly. So while “Won’t 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 it’s a Southern gospel service. And when Petty brought out a deep album cut, “King’s Highway” from 1991’s “Into the Great Wide Open,” it was a song that was lovely and wistful, made even more so by Campbell’s melancholy guitar and keyboardist Benmont Tench’s piano. Some songs didn’t change. “You Don’t Know How It Feels” had the thumping drum and echo-y guitar solo, and gave the crowd the chance to take it’s refrain “let’s roll another joint” literally. Unfortunately, Petty also has reached the point in his career where any new songs that don’t reach the level of his beloved hits won’t be accepted as heartily. That was true of the four he sang from his new disc “Mojo” during the concert’s 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 Man’s 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. “Don’t 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 Berry’s “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, there’s bound to be disappointment in what’s not played. In a 105-minute, 19-song set that found room for a cover of Fleetwood Mac’s “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 “Don’t Do Me Like That.” But such are the changes in life. And when Petty closed by saying “Let’s get together again sometime,” it was like saying goodbye after spending an evening with someone important in your life, and hoping you will.
SLQ: Опять 4 место.... Не забудьте проголосовать на этой неделе! ГОЛОСУЕМ за песню I Should Have Known It на сайте http://www.roks.ru/index.php?chapter=hittop&action=vote
Goldenday: Не забываем.
Voldar: Highway Companions Club Poster Is Now Available
stvol: Voldar : Highway Companions Club Poster Is Now Available у меня по ссылке нет постера.
stvol: Видео за кулисами. "On the road"
SLQ: New material helps Tom Petty stay connected with Darien Lake fans Updated: Август 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 Petty’s Heartbreakers are such an incredible band that fame was inevitable. That’s true, but again, you can see a killer Buffalo band at Nietzsche’s any given night of the week, and most of them aren’t 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-lover’s 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. I’d 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, Petty’s latest, and a platter-full of ditties that every sentient rock fan who’d been paying attention over the past three decades either knew or thought they might’ve heard one time at their brother-in-law’s house, at a party. The high point of the show was, without question, the new stuff. “Good Enough,” the song that concludes Petty’s 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’ Wolf’s guitarist Hubert Sumlin and Led Zeppelin’s 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 one’s 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
Voldar: Об этом Дон более подробно пишет в своей книге.
Voldar: На концерте в Darien Lake народ пришел хорошо "заряженный". 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
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