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ËÅÍÒÀ ÍÎÂÎÑÒÅÉ ÒÎÌÀ ÏÅÒÒÈ - 4
Goldenday: Íîâîñòè, ôàêòû, èíòåðåñíûå ñòàòüè, ôîòî è ïð.
stvol: Åñëè ó âàñ åñòü àêêàóíò â ñåòè ôåéñáóê, òî ìîæíî îòïðàâèòü çàïðîñ íà ïðèåçä TP&tH â âàø ãîðîä. Ìàëîâåðîÿòíî, íî õîòü ÷òî-òî. Ïîïðîñèòü ìîæíî òóò: [url=http://apps.facebook.com/ilike/artist/Tom+Petty/come_to_my_town]click here[/url]
Voldar: Íàì áû ïîïðîñèòü, ÷òîáû Òîì âîîáùå âñïîìíèë, ÷òî íà çåìëå åñòü òàêàÿ ìàëåíüêàÿ ñòðàíà, êàê Ðîññèÿ.
SLQ: Voldar ïèøåò: Íàì áû ïîïðîñèòü, ÷òîáû Òîì âîîáùå âñïîìíèë, ÷òî íà çåìëå åñòü òàêàÿ ìàëåíüêàÿ ñòðàíà, êàê Ðîññèÿ. Ïðåäëàãàåòå ïîñëàòü åìó ãëîáóñ, è ïîæèðíååå öâåòîì íàøó ñòðàíó ðàñêðàñèòü ?
Goldenday: SLQ ïèøåò: ïîæèðíååå öâåòîì íàøó ñòðàíó ðàñêðàñèòü Ïðè÷¸ì êðàñíûì, êàê â ñòàðûå âðåìåíà îáîçíà÷àëè ÑÑÑÐ
Voldar: Ïîñëàòü ÷åãî-íèáóäü Òîìó èíòåðåñíàÿ èäåÿ,ãëàâíîå ÷òîáû îí íàñ ïîòîì íå ïîñëàë.Êñòàòè íà îôèöèàëüíîì ñàéòå Òîìà îáíîâèëñÿ ôîðóì. http://community.tompetty.com/
stvol: Î! Ñïàñèáî çà èíôîðìèðîâàíèå.
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 concert’s meaning in the overall context of the modern music business model, and the critic does so right in the middle of the concert, perhaps that’s 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 can’t quite recall how many times he’s 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 that’s a comment on the critic, but Petty and company usually move me — and last night, well, they didn’t. 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. Don’t like it? Fuck you. We’re 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 didn’t 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 Man’s 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 Campell’s 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: Petty’s show was an example of how the music business has gone topsy-turvy. With the record industry in the dumper, bands don’t dare over-indulge with new material on stage. Touring is the bread and butter now, and it’s 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? “Don’t 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 don’t often get to ruminate and ramble like I’ve doing in the preceding paragraphs. If you’ve read this far, thanks. Oh, one more thing: You can’t tell me that when the two frontmen in ZZ Top put their head on a hotel pillow late at night, they don’t 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.
Goldenday: Òîì îïóñòèëñÿ! Ñðî÷íî ãîëîñóåì íà ýòîé íåäåëå!
SLQ: Äà, äà. 7 ìåñòî :( Õîòÿ íà ýòîì ðàäèî, åãî ÷àñòî ñòàâÿò. ß òóò ïàðó ðàç âêëþ÷àëà è íàòûêàëàñü íà ïåñíè Òîìà.
Goldenday: Ñ íîâîãî àëüáîìà ïåñíè ãîíÿþò èëè êàê?
SLQ: Îäíà áûëÿ ñ íîâãî, ñîáñòâåíî òà, ÷òî â õèò-ïàðàäå, à âòîðàÿ Runnin Down a dream. Ñ íîâîãî ìíå åùå ïàðà ïåñåí òàì ïîïàäàëàñü . Íó èñ òàðåíüêîå áûâàåò ïåðåäàþò ðàçíîå.
Goldenday: À ñ "Ïîïóò÷èêà" ÷òî-íèáóäü âñòðå÷àåòñÿ âîîáùå? Íó êðîìå Saving Grace...
SLQ: Ñ " ïîïóò÷èêà" äàâíåíüêî íå ñëûøàëà íè÷åãî, íî ÷òî-òî áûëî òî÷íî. ß íå òàê ÷àñòî ðàäèî ñëóøàÿïîñëåäíååå âðåìÿ.
SLQ: Âûõîäèò äåîþêñ èçäàíèå òðåòüåãî àëüáîìà ãðóïïû Damn The Torpedoes Ïîäðîáíîñòè òóò
Goldenday: ÓÐÀ!
stvol: Êòî çíàåò ïîäðîáíîñòè? http://www.amazon.com/gp/product/B003RC2OZ2/ref=s9_simh_gw_p15_d1_i3?pf_rd_m=ATVPDKIKX0DER&pf_rd_s=center-2&pf_rd_r=0KXJ2FK48CGNQKRCA9T9&pf_rd_t=101&pf_rd_p=470938631&pf_rd_i=507846
Voldar: Ìäÿ,äàæå íà îôôîðóìå íàðîä â äîãàäêàõ òåðÿåòñÿ,÷òî ýòî çà íàðîäíîå òâîð÷åñòâî.
Voldar: Èíòåðåñíàÿ ñòàòüÿ î òîì êàê ïðîñòî íàéòè Òîìà è åãî êîìàíäó â ìåäèéíîì ïðîñòðàíñòâå. 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 Ìåíÿ çàèíòåðåñîâàë äàòñêèé ôèëüì 1991 ãîäà Portræt af Tom Petty.Ìîæåò êòî ñëûøàë èëè ñìîòðåë? áàçå IMBD ýòî êèíî åñòü. 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, it’s hard to argue with the consistency Tom Petty’s songwriting and recording output. Ranking these songs was not a matter of bad versus good; more like good versus great versus holy-crap-that’s-an–amazing 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 'n’roll’s singular artists. Song 10: “Don’t Come Around Here No More” Album: Southern Accents Tom Petty was a little frustrated at the stagnancy that he felt had crept into the band’s sound on their fourth album, 1983’s Get Lucky. He channeled that frustration into the fountain of creativity that led to this one-of-a-kind single. “Don’t 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 wouldn’t be waning anytime soon. Dave Stewart was Petty’s 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, there’s 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 you’ve ever heard. But that wasn’t 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 Petty’s 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 song’s end. It’s 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 he’s playing here in a performance that’s reminiscent of some of Mick Jagger’s 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 “Don’t Come Around Here No More” now without imagining Alice In Wonderland. I disagree. At least when I hear it, I don’t 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 I’ve 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 song’s ringing guitars are replaced by the minor keys and crunching riffs of “Swingin’.” When this girl says that she’s 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 it’s 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 doesn’t, well, swing. Petty’s vocal is also recorded in a very raw fashion, making it sound like he’s 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 you’ve 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 Campbell’s 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. Petty’s 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 band’s history. This is music that’s 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. It’s 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 Petty’s 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 song’s end, Stan Lynch’s snares popping off like fireworks in the night sky. Whatever message you may take from “Learning To Fly,” it’s 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 Petty’s 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, it’s 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 Petty’s 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 Petty’s final set of opposites in his brilliantly conceived lyrics: “Part of me you carry/Part of me is gone.” It’s a tough position to be in when you’re apologizing for someone else’s mistakes, but TP never shows anger or disdain for this girl’s 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 can’t remember too much about She’s 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. Îñòàëüíîå òóòhttp://culturemap.com/newsdetail/09-26-10-free-fallin-into-history-tom-petty-top-10-songs-and-the-pants-dropping-that-inspired-one/
ïîëíàÿ âåðñèÿ ñòðàíèöû