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Voldar: Norah Jones, Jesse Malin, Evan Dando and More Celebrate Tom Petty in New York If there's one musician most rock fans can all agree on, it's Tom Petty. Thursday night at New York's Bowery Ballroom, Norah Jones, two 'Saturday Night Live' cast members, one Strokes bassist and Reeve Carney, the dude getting ready to play the lead in U2's 'Spider-Man' musical, were among the artists on hand for this year's 'Petty Fest,' a celebration of the man's 60th birthday. The format was simple: A core sextet of house musicians, the Cabin Down Below Band, played spot-on covers of 27 Petty tunes, allowing singers to filter out individually or in small groups and indulge in some choice karaoke action. Petty's catalog is just right for boozing and wailing, and most guests were happy to do both. Jones stayed on longer than any artist, although she was woefully underutilized on four of her six tunes. The nine-time Grammy winner first lent her voice to a trio of female background singers, then tried in vain to find her way into 'Walls' and 'It's Good to Be King,' both of which featured hometown weirdo Adam Green, formerly of the Moldy Peaches, on lead vocals. On 'It's Time to Move On' and 'You Don't Know How It Feels' -- tunes befitting of her laidback singing style -- Jones and her short, shiny green party dress finally had the spotlight they deserved. Other highlights included local hero Jesse Malin's characteristically energetic takes on 'American Girl' and 'I Need to Know,' Nikolai Fraiture's decidedly non-Strokes-like 'I Won't Back Down' and Fountains of Wayne guitarist Jody Porter's Who-evoking 'Love Is a Long Road.' 'SNL' chums Will Forte and Jason Sudeikis -- twinsies in plaid western shirts -- bleated out credible versions of 'Stop Draggin' My Heart Around' and 'Even the Losers.' Among the unannounced special guests were Evan Dando, whose song selection, 'A Face in the Crowd,' was a bit more impressive than his acoustic performance, and Har Mar Superstar, who presided over the can't-fail, first-class fist-pumper 'Refugee.' The night was filled with such songs, as most artists wisely picked from Petty's 'Greatest Hits,' perhaps the best best-of in rock history. While the man himself never showed up, the evening's entire lineup took the stage for three encores, ending with the mother of all Petty sing-alongs, 'Free Fallin'.' That tune, perhaps more than any other in the singer's catalog, offers hope for world peace. Wherever folks can listen while beating on their steering wheels, they might stop beating on one another. http://www.spinner.com/2010/10/29/tom-petty-fest-new-york/

Voldar: 60- -. , . Petty Fest Recap Nicole Atkins takes Roy Orbison's part on the Traveling Wilbury's "Handle with Care." Billed as tribute to Tom on his 60th birthday, Petty Fest 2010 lived up to expectations on all fronts as more than 25 musicians, actors, and artists gathered October 28 at a sold-out Bowery Ballroom for a whiskey-fueled, three-hour tour through Heartbreaker hits and deeper cuts as well as songs from Toms solo albums. Though the birthday boy himself was not in attendance, there was plenty of star power in the house, brought together by Rolling Stone editor Austin Scaggs, who played bass in house band, The Cabin Below Band, and handled emcee duties for the evening. Kicking things off with the appropriate "Cabin Down Below" and frequent Heartbreakers opener "Listen to Her Heart," Scaggs and company began the parade of guests by welcoming Five OClock Heroes Antony Ellis for a solid take on "Dont Do Me Like That." "The Waiting" off 1981s Hard Promises requires a singer who can hit the high notes, and Jack Dishel of Only Son and The Moldy Peaches nailed it perfectly, leading the crowd in the first sing-a-long of the night. Fountain of Waynes Jody Porter delivered a stellar "Love is a Long Road" before ceding the spotlight to Tyson Ritter from All American Rejects for a double shot of "Breakdown" and "Yer So Bad." Steve Schiltz of Hurricane Bells and Longwave lent his explosive guitar playing to several songs throughout the night, but it was his turn on the mike for "Honey Bee" aided by some bluesy harmonica from rock shutterbug Danny Clinch that proved to be the nights first musical peak. The Mooney Suzukis Sammy James Jr. was up next, lending his vocals and guitar to "Here Comes My Girl" and "Jammin Me." Surprise guest Har Mar Superstar managed to keep his clothes on for a rocking "Refugee" before Nikolai Fraiture, bassist for The Strokes, led a rockin version of "I Wont Back Down" with Nicole Atkins on backing vocals and Heartbreakers publicist Jim Merlis on bass. Jesse Malins punk-to-the-bone attitude brought some grit to "American Girl" and "I Need to Know," which juxtaposed nicely with "Mary Janes Last Dance," sung by the alluring Catherine Pierce. Saturday Night Lives Will Forte and Jason Sudeikis brought some levity to the festivities with hilarious readings of "Stop Draggin My Heart Around" and "Even the Losers." One of the real highlights of the night was Evan Dandos low-key acoustic reading of "Face in the Crowd," which seemed perfectly fit for the subdued former Lemonheads frontman. Norah Jones, perhaps the nights most highly anticipated guest, appeared next, singing backup vocals to former Moldy Peaches frontman Adam Green on "Its Good to Be King" and "Walls." Jones rode shotgun to Scaggs lead vocals on "You Wreck Me" before taking center stage on a brilliant "Time to Move On" and a bouncy "You Dont Know How It Feels." Though listed on the bill, the biggest surprise of the night might have been Reeve Carney, the lead in the newly minted Spiderman musical that opens on Broadway next month. Joined by his brother Zane on guitar, Reeve dropped a killer "Into the Great Wide Open" before the backstage dressing rooms were emptied for sing-a-longs on the Traveling Wilburys "Handle with Care" (featuring Nicole Atkins singing the Roy Orbison part), hippie-anthem "Something in the Air" and a show-closing "Free Fallin." THE CABIN DOWN BELOW BAND IS: Guitars: Alex Levy Josh Lattanzi Reno Bo Bass: Austin Scaggs Drums: Matt Romano Keys: Dave Sherman SET LIST: Cabin Down Below featuring Alex Levy of the Cabin Down Below Band Listen to Her Heart featuring Reno Bo of the Cabin Down Below Band Don't Do Me Like That featuring Antony Ellis (Five OClock Heroes) The Waiting featuring Jack Dishel (Only Son, The Moldy Peaches) Love is a Long Road featuring Jody Porter (Fountains of Wayne) Breakdown featuring Tyson Ritter (All American Rejects) Yer So Bad featuring Tyson Ritter (All American Rejects) Honey Bee featuring Steve Schiltz (Hurricane Bells, Longwave) & Danny Clinch Here Comes My Girl featuring Sammy James Jr. (The Mooney Suzuki) Jammin' Me featuring Sammy James Jr. (The Mooney Suzuki) Refugee featuring Har Mar Superstar I Won't Back Down featuring Nikolai Fraiture (The Strokes), Nicole Atkins & Heartbreakers publicist Jim Merlis American Girl featuring Jesse Malin I Need to Know featuring Jesse Malin Mary Jane's Last Dance featuring Catherine Pierce (The Pierces) Stop Draggin My Heart Around featuring Will Forte and Jason Sudeikis (SNL) Even the Losers featuring Will Forte and Jason Sudeikis (SNL) A Face in the Crowd featuring Evan Dando & Steve Schiltz (Hurricane Bells, Longwave) Don't Come Around Here No More featuring Alex Levy of the Cabin Down Below Band with Norah Jones, Nicole Atkins & Catherine Pierce It's Good to Be King featuring Adam Green (The Moldy Peaches) & Norah Jones Walls featuring Adam Green (The Moldy Peaches) & Norah Jones You Wreck Me featuring Norah Jones Time to Move On featuring Norah Jones You Don't Know How It Feels featuring Norah Jones & Danny Clinch Into the Great Wide Open featuring Reeve & Zane Carney (U2s Spiderman Musical) Runnin Down a Dream featuring Josh Lattanzi of the Cabin Down Below Band ENCORE: Handle with Care All Something in the Air All Free Fallin' All http://www.tompetty.com/news/title/petty-fest-recap

Voldar: Damn The Torpedoes VH1 Classic. Five Hours of Tom Petty and the Heartbreakers Programming On VH1 Classic The Tuesday November 9 release of Damn The Torpedoes Deluxe Edition will be supported by VH1 Classic with 5 straight hours of programming on Sunday November 7 starting at 3pm EST/PDT. The 5 hour block will include two world television premieres; the Damn The Torpedoes Classic Albums documentary and the December 31, 1978 concert from The Santa Monica Civic Auditorium. Here is the schedule of programming for this Sunday November 7 on VH1 Classic. 3pm: Soundstage Tom Petty and The Heartbreakers 5pm: VH1 All Time Top Ten Tom Petty 6pm: Classic Albums Damn The Torpedoes (Television Premiere!) 7pm: Classic In Concert: Tom Petty and the Heartbreakers Live From The Santa Monica Civic Auditorium, New Years Eve 1978 (Television Premiere!) **All Times are Eastern and Pacific. Central and Mountain start times are one and two hours earlier, respectively. The Damn The Torpedoes episode of Classic Albums features comprehensive interviews with Tom Petty, Mike Campbell, Benmont Tench, Ron Blair, producer Jimmy Iovine, engineer Shelley Yakus, and others close to the band about the process of writing and recording the classic songs which comprise Tom Petty and the Heartbreakers groundbreaking 1979 album. The New Years Eve 1978 Concert Live From The Santa Monica Civic Auditorium was a special show filmed for television but never aired, until now. It has only been released on DVD as part of The Live Anthology Deluxe Box Set. It includes the first ever recorded versions of Refugee and Casa Dega. http://www.tompetty.com/news/title/five-hours-of-tom-petty-and-the-heartbreakers-programming-on-vh1-classic-

SLQ: TOM PETTY, JOHNNY CASH AND ABE LINCOLN: LIFE WITH REBELS by Jeff Cochran | Nov 3, 2010 Like the Dew Tom Petty, seated at left, during a promotional tour in Atlanta circa 1976. Behind him are Ken and Pam Jernigan. (Photo courtesy of Pam Jernigan.) Its a wild-eyed, desperate character Tom Petty conjured for Rebels, one who immediately takes center stage. The guy is out of his mind, out of money and the woman whos endured him is out of patience. Honey dont walk out, Im too drunk to follow You know you wont feel this way tomorrow Well maybe a little rough around the edges Or inside a little hollow I get faced with somethings sometimes That are so hard to swallow She picked me up in the mornin and she paid all my tickets Then she screamed in the car Left me out in the thicket Well I never woulda dreamed That her heart was so wicked Yeah but I keep comin back Cause its so hard to kick it In her Rolling Stone review of Southern Accents, the sixth album by Tom Petty and the Heartbreakers, Joyce Millman calls Rebels a vivid scene setter full of bedraggled humor, referring to the songs protagonist as an embattled-but-scrappy-antihero. Hes also a piece of work, one that requires heavy maintenance. Its logical that his woman, tired of paying his bills, getting him out of trouble and simply dealing with his bluster, would scream at him, demanding he remove himself from her car. But bathed, presentable, and sober, all is likely forgiven as he charms his way back into her good graces. The situation is reminiscent to what Stanley and Stella Kowalski experienced in A Streetcar Named Desire. After a late night barrage of cruelties, verbal and physical, Stella cant take it anymore. She and her sister Blanche go to spend the night with a neighbor, looking for safety at least until the storm passes. But in no time, she yields to the call of the wild possessing her and Stanley both. The time that passes between then and the dawn is wild and fulfilling. Stella is smiling again, blinded by her love and hopeful the scary moments will end. In Rebels, Pettys protagonist keeps going back to his woman, cause its so hard to kick it. It could be she has a hard time kicking it too. Years later Tom Petty noted the complexities of his protagonist, saying, The character in the song is condescended to, but he actually almost deserves it. Thats a fair conclusion. The guy is condescended to; so be it. Hes a sponge. Like a lot of people who pass their way through life, he chooses to blame circumstances for his misfortunes, acknowledging, with some pride, hes the way he is because of where he was born and what was waiting for him as he tumbled out of the womb. Even before my fathers father They called us all rebels While they burned down our cornfields And left our cities leveled I can still feel the eyes of those blue-bellied devils Yeah, when Im walkin round at night Through the concrete and metal hey, hey, hey I was born a rebel down in Dixie On a Sunday mornin Yeah with one foot in the grave And one foot on the pedal I was born a rebel Pettys character claims his family had always been rebels. Grudges have been held by the family, going back to the Civil War when blue bellied devils burned down their cornfields and destroyed their cities. Others around them may have eventually prospered and gained honor in the aftermath, but these rebels know theyve gone years, even generations without wealth or approval. They wont bother to pursue it now. More than a century passes and their resentment festers on. Its not the soldiers north of the Mason-Dixon line the Rebels cringe over. Its modern day America, replete with investors and developers: the contemporary carpetbaggers who reshape the land and petition for rezoning that turns pastures into parking lots. The vista once revealing endless sky becomes blotted with Wal-Mart, Auto Zone and Burger King signs hoisted high enough so theyre visible to travelers a good distance from the off-ramps. Concrete and metal conquers, even in the remote locales. So the rebels over the generations languish, thinking the world has it in for them. Some were defeated on their land and those after them saw the appearance and use of their land change for the worse. The blue bellied devils, now in their Izods, work to curry favor in the local business communities. The rebels feel sold out. So how do the rebels deal with their lives and hold on to a bit of pride? With one foot already in the grave, theyll floor that pedal harder, even if all the hell-raising leaves them with aches, pains and emptied wallets. Rebels is a great kick-off to the Southern Accents album, released in March 85. The song is embellished with dramatic flair and a feeling for history, but just as important for Pettys defiant character, it rocks with authority. Already known for his rebellious streak within the music business, Rebels is a perfect fit for Petty and the Heartbreakers. It serves as one of the most dynamic works in their first decade as a recording act, along with American Girl and Shadow of A Doubt. A little rebellion, as Thomas Jefferson often noted, can be good. (Historical notes on Abe Lincoln contained in article) In Rebels, Tom Pettys protagonist explains how even before his fathers father, they called us all rebels. Some of those ancestors, positioned on the side of the Confederates in the Civil War, were likely as drained as President Lincoln. Forgiveness and reconciliation seemed in order. On the title song of the Southern Accents album, Petty presents another character, one whos not so rebellious, but mindful of what makes him different from others. This character, for all the hardship hes experienced, appears thankful for what hes learned and ready for better times. Theres a dream I keep having Where my mama comes to me And kneels down over by the window And says a prayer for me I got my own way of prayin But everyones begun With a southern accent Where I come from-- The recording of Southern Accents by Tom Petty and The Heartbreakers falls short of the spirit within the song. Its over-produced. The songs message gets lost in the clutter of the arrangement. But the great song caught the ear of Johnny Cash. He told Petty, That should replace Dixie. Petty replied with Wow, but Cash was serious, replying, No I mean it, its a better song than Dixie. Petty and the Heartbreakers played behind Cash on his 1996 album, Unchained. Its a brilliant work. While speaking of the album, Petty told journalist Holly George-Warren that its the best we ever played. I actually still play that albumIm very proud of it. Cash could be proud as well. Unchained may be the best album of his career. Naturally, a standout track is Southern Accents. Resolute and thoughtful, Cash is in great voice. Everything about this recording is perfect. The day after Lee surrendered to Grant at Appomattox, crowds gathered at the White House to celebrate. People sang. A band played. President Lincoln requested the band play Dixie, calling it one of the best tunes Ive ever heard. Its also likely Lincoln, born in Kentucky, would have appreciated the sounds and sentiments of Southern Accents as well. Complete article: http://likethedew.com/2010/11/03/tom-petty-johnny-cash-and-abe-lincoln-life-with-rebels/?sms_ss=email&at_xt=4cd216b350055ec9,0

SLQ: Tom Petty: Damn The Torpedoes Deluxe Edition review track-by-trackThe Heartbreakers' 1979 classic gets the two-CD treatment Joe Bosso, Mon 8 Nov 2010, 10:25 pm UTC "That was the record where life was never going to be the same again," Tom Petty recently said of Damn The Torpedoes, his 1979 breakthrough. Underscoring the weight of Petty's summation is the fact that it's an album he almost didn't get to make at all: a messy legal dispute with his label, MCA, had forced Petty into bankruptcy. And despite the fact that the he and the Heartbreakers had broken big in the UK and had finally scored a couple of Stateside singles, I Need To Know and Listen To Her Heart, from their second record, 1978's You're Gonna Get It, as the decade drew to a close, the future for the band didn't look bright. In Springsteen-like fashion, however, Petty prevailed in court and hit the studio intent on making good on years of hard promises. Working with a young production maverick named Jimmy Iovine, he and the Heartbreakers hunkered down on a collection of radio-ready songs that tied all of their influences (most notably The Byrds and Bob Dylan) together seamlessly. Refugee, Dont Do Me Like That, Here Comes My Girl, Even The Losers - purpose and passion never sounded so tuneful and triumphant. With anthems such as these, Damn The Torpedoes was all over the airwaves, eventually going double platinum and darn near hitting the No. 1 spot (a little offering by Pink Floyd, something about a wall, held it off). And now, 31 years after its release, Damn The Torpedoes is getting the deluxe treatment as a two-CD set which includes a spiffed-up, remastered edition of the classic album, along with a bonus disc of never-before-heard tracks from the 79 sessions, B-sides, alternate takes and live versions of some of the hits. With the holidays nearing and deluxe reissues coming at us from all corners, is the steroid-enhanced version of Damn The Torpedoes a stocking stuffer for the TP fan in your life? Lets check it out track-by-track and see Disc One: RefugeeThree decades later, that walloping drum intro still does the trick, shoving us face-first into a scorching rocker that hasn't aged one bit. And despite its scornful tone, with lines like "Baby, we ain't the first/ I'm sure a lot of other lovers been burned/ right now this seems real to you/ but it's one of those things you gotta feel to be true," there's a tender heart at Refugee's core. The remastered version manages something rather remarkable, accentuating each instrument in the mix without shortchanging one over the other. This includes Petty's effective vocal, which rises from an almost conversational tone to a banshee-like wail Here Comes My GirlTom Petty's second great love song (his first was Listen To Her Heart) felt both nostalgic and in-the-moment when it was first released, and the passage of time has intensified both qualities. As a three-minute primer in everything great about the Heartbreakers, it's got it all: pounding drums, swirling organ fills, fluid bass, and sparkling guitars. Here, it still sounds every bit as urgent, with Petty's voice rising above his bandmates' supportive accompaniment to tell the "whole wide world to shove it!" - 'cause, hey, here comes his girl. Some sentiments never grow old.

SLQ: Even The LosersThree songs in and Petty's still racking up winners. Buoyed by Stan Lynch's muscular, swinging drum patterns and Mike Campell's ringing guitar, he sings a song only for the lonely that stands alongside the gems of his eventual Traveling Wilburys bandmate Roy Orbison. What's amazing about the interplay of TP and the Heartbreakers is the amount of space they give one another, with each instrument serving a specific dramatic purpose. All are rendered beautifully here. Want to know how a five-piece band should play together? This track is required listening. Shadow Of A Doubt (A Complex Kid)Driven by Stan Lynch's breakneck drumming (his artful use of his ride cymbal makes the pre-chorus come alive) and the uncredited bongos of Phil Jones, Petty belts out a tale that marries melancholy lyricism with spirited determination. The guitars glide along gracefully - there's chiming chords and jagged little lines here and there - until Campbell takes a full-spotlight top-string solo, the kind of which is guaranteed to get even the faintest of pulses racing. Century CityThe Rolling Stones were also a major influence on TP, and a year after their punk-flavored Some Girls, Petty and the boys paid hommage to their British heroes with this ragged slice of take-no-prisoners white-knuckled rock. Petty's sneering vocal (which includes the occasional scream and whoop) is an emotional highlight, as is Stan Lynch's punchy drumming. But the song truly belongs to Mike Campbell, who turns in a galvanizing double-stop-infused Keef-like guitar solo. Don't Do Me Like ThatAnd to think that the first single from Damn The Torpedoes, one which would eventually reach No. 10 on Billboard's Hot 100, almost went to the J Geils Band - the song failed to make the cut on Petty's first two albums, and he was ready to let the Boston-based R&B rockers have it before giving the tune one last shot. Good thing, too, for it's still a standout - catchy as the flu, full of playful drumming (those stop-starts at the beginning - you know what song it is within seconds) and tricky guitar answer lines. As middle-eights go, it doesn't get more memorable than this. Throughout, Petty proves to be a master vocalist, alternating between a spurned lover's plea and youthful stoicism. You Tell MeAmidst the barrage of hits that Damn The Torpedoes yielded, one or two tracks were inevitably overlooked, and this tough-yet-soulful, mid-tempo, keyboard heavy number was one of them. Benmont Tench, the Heartbreakers' secret weapon, gets his moment in the sun here, sprinkling sweeping piano lines that meld with Hammond B3 swells to a stunningly effective degree. Petty, like most great singers, has a couple of different voices in his quill, and on You Tell Me he alternates between the hard and soft - one moment he's caressing your ear with a whisper, the next he's spitting his words with unmasked venom. And check out Mike Campbell, whose guitar lines scream into the night. While not a smasheroony, the song isn't a piker by any stretch. What Are You Doin' In My Life? An all-hands-on-deck rocker that wastes little time getting down to serious business. Underpinned by Benmont Tench's boogie-woogie piano, Petty rages in a chorus that you don't have to hear more than once to remember your entire life. Mike Campbell is all things Keith and Ron Wood, tossing out greasy slide runs and a gleeful solo that recalls mid-period Stones. At 2:19, it's the shortest and most un-fussed-over song on Damn The Torpedoes, but it's one which makes an indelible impact. Louisiana RainDon't let that goofy bit of sped-up tape rewind and sound effects at the beginning fool you - Louisiana Rain is a poignant, aching folk-flavored ballad about lost love, yearning and regret. Gently strummed acoustics, glowing keyboard lines and Stan Lynch's thoughtful drumming serve Petty well throughout as he sings "Louisiana rain is falling just like tears/running down my face, washing out the years/ Louisiana rain is soaking through my shoes/ I may never be the same when I reach Baton Rouge." Mike Campbell, always the ace, turns in a weeping slide solo that feels like a musical climax...that is, until Petty joins him on harmonica (ahhh, the Dylan influence!). There's many reasons why these two have become one of rock's most acclaimed duos, and their interplay on Louisiana Rain is a shining example.

SLQ: Disc Two: NowhereWhile Petty battled his label in court, tape boxes of certain songs were moved daily to avoid the possibility that bailiffs would claim them as assets. Because of this, Nowhere, recorded in 1979, was lost until recently (recording engineer Ryan Ulyate unearthed the track while preparing other tapes for the deluxe set). Good thing, too, as it's a chugging, gutsy piece of gold. The guitars of Petty and Mike Campbell collide off each other, while Benmont Tench's howling organ rises to meet them. Campbell fires off a twisty, smart-alecky solo, full of sinuous bends. "I've been trying to break through to nowhere!" Petty shouts in the chorus, like a man who knows he's marooned but desperate to get somewhere, anywhere. SurrenderDid we say it was a good thing that engineer Ryan Ulyate found those tape boxes? That goes double for the previously unreleased Surrender, an A-level Petty track that surely would have found its way onto Damn The Torpedoes under normal circumstances. With a chord pattern and loping tempo that would be revisited on The Waiting two years later, Surrender is classic Petty through and through: rousing vocals, jangling guitars, tambourine, nimble bass and the always arresting drumming of Stan Lynch. Mike Campbell's never fails to lift any song he plays on, and his solo here is one of his simplest yet sweetest ever. Casa DegaOriginally issued as the B-side to Don't Do Me Like That, Casa Dega is a slow but evocative, bass-and-organ heavy number that works its way under your skin. It's the closest thing to a spiritual that Petty and co have ever produced. Echoey guitar arpeggios punctuate both verses and choruses. The band, working with equal parts craft and intuition, play with dynamics masterfully. The bridge is big-time stuff, after which everybody drops out...Is the song over? No, the group is merely waiting for the right moment to fall back in again. Spooky and soulful. Listen to this one late at night with the lights turned down low. It's Rainin' AgainThe B-side to Refugee gets another airing. Pummeling drums (crashing cymbals especially - meant to indicate thunder, perhaps?) and slide guitar are the main musical accompaniment, with Petty, way off mic, singing "Well, it's rainin' again/ rainin' again/ roll up your window, honey/ it's rainin' again." A bit of a throwaway, this 1:31 soundscape. For aficionados and archivists only. Shadow Of A Doubt (A Complex Kid) - liveThe next three cuts on this set were captured in concert at London's Hammersmith Odeon on 6 March 1980, starting with this reading of Shadow Of A Doubt (A Complex Kid). Musically, it offers no real surprises, other than the fact that it's immaculately recorded, with Petty's voice in tip-top shape and the background vocals blaring out bright and full. England was kind to TP and the Heartbreakers long before their homeland knew they were alive, and the band sounds primed to give the UK crowd their all. Mike Campbell solos with considerable fervor. Don't Do Me Like That - liveA spot-on rendition of Don't Do Me Like That for the London audience. Again, it's beautifully recorded, with Benmont Tench's keyboards poking through the mix before being overpowered by Stan Lynch's blazing drums. At the song's ride-out the band comes alive, with Petty throwing in a couple of ad-libs and Lynch dishing out well-executed accents. It's over much too soon, however - it would have been nice to hear the group go for broke on an extended version. Somethin' Else - liveIt's entirely fitting that Petty and the Heartbreakers covered this Eddie Cochran slammer in England, for the American rock 'n' roll pioneer had a major influence on British musicians in the late '50s and early '60s with such songs as Twenty Flight Rock and Summertime Blues. This is full-bore rock the way it was meant to be played. Mike Campbell is positively unhinged during his solo. And check out the finish - these guys aren't foolin' around. The crowd goes appropriately apeshit. Casa Dega (demo version)As an intimate look at the band at work, this demo of the B-side to Don't Do Me Like That will appeal to Petty fetishists. It's fairly straightforward, devoid of the haunting atmospherics that resulted from the group fleshing out the tune. But there are more pronounced synth lines from Benmont Tench - and the fact that they didn't make the finished version are telling, as they detract somewhat from the overall vibe. Petty sings a bit more forcefully than he does on the final take. A curio that has its moments. Refugee (alternate take)After some studio chatter, laughter and a count-off by Petty, the group tackles one of their biggest hits in what is essentially more of a demo than an 'alternate take.' Gone are background vocals, drum accents, guitar overdubs - and that includes Campbell's signature solo. While one can hear the rhythm guitars hitting against each other, it's all a bit lackluster. This is one Refugee that deserves to be tied up, taken away and held for ransom. VerdictWith file-sharing run amuck, 'deluxe' reissues of classic albums have been coming at a furious pace of late. Most of the time, what qualifies as 'deluxe' is what we have in this package - demos, alternate versions and live recordings of the hits. And while the concert readings vary from the fine to the incendiary, we still have a bit of filler to contend with. Still, a classic album is a classic album, and with Damn The Torpedoes, Tom Petty had more than enough cake that he could eat, too. In many ways, the disc was his coming-out party - Born To Run and Darkness On The Edge Of Town rolled into one big package. Find a record this front-loaded with hits and all-time keepers and you'll probably wind up with...Damn The Torpedoes. So if you're one of the few rock fans who don't already own it, the deluxe edition is well worth the price of admission. And should you already have the original CD in your collection, the inclusion of Nowhere and Surrender (to say nothing of the sterling sonic upgrade) will more than make up for the dollars spent. In fact, you can burn your very own mix CD or iTunes set and simply omit the last two cuts - that way, you won't feel cheated in the slightest. Bottom line: this is Petty at one of his peaks (he's had others, such as the Full Moon Fever/Traveling Wilburys period) - not a bad thing for the holidays, or any other days for that matter. +

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