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Voldar: Running Down a Dream. http://www.amazon.com/Runnin-Dream-Blu-ray-Petty-Heartbreakers/dp/B00486HAN2/ref=sr_1_1?ie=UTF8&s=dvd&qid=1289398727&sr=1-1

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Voldar: ... , , 150$ . When Tom Petty & the Heartbreakers said 'Damn the Torpedoes' The adage about what doesn't kill you makes you stronger hardly has a more powerful musical manifestation than the story behind Tom Petty & the Heartbreakers' 1979 album "Damn the Torpedoes." That tale has become a central part of the mythology of rock n roll, one that aspiring artists of any stripe might look to as a source of inspiration and reassurance in the face of the hurdles that inevitably spring up in front of those who are pursuing a grand vision. It's a story worth revisiting, what with this week's deluxe reissue of the original album, which catapulted the group to a new level of commercial success and critical respect with its bold ambition and fearless musical execution. The album reissue follows the recent release on DVD and Blu-ray disc of a new "Classic Albums" documentary about what went on behind the scenes between the release of the group's 1977 sophomore album "Youre Gonna Get It" and the arrival more than two years later of "Torpedoes," which yielded the hits "Refugee," "Here Comes My Girl" and the band's first top-10 single, "Don't Do Me Like That." They make excellent companion pieces, the home video edition of the documentary containing an additional 42 minutes of material not included in the August airing of a 56-minute cut on VH1. Along with new and vintage interview and performance footage of Petty, guitarist Mike Campbell, keyboardist Benmont Tench, bassist Ron Blair and drummer Stan Lynch, director Matthew Longfellow gets album producer turned often-elusive industry titan Jimmy Iovine on camera for his typically colorful insights. At one point, Iovine recalls telling Petty they had enough songs for the record. "It was the last time I ever said that to a band," Iovine says with a laugh. They also get engineer Shelley Yakus to elaborate on his perspective about what made "Torpedoes" successful on so many levels. The creative process of songwriting and recording became inextricably tied up in the band's fight with MCA Records when the company bought the ABC Records label, parent of Shelter Records, which had signed and released Petty's first two albums. As the battle for control raged between a giant corporation and a band of rock n roll brothers who'd driven across country from Gainesville, Fla., in hopes of making records, it became a classic David-versus-Goliath tale. Petty didn't want their music -- to them, their lifeblood -- treated like just another company asset, and the wily strategies they used to outmaneuver MCA's high-priced Century City lawyers showed them to be as smart as they were passionate about what they were working on in the recording studio. Petty recounts ordering band members to hide the tapes at the end of each recording session and not tell him where they were, so he could honestly go into court if necessary and testify that he didn't know their location. Ultimately, as noted in the film, "MCA blinked," and Petty and the band won their freedom, which allowed them to sign with Danny Bramsons new MCA-affiliated Backstreet Records and put them out with an executive and a label that shared their commitment to the project, not simply the financial bottom line. Musically inclined viewers should revel in what are effectively tutorials from Petty, Campbell and Tench about how they created what became the Heartbreakers' signature sound. Guitarheads will love -- or cringe at -- Campbell's story of how he came to own the iconic Rickenbacker guitar Petty holds on the album cover -- he paid $150 for it from an Anaheim musician he found through a Recycler ad. Recording studio enthusiasts also should relish the light that Iovine and Yakus offer on the technical aspects of making the album. Petty, like Neil Young and some other audiophile-minded rockers, is a big fan of the Blu-ray disc's ability to capture many more nuances of recorded music than can a CD, much less sonically watered down mp3s. Any Petty fans with a Blu-ray player owe it to themselves to hear the album as close to the way the Heartbreakers heard it in the studio three decades ago. (In the Blu-ray version, the "Classic Albums" documentary also benefits from heightened video and audio quality.) But both the Blu-ray and CD versions of the album serve up nine bonus tracks, including one, "Nowhere," that even Petty had given up for lost decades ago. The Blu-ray adds videos of "Here Comes My Girl" and "Refugee." In conjunction with other studio tracks left off "Damn the Torpedoes," such as "Surrender," "Casa Dega" and "It's Rainin' Again," and live or alternative versions of several of the songs that did make the cut, the bonus material fleshes out the picture of just how strong one American band became through its just-less-than killer struggles. -- Randy Lewis http://latimesblogs.latimes.com/music_blog/2010/11/tom-petty-heartbreakers-damn-torpedoes.html

SLQ: LOS ANGELES, CA - NOVEMBER 14: Tom Petty (L) and Dana York attend a game between the Phoenix Suns and the Los Angeles Lakers at Staples Center on November 14, 2010 in Los Angeles, California. (Photo by Noel Vasquez/Getty Images) More photo on getty images

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SLQ: Tom Petty Damn the Torpedoes (Deluxe Edition) By Paula Carino on November 15th, 2010 Rating: 4 Although he was famously irked by being mis-tagged as new wave, Tom Petty nevertheless created an album (his third) in 1979 that bridged old and new so seamlessly that listeners and critics from every corner of the pop-rock map were charmed. After a promising 76 debut (that yielded the anthem American Girl) and an okay follow-up, Damn the Torpedoes was where Petty and his Heartbreakers truly defined their sound. Combining old-guard, Byrds-ian jangle, crystalline harmonies, and a hint of Southern-rock strut, Petty turned his nose up at AOR bombast and pretension. On now-classic cuts like Refugee, Dont Do Me Like That, Here Comes My Girl and Even The Losers, his rough-hewn vocals alternated convincingly between cockiness and vulnerability, and sounded refreshingly real. This 2010 re-release is digitally remastered from the original tapes and sounds fantastic, reinforcing its impact as an ageless document of quality roots-pop. The extras are cool, too. The track Nowhereliterally lost in a box for yearsis a catchy power-popper with a burrowing guitar hook that could easily have been one of the singles. The similarly affecting Surrenderwhich Petty fans will be familiar with as a frequent live selectionappears in its original studio incarnation for the first time. A leaner, less keyboard-heavy version of the flawless Refugee, seemingly without overdubs or backing vocals, brings the songs powerand Pettys desperate vocalinto sharp focus. Two versions of Case Dega (the B-side of Dont Do Me Like That) underscore its quiet brilliance. The balance of the bonuses are live tracks (two originals and a cover of Eddie Cochrans Something Else) that dont add much but will please completists. With its solid songwriting, heart-on-the-sleeve performances, Mike Campbells simple and stunning guitar work, and the conviction of a band just hitting its stride, few classic rock albums have aged as well as Damn The Torpedoes. http://www.americansongwriter.com/2010/11/tom-petty-damn-the-torpedoes-deluxe-edition/

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SLQ: Petty's rereleased album revisits career-defining moments By Bill Dean Entertainment editor Published: Tuesday, November 16, 2010 at 2:29 p.m. By the start of 1980, Tom Petty was a 29-year-old Gainesville rocker pursuing the rock 'n' roll dream in the halcyon land of Los Angeles. He and his band the Heartbreakers had had some success; their self-titled debut album introduced the songs Breakdown and American Girl in 1976, and their follow-up, You're Gonna Get It, crept up to No. 22 on Billboard's top 200 albums chart two years later. But it was the group's third and decisive album the hit-filled Damn the Torpedoes that announced to the world that the band had fully arrived. It hit No. 2 on Billboard, sold more than 2 million copies and contained four songs that would become kings on album-rock radio, Here Comes My Girl, "Event the Losers," Don't Do Me Like That and the ultimate kiss-off to authority, Refugee. The latter song and the album itself which has just been rereleased in a two-CD, deluxe edition with nine bonus cuts including the unreleased, studio tracks Surrender and Nowhere became simultaneously a statement of defiance to record-company meddling and proof that young rock 'n' rollers could prevail without becoming refugees. After releasing the group's first two albums, Petty found himself in an acrimonious swirl that sent him into bankruptcy and threatened to keep him in the depths of record industry servitude unless something changed. MCA had purchased the parent company of the Heartbreaker's original record label and had no intention of changing the typically unfair terms that greeted new artists at the time essentially that they didn't own the rights to their own songs and had no creative control. As recounted in Runnin' Down a Dream, the 2007 film and book chronicling the band's story, Petty faced a patronizing, defiant onslaught from high-powered, record-company attorneys, who attempted to swat him away like an annoying, rock 'n' roll gnat. MCA brings me to this big lawyer, Petty said in the book version, referring to the attorney as the big guy. He says Let me tell you something kid. You're going to forget this whole thing. You don't have a leg to stand on here. You shut up and go make your records.' But that set Petty off like lighting the fuse to a bottled-up firecracker. Look, I will sell ------- peanuts before I give in to you, Petty retorted. You can break me, but you can't make records, Petty said. And I ain't going to buckle ... I will file for bankruptcy and take it all the way to the Supreme Court if I have to. The rest is musical history: Petty did file for bankruptcy thus voiding his original contract and won back his publishing rights and creative control. And Damn the Torpedoes? It shot through the music-world stratosphere to become a career-defining work, one that still resonates decades later to fans and artist alike. Damn The Torpedoes' I think is a classic record, and will always be around, Petty said in Paul Zollo's 2005 book, Conversations with Tom Petty. It really broke some ground as far as sound and creating a style of music. That one I'm very proud of. I always like to hear it. MCA brings me to this big lawyer, Petty said in the book version, referring to the attorney as the big guy. He says Let me tell you something kid. You're going to forget this whole thing. You don't have a leg to stand on here. You shut up and go make your records.' http://www.gainesville.com/article/20101116/ARTICLES/101119556/-1/entertainment?p=1&tc=pg

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Voldar: , , . Tom Petty and the Heartbreakers - Mojo (Piano/Vocal/Guitar Artist Songbook) http://www.amazon.com/Tom-Petty-Heartbreakers-Mojo/dp/1423498666/ref=sr_1_9?s=books&ie=UTF8&qid=1284669629&sr=1-9

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SLQ: . , . Heart Breaker Acclaimed musician Howie Epstein was the longtime bassist for Tom Pettys band. But all that talent couldnt save him from tragedy. by Tom Matthews -- Photo by Jim Schnepf Milwaukee Magazine -- November 22, 2010 Itwas late June of 2010, and Tom Petty and the Heartbreakers had settled into the Marcus Amphitheater for a two-night Summerfest stand. A week earlier, the band had released Mojo, a new album that included a dark rocker called Running Mans Bible. The song is about mortality, close calls and the unexpected death of a friend (It was not in my vision, it was not in my mind/To return from a mission, a man left behind). The dead man in the lyric, Petty had told Rolling Stone a few days before, was Milwaukees Howie Epstein, bassist and harmony singer in the Heartbreakers for 20 years before a devastating drug habit got him fired from the band in 2002. He died a bleak junkie death less than a year later. A sincerely loved man in an industry not known for its kindness, Epsteins death was a brutal loss not just for his bandmates but for anyone who ever made music with him. Besides Petty, Epstein had recorded or performed with Bob Dylan, Bruce Springsteen, Johnny Cash, John Hiatt, The Rolling Stones, Warren Zevon, Stevie Nicks, Roy Orbison, Carl Perkins and Linda Ronstadt. As a producer, he had revived the career of country singer Carlene Carter and helped create two of John Prines most acclaimed albums. Now Tom Petty had memorialized his fallen comrade in a song. Playing in Epsteins hometown, Petty could have acknowledged the friend he left behind. But the mention didnt come. Though the Heartbreakers performed Running Mans Bible that night, Petty didnt explain its significance to the one crowd that would have been most affected by it. And the song was dropped from the next evenings Summerfest set list. An opportunity to play a poignant coda, to generously celebrate Howie Epsteins remarkable musical journey, was lost. The Heartbreakers, it seemed, had moved on. ***** The journey for Howie Epstein began, as it did for many kids of his generation, in front of the television on a Sunday night, watching The Beatles on The Ed Sullivan Show. Born in July 1955, Epstein was the oldest of three brothers. Already owning a guitar and demonstrating considerable talent for an 8-year-old, he formed his first band within weeks of falling under the spell of the Fab Four. There was a guy named Chris down the block who had a snare drum, his brother Craig recalls. The rest is history. Music was it. Howie was encouraged by his father, a drummer and music lover who had managed local bands. By the late 60s, Sam Epstein was driving his son all over town with an amp and a piano player, providing music for restaurants like Beyond the Sea on Brady Street. The young Epstein would play backyard cookouts, bar mitzvahs and skating parties at the Blatz Pavilion. It wasnt cool, but it began a pattern of dues-paying that would serve Epstein well when he embarked on a music career. Crisis came first, though. In April 1970, Epsteins father suffered a massive heart attack at age 37; he died five months later. It was a blow from which Howies mother Judy would never recover. Coping with her loss by largely retreating from her responsibilities as a single parent, the Epstein house on Lake Drive became band central as the 60s gave way to the 70s and bar mitzvahs lost out to rock n roll. According to Craig and a family friend, there was little parental restraint as Howie and his two brothers hosted raucous jam sessions that were often shut down by Fox Point police, either because the music was too loud or the brothers were beating the hell out of each other. Howies bedroom became the center of the universe for young boys inflamed by music. His room was full of these bizarre wrestling posters until Springsteen and Petty came along, recalls Jason Klagstad, one of Epsteins earliest and most enduring musical partners. Then the wrestlers had to share space with the musicians. Epstein and Klagstad met at a bar mitzvah party in 1967, and both would graduate from Nicolet High School. Klagstad who later played guitar in such pivotal Milwaukee bands as Semi-Twang, Plumb Loco and Arroyo instantly bonded with Epstein over a serious devotion to their craft. To Klagstad, his new friend personified cool. He was the guy who would always be wearing topsiders with no socks, faded jeans and an untucked shirt, says Klagstad. Always a smile on his face, with a slight stubble. Usually some acne, but he didnt care. There was just never a tense moment when we got together. After graduating high school, short-lived bands with names like Egz, the Winks, Forearm Smash and Lord Nose came and went, with Epstein, Klagstad and a core group of musicians contributing to what was a vibrant local music scene throughout the 70s. There was no talk of stardom; it was all about writing and playing music, says Klagstad. But it was unspoken. Everybody believed they were going to be the next big thing. Maybe it was to run away from a tumultuous family life. Maybe he was more driven than the others. But despite being surrounded by equally talented musicians, it would be Howie Epstein who made it big. In 1976, he and his brother Craig saw Tom Petty and the Heartbreakers at Milwaukees Uptown Theater. Six years later, Howie would be in the band.

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SLQ: . , . Rolling Stone: Tom Petty's Playlist: The Best of the British Invasion 1. I Want to Hold Your Hand b/w I Saw Her Standing There- The Beatles, 1963 The Beatles were superior to everything. This came on the radio, and overnight everything was different. If you werent there, its hard to believe. But everything changed instantly. In I want to Hold Your Hand, John and Paul are singing the lead vocal in unison. It almost makes another voice-just a sonic pleasure. 2. You Really Got Me- The Kinks, 1964 I heard this song for the first time at a dance. The DJ played it really loud, and the whole room went still. Then, everyone erupted in applause-for a record. That guitar break-Ide never heard anything that wild in my life. 3. Weve Got to Get Out of This Place-The Animals, 1964 This made made me want to run away from home. That bass riff is classic. These arrangements were tidy. Each instrument had a job to do. 4. Shes Not There-The Zombies, 1964 The piano break was over our heads at the time, but so right. Colin Blunstones voice was a sound I had never heard before. I thought if a zombie sang, thats how he would sound. 5. When You Walk In the Room- The Searchers, 1964 I restrained myself from listing a bunch of their records. The 12-string guitar fascinated me, and they had great voices. 6. Im Alive-The Hollies, 1965 Those voices were so incredible. They were the best singers, other than the Beatles, as far as singing harmony and knocking you dead. 7. Im a Man-The Yarbirds, 1965 That break, when they go into double time, is downright psychedelic. And Jeff Beck is playing in unison with the harmonica. Its a short record - and they still have the rave-up at the end. They got it all in. 8. Anyway You Want It- Dave Clark Five, 1964 They were badass. This song sounds like a runaway train, with that sax honking down low. That was a big step, to blow the echo out that heavy. Id go crazy every time I heard it. 9. I Cant Explain-The Who, 1965 What was great about Pete Townshende early stuff was you identified with what he was saying. And hes using a Rickenbacker 12-string in a way no one else did. The guitar break is almost not a guitar break-hes moving the tone switch back and forth. 10. (I Cant Get No) Satisfaction-The Rolling Stones, 1965 They had so much attitude, it dripped off the plate. The riff and distortion grab you, and the lyric is so worldly. Its hard to talk about Satisfaction because everyone knows it so well. But its a great moment in rock history. Just the phrase is worth a million bucks.