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ЛЕНТА НОВОСТЕЙ ТОМА ПЕТТИ - 3
Goldenday: Новости, факты, интересные статьи, фото и пр.
Daria: кто-нибудь смотрел The Last DJ Sessions? как вам?
SLQ: Daria пишет: The Last DJ Sessions? -это что? Попподробнее можно. Это приложение видео к альбому или что-то еще?
Daria: да, я думаю, это просто видео о том, как делался альбом. Все собираюсь посмотреть, но завтра защита диплома, думаю, осилю на выходных XD вот тут посмотрите: rutracker
SLQ: Daria пишет: да, я думаю, это просто видео о том, как делался альбом. Все собираюсь посмотреть, но завтра защита диплома, думаю, осилю на выходных XD Да, это бонусный диск к альбому Last DJ. Двольно инересное видео. Кстати, тот редкий случай, когда можно увидеть Тома за роялем.
stvol: Daria пишет: да, я думаю, это просто видео о том, как делался альбом. Все собираюсь посмотреть, но завтра защита диплома, думаю, осилю на выходных XD вот тут посмотрите: rutracker Ой. Моя раздача засветилась.
Daria: Ваша? :) спасибо большое.
Voldar: Это просто счастье какое-то - люди нашли друг друга! Очень приятно, что наш форум становится настоящим домом для поклонников Тома.
stvol: Daria пишет: Ваша? :) спасибо большое. Наша. Пожалуйста. Обратите внимание там ещё на фильмы "400 дней" и "Концерт в Санта-Монике". И да, всё это для ознакомительного просмотра, не больше.
Goldenday: stvol пишет: Обратите внимание там ещё на фильмы "400 дней" Обратил - весной его качнул, только подробно посмотреть до сих пор не получается. А вещь, судя по всему, занятная - любопытно наблюдать Тома в неофициальной обстановке. Daria пишет: но завтра защита диплома, Удачного дня! А к видео-бонусу Last DJ я вначале как-то несерьезно отнёсся - думал:"ну что там особенного, концертные клипы" - но когда глянул, изменил точку зрения. Хорошо смотрится.
Daria: спасибо, отстрелялась :)
Voldar: Поздравляем!Жизнь только начинается...
SLQ: The June/July/August Sound & Vision Magazine has Tom Petty on the cover, holding his new LP (yes, it's an LP). It also contains a detailed article on mixing his new "MOJO" album in 5.1.
Шубидуба: Мы с Димычем вместе смотрели.
SLQ: Tom Petty & the Heartbreakers: L.A. or Fla.? June 10, 2010 | 1:57 pm During my recent interview with rocker Tom Petty for a profile that will appear in Friday’s Calendar, I asked him about his decision in the 1970s to leave his home turf in Florida and relocate to Los Angeles in search of a record contract, when he could as easily have gone to New York. "If I was going somewhere," he told me, "I’d rather come here. I could relate to this more than I could have related to New York. Why starve and freeze? I may as well go to California." There was more to the original decision than that, of course, but it led to the question of whether Petty and the Heartbreakers deserve to be placed in the long line of noteworthy acts that have emerged from Southern California, where Petty and his band mates have remained pretty much ever since they arrived here three and half decades ago. Before I share what Petty had to say on the subject, we wanted to give readers the chance to weigh in: Do the Heartbreakers belong in the pantheon of Southland music that goes back to Ricky Nelson in the '50s; the Beach Boys, the Byrds, Buffalo Springfield and the Doors in the '60s; the Eagles, Jackson Browne and Linda Ronstadt in the '70s; X, Black Flag, Fear, the Blasters, Los Lobos, Van Halen, Metallica and N.W.A. in the '80s; No Doubt, the Offspring, Sublime, Rage Against the Machine and Snoop Dogg in the '90s; and System of a Down and Linkin Park in the '00s? Or should they be counted in the history of southern rock along with the Allman Brothers, Lynyrd Skynyrd, Limp Bizkit and Molly Hatchet? On Friday, I’ll post Petty’s own comments about where his heart lies musically. --Randy Lewis http://latimesblogs.latimes.com/music_blog/2010/06/tom-petty-heartbreakers-la-or-florida.html
SLQ: Album: Tom Petty & the Heartbreakers (Mojo) (Rated 5/ 5 ) Reviewed by Andy Gill After years spent establishing their command of most genres of American rock and pop, Tom Petty & the Heartbreakers finally get around to making their blues album – and it's one of their very best efforts, as ought to be the case when a band plugs into the potency of raw R'n'B spirit. There's a steely confidence about the album right from the opening riff of "Jefferson Jericho Blues", whose unison guitar and harmonica groove rolls along with the Corvette power of a Chess Records classic, Petty musing about Thomas Jefferson's miscegenate affection for "the little maid out back". Then it's straight into the waltz-time single "First Flash of Freedom", whose oddly prog-rockish riff brings to mind The Allman Brothers Band on one of their jazz-infused workouts. It offers the first of a series of showcases for guitarist Mike Campbell, who demonstrates his extraordinary versatility across virtually any style you'd care to mention, from the stormtrooper heavy-metal stomp of "I Should Have Known It" to the amped-up country-blues of "U.S. 41" and the brilliant simulation of J J Cale's neat, fluid guitar licks for "Candy". As you'd expect from Petty and his gang, there's a fair number of long highways traversed on Mojo, which may be why it sounds so great played while driving. As well as the lumber-worker walking down "U.S. 41", there's the Cadillac Eldorado hymned in "Candy", the adventurer running down "this dark highway" in "Running Man's Bible", the paranoid doper scared by a police car's blue light in his mirror in the engaging reggae groove "Don't Pull Me Over", and sundry metaphors involving slowing down or overtaking. Best of all, perhaps, is "The Trip to the Pirate's Cove", a typical Petty tale of Californication in which the car runs out of gas and loses a wheel, so the two buddies stop off to party with the maids at a motel, before heading off into the sunset again: "My friend said take her with you/To leave her here would be a crime/But let's get outta Santa Cruz/All I got is a Canadian dime". The narrative has a peculiarly sketchy, inconclusive character that leaves the story suspended somewhere between ephemeral and authentic, which is exactly the territory an American road myth ought to occupy. Impressively for one working in a genre so dominated by ill-starred romance, Petty the songwriter finds a broad range of themes around which to hang these blues, including the cautionary tale about the abuse of power and alcohol, "High in the Morning": "Well, it pierces my heart to see a young man fall... To see him high in the morning, and by evening see him gone". But none is more aptly upholstered than the Muddy Waters stomp applied to "Takin' My Time", in which an ageing party animal, finally feeling his years, fondly recalls his youth, "when my fuse was still lit". It's such a perfect alliance of sentiment and setting that Muddy himself might have penned it. http://www.independent.co.uk/arts-entertainment/music/reviews/album-tom-petty-amp-the-heartbreakers-mojo-1996870.html
Voldar: Статья из Лос-Анджелес Таймс. Tom Petty's got his 'Mojo' working By Randy Lewis, Los Angeles Times June 11, 2010 The 59-year-old rocker's first album with the Heartbreakers since 2002 has him so pleased that he's taking the boys on tour too. But they won't reach L.A. until the fall. Tom Petty casually rolled back the sliding glass door at his rustic beach house in Malibu and stepped out onto the deck for a clear look at the waves crashing on the sand a dozen yards away. Surveying the picture-perfect blue sky and sparkling water to match, the 59-year-old rocker took in the view surrounding him and couldn't help noticing two young women sunbathing topless in front of the house next to his. The record business may be in disarray, but on days like this, it's still good to be a rock star — a job Petty has fulfilled admirably for more than 30 years now. A couple of decades earlier things might have transpired differently, but on this day, Petty simply cracked a wry smile at the scene next door and stepped back inside. He had other things on his mind, chiefly his new album, "Mojo," which hits stores Tuesday. He left the beach in the care of his wife of nearly a decade, Dana, who pulled up a chair to soak up some sun while her husband turned his attention to his first love, music. Atop a coffee table near the living room window was a copy of Greil Marcus' new book about Van Morrison, one of Petty's musical heroes. "I haven't got around to it yet," he said, adding with a laugh: "I haven't had a lot of time to read." That's because he's been busy finishing "Mojo," his first album with the Heartbreakers since 2002's "The Last DJ," and gearing up for a tour that commenced last week. (It doesn't reach the Southland until fall.) "I always thought that when I got around to the Heartbreakers making another record, that I'd like it really to represent the band that they've grown into," said Petty, his dirty-blond hair a bit shorter than usual, barely reaching the collar of the white Oxford shirt under a black vest that's part of his signature look. "The band has kind of matured into something else," he said, more with the air of an impartial observer than you might expect of the man who has fronted that band on (mostly) and off (periodically) for 35 years. "This is more the way we play for ourselves when the heat's off; this is what it sounds like. And I thought, number one, it would be more fun, and, number two, it would just be truer to what we really are at the moment. They're a ridiculously good band. I'm still sometimes awed by them." And why not? The Heartbreakers have emerged over time as arguably the quintessential American rock band, more endearingly human than the studio-perfect Eagles, more consistently in touch with the fundamentals of rock 'n' roll than the musically expansive E Street Band. "They are the definition of what a real rock 'n' roll band is supposed to be," said Jim Ladd, the veteran rock radio DJ, who will host Petty on his KLOS-FM (95.5) show Monday night. "[They] started in a garage in Gainesville, Fla., and stuck it out through all the hard times, and they never lost sight of their goal, which was, I think for them, not to be celebrities but to be great musicians." "Mojo" offers a showcase for the empathetic interplay among Petty and fellow guitarists Mike Campbell and Scott Thurston, keyboardist Benmont Tench, bassist Ron Blair and drummer Steve Ferrone. It's a rootsy, blues-drenched outing for the singer-songwriter and his longtime partners. "I had this picture in my mind of making a record that had something in common spiritually with the Chess blues records, even the English blues bands of the late-'60s: [ John] Mayall, Peter Green," he said. "That's the stuff that really just kills me." It's apparent in "Candy," a grizzled, back-porch blues that John Lee Hooker might have tackled, and in the haunting, "Hellhound on My Trail"-inspired "Takin' My Time." "I love that [old blues] stuff because they're really strong songs, but it doesn't sound like they're trying really hard," he said. "Everyone thinks they can knock off a 12-bar [blues], but to do it right takes a little time and you have to mature a little bit. I don't think we could have made this record in the '80s. I don't think our heads were in that spot. "This is something that happened now, and I'm glad," he said. "I don't think I could have hired the best studio guys and thrown this stuff at them. … I think only a band could have done this." Except for Thurston, who came aboard in 1991, and Ferrone, who took over from Stan Lynch three years later, the Heartbreakers have known one another and played together since they were teenagers in Gainesville. The many ups and downs they've weathered together — famously suing their record company while working on "Damn the Torpedoes"; a 1987 arson fire that destroyed Petty's Encino home; Petty's loyalty-testing recordings apart from the band; the 2003 death of bassist Howie Epstein — have forged a band-of-brothers bond that Petty clearly prizes. "You just can't buy that for any amount of money — it's something you've got to cultivate over a period of time, and in this case, a long period of time," he said. Working with the band once again on "Mojo," he added, "was a satisfying trip. It was, to me, similar to the Mudcrutch thing, in that I was really happy to listen to it after it was over…. I hated to stop [writing and recording] really, because I felt like we were really on a roll there." So why did it take eight years between Heartbreakers albums? "I don't even know how that happened really," he said, sounding genuinely perplexed. Then he started to recount the various projects that gobbled up those years: his third solo album, 2006's "Highway Companion"; the band's collaboration with director Peter Bogdanovich on the four-hour "Runnin' Down a Dream" film documentary; his decision to regroup for an album and tour with Mudcrutch, the Florida band that preceded the Heartbreakers. Additionally, Petty said, "For a while there I didn't feel like I had the material for them. I didn't want to do a Heartbreakers record unless it was going to be kind of special and good. I think we all just had an understanding about it. No one ever complained about it. We just knew that when the time was right, we'd do it again." That may be the real mojo that is the Heartbreakers. "I think we all respect the band maybe in a way that's bigger than our individual selves," Petty said. "We really respect the trip and we want to mine it for all it's worth. It's a good little band." http://www.latimes.com/entertainment/news/la-et-tom-petty-20100611,0,5164823.story
Daria: доброе утро, вот небольшое интервью с Томом о Mojo Tom Petty distills essence in ‘Mojo’ On the phone from his Malibu home, Tom Petty has a way of deflecting questions that’s half sphinx, half stoner. Maybe he doesn’t want to answer you. Maybe there are no answers, man. Inquire about his highs, his lows, his in-betweens, and Petty sounds aloof, wistful, pensive -- but, like his music, remarkably consistent. What was it like playing the Super Bowl? “I don’t know.” Who was your greatest mentor? “I don’t know.” Can you cite a high or low point in your career? “Oh, I don’t know.” But there are still plenty of things the 59-year-old does, in fact, know. He knows that he’s quite pleased with “Mojo,” the 12th studio album he has made with his band, the Heartbreakers. He also knows he doesn’t like giving interviews about it. He knows he’d rather be watching Turner Classic Movies or walking in the soft sands of the Pacific coastline. And he knows he’s getting older. But Petty still thinks his work is approaching its truest, purest form. “I think that’s my musical quest,” the singer says. “To get more and more purity into the music.” With the big 6-0 a few months down the road, Petty isn’t fine wine so much as American rock-and-roll distilled. Since 1976, he and his Heartbreakers have been building sturdy rock songs at the intersection of heartland pluck and California cool. Along the way, he has released two successful solo discs -- and one sorta successful one. He also recorded twice with the Traveling Wilburys, the supergroup that included George Harrison, Jeff Lynne, Roy Orbison and Bob Dylan. In recent years, Petty has immersed himself in the recordings of America’s great bluesmen (Little Walter, Muddy Waters, Albert King) and Britons who pantomimed them (John Mayall, Jeff Beck, Peter Green). The result? “It’s really a blues-based record,” the songwriter says of “Mojo.” And although rediscovering the blues might sound hackneyed on paper, it sounds pretty great in practice. The band unveiled two of the better songs from “Mojo” -- “Jefferson Jericho Blues” and “I Should Have Known It” -- on the season finale of “Saturday Night Live” last month. Beneath a straw-tinted coif, bushy beard and dark aviator shades, Petty mewled through the latter tune with a swagger befitting his new album’s title. Ask him whether he was nervous about his eighth appearance on the show, and you can almost hear him shrug over phone. But ask him about the recording sessions for “Mojo,” and he perks up. “We went into it very, very up and very positive,” Petty says. “I really enjoyed making the record -- to the point that I didn’t want to stop.” “Mojo” was recorded at the band’s practice space in North Hollywood. Guitarists Mike Campbell and Scott Thurston, bassist Ron Blair, keyboardist Benmont Tench and drummer Steve Ferrone all gathered in a semicircle and aimed to hammer everything out live, on the spot. No one wore headphones. Very little was overdubbed. The spontaneity translates clearly. “The music was coming easily,” Petty says of the sessions. “I felt really hot -- like we were really in a pocket.” Yet titling an album “Mojo” at this point in his career suggests that Petty is reclaiming something he lost over the years, right? Like many other suggestions, Petty brushes this one off -- and perhaps rightfully so. The man’s decades-long discography has been so reliable, he struggles to pinpoint any dramatic plunge in his songbook. “There’s nothing that really makes me hang my head and cry,” he says. © The Washington Post, 2010 14 June 2010, Monday CHRIS RICHARDS sourse: http://www.todayszaman.com/tz-web/news-212990-114-tom-petty-distills-essence-in-mojo.html :D
Voldar: Мне решительно нравиться PR служба Тома,я даже белой завистью завидую ему(вот бы Джеффу такую).Нет ни одного приличного или неприличного издания,которое не отметилось бы вчера и сегодня статьёй или обзором о стартующей сегодня продаже "MOJO". "MOJO" START NOW Good times with the blues: Tom Petty and the Heartbreakers distill their essence in 'Mojo' On the phone from his Malibu home, Tom Petty has a way of deflecting questions that's half sphinx, half stoner. Maybe he doesn't want to answer you. Maybe there are no answers, man. Inquire about his highs, his lows, his in-betweens, and Petty sounds aloof, wistful, pensive - but, like his music, remarkably consistent. What was it like playing the Super Bowl? "I don't know." Who was your greatest mentor? "I don't know." Can you cite a high or low point in your career? "Oh, I don't know." But there are still plenty of things the 59-year-old does, in fact, know. He knows that he's quite pleased with "Mojo," the 12th studio album he has made with his band, the Heartbreakers. He also knows he doesn't like giving interviews about it. He knows he'd rather be watching Turner Classic Movies or walking in the soft sands of the Pacific coastline. And he knows he's getting older. But Petty still thinks his work is approaching its truest, purest form. "I think that's my musical quest," the singer says. "To get more and more purity into the music." With the big 6-0 a few months down the road, Petty isn't fine wine so much as American rock-and-roll distilled. Since 1976, he and his Heartbreakers have been building sturdy rock songs at the intersection of heartland pluck and California cool. Along the way, he has released two successful solo discs - and one sorta successful one. He also recorded twice with the Traveling Wilburys, the supergroup that included George Harrison, Jeff Lynne, Roy Orbison and Bob Dylan. In recent years, Petty has immersed himself in the recordings of America's great bluesmen (Little Walter, Muddy Waters, Albert King) and Britons who pantomimed them (John Mayall, Jeff Beck, Peter Green). The result? "It's really a blues-based record," the songwriter says of "Mojo." And although rediscovering the blues might sound hackneyed on paper, it sounds pretty great in practice. The band unveiled two of the better songs from "Mojo" - "Jefferson Jericho Blues" and "I Should Have Known It" - on the season finale of "Saturday Night Live" last month. Beneath a straw-tinted coif, bushy beard and dark aviator shades, Petty mewled through the latter tune with a swagger befitting his new album's title. Ask him whether he was nervous about his eighth appearance on the show, and you can almost hear him shrug over phone. But ask him about the recording sessions for "Mojo," and he perks up. "We went into it very, very up and very positive," Petty says. "I really enjoyed making the record - to the point that I didn't want to stop." "Mojo" was recorded at the band's practice space in North Hollywood. Guitarists Mike Campbell and Scott Thurston, bassist Ron Blair, keyboardist Benmont Tench and drummer Steve Ferrone all gathered in a semicircle and aimed to hammer everything out live, on the spot. No one wore headphones. Very little was overdubbed. The spontaneity translates clearly. "The music was coming easily," Petty says of the sessions. "I felt really hot - like we were really in a pocket." Yet titling an album "Mojo" at this point in his career suggests that Petty is reclaiming something he lost over the years, right? Like many other suggestions, Petty brushes this one off - and perhaps rightfully so. The man's decades-long discography has been so reliable, he struggles to pinpoint any dramatic plunge in his songbook. "There's nothing that really makes me hang my head and cry," he says. The Heartbreakers first formed in Gainesville, Fla., in 1976, roadhouse ready. "When we first met up, we had very similar record collections," Petty says of the troupe's initial chemistry. "Our kind of barometer of 'this is good' and 'this is bull-[expletive]' was very similar." By 1980, the band's third album, "Damn the Torpedoes," had gone platinum, and Petty would soon adopt the dual role of rock star and fan advocate, engaging in a public spat with his label over escalating record prices. When MCA announced that the Heartbreakers' 1981 album "Hard Promises" would be sold for $9.98 - one dollar more than the once-standard LP price of $8.98 - Petty raised a stink until the label changed its mind. "I think I did kind of single-handedly hold down record prices for a long time," he says of the victory. Nearly 30 years later, as the record industry continues its 21st-century collapse, the tale has turned into a piece of up-with-the-artist folklore. "I didn't understand corporations back then," Petty says. "They can't make enough money. That's the problem with America, in a lot of ways. Being rich is never enough." Petty says he can't imagine going through a similar struggle in today's marketplace. "You'll find that 10 or 12 really good songs will deal with a myriad of problems," he says. "[But] if I was starting out now, I don't know if I'd be as encouraged as I was when I did. . . . Sometimes I look at the younger bands and wonder if they're having as much fun as we did." He also wonders whether today's bands will last as long. He certainly didn't expect to. "I didn't really anticipate us really doing it at this time in our lives," Petty says. "[But] I still got music in my head, and I'm in this incredibly amazing rock-and-roll band. . . . If we started to suck, we would all hang it up. But I think we're a long way from that." "Mojo" will be in stores Tuesday. http://blog.washingtonpost.com/clicktrack/2010/06/good_times_with_the_blues_tom.html
SLQ: Tom Petty releases Mojo June 14, 9:50 PMOrange County Music ExaminerGary Schwind In a music industry where artists are seen as disposable objects, it is always good to see a new album from an artist with longevity. And when it comes to longevity, Tom Petty and the Heartbreakers have it in spades. Think about it. Tom Petty has been a character on King of the Hill, he has appeared on The Simpsons, he has performed at halftime of the Super Bowl, and he and the Heartbreakers are still going strong. This is a band that released its first album 35 years ago. Sure, the guys aren't twenty-something anymore, but that does not mean they are done. Tomorrow, the band releases Mojo, its first new album in eight years. But that's not all. This band is doing some serious touring, with gigs already booked into October. Tom and the band will be joined by some great acts on the Mojo tour: Drive-By Truckers, Joe Cocker, ZZ Top, Buddy Guy, Crosby, Stiils, and Nash, and others. So get out there and add Mojo to your collection. And then get your tickets for when the band comes near your town. I have no doubt it will be worthwhile. http://www.examiner.com/x-1621-Orange-County-Music-Examiner~y2010m6d14-Tom-Petty-releases-Mojo Allison Stewart reviews Tom Petty and the Heartbreakers' 'Mojo' Tuesday, June 15, 2010 Tom Petty and the Heartbreakers MOJO Tom Petty's last album with the Heartbreakers predates the invasion of Iraq, though it may not seem like it was all that long ago. In the years since, Petty has been a constant presence -- touring, taping voiceovers for the TV show "King of the Hill," recording a solo album, reuniting with his old group Mudcrutch and generally doing everything except the thing he does best -- making records with the Heartbreakers. "Mojo," their first album together in almost eight years, is the Petty equivalent of a jam band record: It's swampy and Southern, by turns languid and languidly rocking. It takes the sort of songs Petty and the Heartbreakers usually do, strips out most of their hooks and puts them in the rustic, bluesy framework of a Lucinda Williams record. Rarely riotous, never thrilling, entirely solid, "Mojo" traffics in the everyday indignities of middle age. Petty worries about unemployment (the rueful ballad "Something Good Coming"), frets about relationships ("I Should Have Known It") and hides his weed from The Man (the island-influenced "Don't Pull Me Over," the forgettable, less ominous cousin of Springsteen's "State Trooper"). Reportedly recorded live (with the band members all playing in the same room together), "Mojo" is the first album the perpetually chill Petty has ever made that's as mellow as he is. It's as casual, as artfully mussed, as a bunch of multimillionaire rock gods recording their umpteenth album for a major label can manage. Tom Petty & the Heartbreakers perform at Jiffy Lube Live on Aug. 15. -- Allison Stewart http://www.washingtonpost.com/wp-dyn/content/article/2010/06/14/AR2010061405434.html
Voldar: DunlopTV - Mike Campbell of Tom Petty & The Heartbreakers King of Tone, Mike Campbell of The Heartbreakers, had us to a show recently to talk about gear a, the current tour, and the new Tom Petty & The Heartbreakers record, Mojo. Mike tells us about the recording process and fills us in on how this very old-school rock n' roll band makes magic. There is also a follow up interview with his guitar tech, Chinner, where we will take an in depth look at amps and guitars.
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