Форум » ВСЁ О ЧАРЛИ » ЛЕНТА НОВОСТЕЙ ТОМА ПЕТТИ - 3 » Ответить
ЛЕНТА НОВОСТЕЙ ТОМА ПЕТТИ - 3
Goldenday: Новости, факты, интересные статьи, фото и пр.
Ответов - 97, стр:
1 2 3 4 5 All
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.
SLQ: TOM PETTY AND THE HEARTBREAKERS Mojo (Reprise/Warner) (3, 5 out of 4) After three decades together, it would be easy for Tom Petty and the Heartbreakers to slide into the greatest hits groove, the way the Eagles have, and to rake in the money, without risking disapproval with new recordings that may or may not live up to their glorious past. But if you’re looking for faults you won’t find one on this 15-track, 65-minute masterpiece, a worthy addition to the Petty/Heartbreakers canon and a showcase for some of the finest instrumental performances in American roots-rock recording history. Mojo is eerily retro in spirit but thoroughly and joyfully contemporary in style, thanks largely to Petty’s vivid narratives and resonant road yarns and to the stunning confidence exhibited by his band. These rock veterans clearly revel in having all the time they need to stretch out and to display a breathtaking array of musical skills, without wasting a single note, or falling into the pits of vanity and excess. Each song is a revelation, from the driving opener, “Jefferson Jericho Blues,” with its propulsive harp/guitar riff and lyrics that reflect scornfully on Thomas Jefferson’s dalliance with one of his female slaves, to the loping, dreamlike “Trip To Pirate’s Cove,” an unsettling memory of a California road trip, from the vaguely British waltz-time prog-rock of “First Flash of Freedom” to the Muddy Waters-ish “Takin’ My Time,” with its plaintive observance of the effects of passing years. It would be hard to find a better road-trip album than Mojo. The combination of relentless forward motion, rear-view reflection and in-the-moment bravado is compelling and infectious. Greg Quill http://www.thestar.com/entertainment/music/recordings/article/823507--cd-reviews Give a listen Tom Petty's first studio album with the Heartbreakers in eight years is one of three recent releases worth a hearing. The artists are all coming to town this summer. By Dan DeLuca Inquirer Music Critic It's been eight years since Tom Petty made an album with the Heartbreakers, the esteemed band that the straw-haired rocker's been touring with since the 1970s and will back him up when they play the Wachovia Center on July 31 and Aug. 1. In the interim between their last studio album, The Last DJ, in 2002, and the bluesy Mojo (Reprise ***), which comes out Tuesday, however, the 59-year-old Florida native has hardly been idle. Petty has seen his stature grow as the most consistently pop-savvy of an elder generation of '60s-schooled American rockers. He's done so while touring extensively with the Heartbreakers, collaborating with director Peter Bogdanovich on the 2007 rockumentary Runnin' Down a Dream, and knocking out a dependably catchy solo album - Highway Companion (2006). In 2008 he also reunited and toured with Mudcrutch, his jammy pre-Heartbreakers '70s band. In its leisurely pace, Mojo feels very much an outgrowth of Petty's work with Mudcrutch. It also draws heavily from British electric-blues explorers like John Mayall and Peter Green, who turn up regularly on the Sirius/XM satellite radio show Tom Petty's Buried Treasure. That's good news for fans of the Heartbreakers, which get to stretch out beyond confining pop-song conventions. Two of the three opening cuts, "First Flash of Freedom" and "Running Man's Bible," are more than six minutes long. And while the third, "Jefferson Jericho Blues," is considerably tighter, it's a Howlin' Wolf-inspired roadhouse workout that will almost certainly turn into an extended boogie when the band gets hold of it on stage. All that extra room means that Mike Campbell, the ace guitarist who's been Petty's right-hand man for decades, has more space to display everything in his always-tasteful, never-boring bag of tricks. Campbell is an unsung guitar hero precisely because he never aims to attract attention to himself, and his lively, well-thought-out solos and fills, like the snarling lines that brush up against Petty's distorted vocals in "Takin' My Time," always make serving the song top priority. For all the pleasures to be had in the interplay between Petty and his five-man ensemble, though, Mojo is a moderate disappointment. It's uncharacteristically stingy when it comes to delivering the radio-ready pop hooks that have been second nature to Petty for so long. There's only one outright clunker - the ill-conceived reggae plea "Don't Pull Me Over." But Mojo sounds like it could have been recorded without Petty's ever getting up from the cross-legged position he's pictured in in the CD booklet. Petty's confidence in his ability to get the job done without raising too much of a ruckus is justified, but his re-engagement with his stellar band would have been more effective if they had occasionally gotten their Mojo working in a higher gear. Read more: http://www.philly.com/inquirer/columnists/dan_deluca/20100615_Give_a_listen.html#ixzz0quHL8zJS
Voldar: А вот Рой Вуд не стал дожидаться 15 июня и получил свой MOJO ...смотрите в теме по Рою.
Voldar: Оказывается не только Рой не стал дожидаться сегодняшнего дня.Сегодня обнаружил первый релиз MOJO в лосслессе,аж от 10 июня. http://avaxhome.ws/music/rock/tom_petty_and_the_heartbreakers_mojo_2010.html
Daria: на торрентах давно лежит. и lossless и mp3
Voldar: Откуда может взяться mp3 я ещё могу понять,а вот откуда тырят лоссслесс не очень.Релиз с авакса я ещё не проверял на подлинность - это может оказаться тот же перекодированный mp3,хотя в комментах пишут,что good.
Voldar: Рецензия от матёрого журналиста из Ролинг Стоунс. 'Mojo' Reviewed in 'Rolling Stone': 4 Stars! By Dave Fricke Tom Petty and the Heartbreakers have been one of America's greatest live bands since their first club tours and opening-act jobs, in 1976 and '77. Lethal garage-rock modernists with pop-hook savvy, they've always had the chops and empathy to make a studio record like Mojo: everybody in one room, going for the master take together and getting it fast. They just took 34 years to work up the nerve. It was worth the wait. Mojo is dynamite – Petty and the Heartbreakers' matured return to the elementary fury of their first golden-twang era, capped by 1981's Hard Promises. The performances are natural knockouts – cocksure grooves, pithy knife-play guitars and little overdub fuss – worked up, then nailed, some on the first full take, at the band's suburban Los Angeles rehearsal space. Petty can't help stressing the authenticity here. The credits include the make and vintage of every instrument and the exact tracking date of each song. That's Petty playing a 1964 Gibson ES-335 guitar and lead guitarist Mike Campbell wielding his steady weapon, a '59 Les Paul Sunburst, on April 28th of last year, in the opening number, "Jefferson Jericho Blues." That's almost too much detail, a distraction from what actually makes the song work: drummer Steve Ferrone and bassist Ron Blair's blues-train shuffle; Campbell's snarling breaks; the way Scott Thurston's harp dogs the guitars, Little Walter-style, the whole way. "I'm writing it for the band to play," Petty told us last fall, referring to the songs he was bringing to the sessions. That's just how they sound, like well-oiled treble-armored vehicles built for bruising, driven with all hands on the wheel: "Takin' My Time," with its grinding-fuzz bridge; the heavy Yardbirds-style rave-up "I Should Have Known It"; the closer, "Good Enough," a compound storm of slow-blues Led Zeppelin and the Beatles' "I Want You (She's So Heavy)." "Love hit us hard/Like an overdue train," Petty drawls in the oceanic waltz "First Flash of Freedom," a setup for the real psychedelic wham of the exultant Jerry Garcia-joins-the-Allman Brothers guitars and the meaty, rippled sweep of Benmont Tench's organ break. Petty surely didn't plan it that way, but Mojo arrives with instructive synchronicity, on the heels of the Rolling Stones' reissued Exile on Main Street. The records have a lot in common: the double-LP length and garage-comrade swing; the constant motion in the lyrics, out of trouble and blown chances toward something that, in the distance, looks like refuge. "I see with the eyes of somethin' wounded/Somethin' still standing after the storm," Petty sings over the dark gallop and skidding guitars in "Running Man's Bible." But also like Exile, Mojo comes with a creeping grip in its rumble, sly, intuitive details that snag you at every pass, like Tench's raindrop accents on electric piano in the road-trip reverie "The Trip to Pirate's Cove" or the extra beat of smoldering silence before the chorus line in "Lover's Touch." You don't get that kind of cool with Pro Tools and Auto-Tune. It takes a great band, playing as one for the toughest audience in the world: itself.
Voldar: Небольшой отрывок из интервью Тома на TV PBS вчера с ведущим Tavis Smiley.
SLQ: http://www.edmontonsun.com/entertainment/music/2010/06/17/14419801.html Petty and band worth every penny By MIKE ROSS, Special to The Sun June 16, 2010 11:58pm In a world of fakes, poseurs, pretenders, show-offs and grossly inflated concert ticket prices for all of the above, Tom Petty stands apart. Well, four out of five ain’t bad. The good seats to the big show at Rexall Wednesday night were $150 — which is, to coin a term that mentally challenged people aren’t using anymore, “retarded.” What a rip. He didn’t even blow anything up. And where were the giant plasma TV screens embedded in the levitating drum riser? Where was the levitating drum riser? And while we’re at it, where was the squad of break-dancing back-up singers whose lip-syncing was so perfect you‘d swear it was real? Nowhere, man. Bang for one’s buck came entirely from the music. What a novelty. Seriously, if anyone was complaining about the ticket prices last night (certainly not as retarded as some of the shows coming up), they would’ve been drowned out in a non-stop Tom Petty singalong. The thunderous cheers that followed Don’t Back Down —the first of many well-known hits to come — were even louder than when Nickelback blew a bunch of blue flames a few weeks ago. Backed by his awesome Heartbreakers band that got tighter, dirtier and meaner as the night roared on, Petty himself seemed blown away by all the adulation, prompting him to call us a “lovely bunch of people.” He probably says that to all the towns. Then came such roots-rockin’ goodness as Free Fallin’ and Last Dance With Mary Jane and Refugee and Running Down a Dream and the lovely people — 10,800 in attendance last night — lost their minds. Several times. Like all classic rockers who want to avoid going insane, Petty and his boys insisted on doing a couple “from our new album” — that being a record called Mojo, fresh off the presses. The singalong basically ended at that point, and the show hit a bit of a lull, but the tunes were interesting enough to prove that Petty hasn‘t lost the gift of songcraft that made him such a big deal to begin with. One sounded like a two-stepping hoedown, complete with screaming harmonica riff. And a trippy power ballad called First Flash of Freedom that evoked the Doors, featured such couplets as “fistful of glory/suitcase of sin” and showcased an old-fashioned double lead solo from guitarists Mike Campbell and Scott Thurston. Don’t hear that sort of thing too much anymore. Why? Because it’s really hard to do. Petty, a humble man at heart, thanked the crowd for allowing him to play some new material, and rewarded our patience with hits held in reserve. The singalong resumed to end the set proper with Refugee, featuring another blistering Mike Campbell solo. Even in music as unpretentious as Tom Petty’s, there is a proper time and place for showing off — and that would be at the end of Refugee. And special effects? OK, they had some cool lasers and a bank of nifty video screens. Those things are expensive. And all these musicians —five guys with Petty, another eight with opening act Joe Cocker. Great players don’t work cheap, either. So sure it was worth it. Happy? Joe Cocker has a reputation as the most gruff of the blue-eyed soulmen, and at 66, he‘s not about to let that title go. The man still can still unleash three or four good phlegmy belts per tune, and still play a pretty mean air guitar, air piano and air drums while he’s at it, though he‘s starting to resemble a white Redd Foxx. No matter. Just close your eyes. Joe does when he’s really into it, and he really is. The biggest Woodstock moment last night arrived with a throat-curdling scream in With a Little Help From My Friends, his signature version perhaps even more well known than the Beatles’. A crisp eight-piece band pumped out a rich, full sound for a set that included everything you’d care to hear from Joe Cocker — from Feelin’ Alright to Up Where We Belong. He’s still the master of getting tough with a tender song. Or should that be the other way around?
Daria: By: Dennis Cook Gris-gris, jack ball, hoodoo bag – all different names for the same thing, a totem that signifies rejuvenation, root energy, life force. When one's mojo is workin' they hum from the inside out and their actions strike like a marksman's arrow, sharp and true. So, it's fitting that the latest long-player by Tom Petty & The Heartbreakers is dubbed Mojo (arriving June 15 on Reprise/WEA). Despite 35 years and counting on the ramparts, this band sounds like they scored a swell new mojo hand, coming on as fired up and ready to wave rock's banner as they did back in 1976. Mojo feels engaged on every level, the unadulterated sound of a rock band making rock music. "That's exactly what it was. We had a terrific time doing it. I don't think we could have had more fun," says Petty. "We recorded it live-in-the-studio. We did a few overdubs, not a lot, and the rule was to try and not do any. We like it and feel really good about it." Mojo is the first Petty and the Heartbreakers studio release since 2002's The Last DJ and the first time recording together again after the 2008 self-titled Mudcrutch record, where Petty and Heartbreakers Mike Campbell and Benmont Tench reformed their pre-Heartbreakers band. That record was similarly cut with a live approach and influenced Mojo's general feel. "I think the Mudcrutch record turned a lot of things around for me in terms of how I approach recording. That was such a pleasurable thing. It was a record that we made that I actually like to go back and listen to [laughs]. I don't normally do that; I'm usually fed up with it by the time I'm done with it. [Afterwards], I thought, 'Why would I do it any other way?' and let's see how it works on the Heartbreakers," explains Petty. "With the Heartbreakers, we hadn't made a record in so long I really wanted it to be really good." The new record has a darker hue in places than some chapters in the Petty catalogue, with a thick, present sound and lyrics so sharp they draw blood. A bit of Mudcrutch's psychedelic bent also finds its way into the proceedings, particularly on standout "First Flash of Freedom." "The takes were usually very early takes, and I wanted to leave room for improvisation. We didn't really demo this up. I just came in with my guitar, played them a song on it and took it from there," says Petty. "So, everyone had a lot to contribute. I guess 'organic' is an overused word but it is pretty organic because it was created right there on the studio floor. We didn't polish it up. We just took it as it was. The groove was the important thing. I wanted everything to have a deep pocket, and I think we succeeded pretty much on that level." In 2010, rock has largely lost its hips, ceded the dance floor to urban soul and mainstream pop and country, forgetting its early primary purpose of getting folks to sway and grind together to the beat. Thankfully, masters like Petty and his running partners haven't lost the script. "Swing is the key word. The swing has kind of gone away, and it's become a little stiff to me. I really admire what Booker T & The MGs do, that sort of groove. JJ Cale has a great groove, too," offers Petty. "This is what the band has grown into [laughs]. This accurately reflects what we've turned into. We've got a lot deeper pocket than we used to. In the early '80s I don't think we would have or could have made this record." Even Rock Stars Get The Blues There's a blues undercurrent to the album, from the title to opener "Jefferson Jericho Blues" to something more indefinable and haunted in the shadows. If anything, Mojo hews close to the blazing blues-rock of early Fleetwood Mac. "I love Peter Green! He's one of my idols. I could listen to Peter Green all day. And that's very much what I had in mind on a lot of the [new] stuff. I wanted to get a sound that mixed up say the Chicago Chess stuff and John Mayall, Peter Green's Fleetwood Mac, early Jeff Beck Group. These were records I played to the engineer a lot before we began the project," says Petty. "I told him, 'I want the guitars right up loud, as loud as the vocals when [Mike] plays,' and I think we succeeded at that. Mike's just amazing. He really stepped up and did his part." Campbell is right out front on Mojo. It's a refreshing change of pace and perhaps a chance for folks who haven't paid close attention the past 35 years to discover just how tremendous a guitarist Mike Campbell truly is. Often he's an extremely tasteful, subtle, respectful player, working into the muscular of the music rather than riding on top. "I tried to kinda drum that out of him [laughs]. It was like, 'Okay, let's show 'em what you can do. Just rip and have some fun.' He never let us down," enthuses Petty. "I've known Mike and Ben for so long and they still amaze me. I couldn't dream of playing with anyone else." Tench, Campbell and Petty have played together for close to four decades, and yet their chemistry and obvious camaraderie make each new chapter feel fresh and exciting for them, which in turn sparks off fan enthusiasm in a very tangible way. Nothing compares with the force of a shared endeavor that guys put their backs into, and these three do that again & again. "What else would I want? I've always been so satisfied with them and the position I'm in with them," Petty says. "When we came together we had very similar record collections, very similar tastes, and that's always been important to us, that our reference points are really clear. But I've always felt it was a little bit of luck that they walked into my life when they did. And I think we all respect each other and we're who each of us wants to play with." The impression from the outside may sometimes be that this is Tom Petty's band but spend a little time talking with the man and it's clear he sees this as a full-blooded collaboration. And it always has been in his mind. "We've never looked at it as me and a backup group. We've always treated the band as equals. Maybe I'm sort of the final stamp of approval, but I think everybody has an equal input. And it's not something we work on; it's very natural. We don't talk about it a lot, we just do it," says Petty. "I'm very grateful for whatever force of nature brought them to me." "Mike has always understood [me]. If I have a song he'll play something better than I picture it. He'll always hand me something better than what I handed him. There's very little to say but, 'Oh yeah, that's great.' It's a great little group and I'm really glad I'm still in it." Capturing Mojo "We did [Mojo] at the Heartbreakers' clubhouse/rehearsal space and studio where all the gear is stored. Literally every piece of gear we've ever bought is there, and it's really handy and accessible," explains Petty. "Over the years it's morphed into more of a studio. We've built a nice control room there, but it's very casual. We'd just roll in and start to play. There's no headphones, and that changes things quite a bit to not be separated and playing in different rooms. So, we're playing with just floor monitors. We can't have them up very loud but that's what we're using. It's pretty much like a rehearsal in some ways. By the time we learn a song we've got a couple of takes." "And [engineer] Ryan Ulyate (ELO, George Harrison) has really changed my life since he came into the picture. He's very good at understanding what I want without a lot of discussion, and I can stay on the studio floor and worry about the arrangements while he worries about the control room. It's a real good tag-team we've got between he, Mike and myself. And I didn't feel the need to bring a producer in. I felt I had a clear idea of what I wanted to do." Over the years, Petty has built up his production skills, learning better and better how to capture the sound and vision inside his head on tape. "The great thing is when it surpasses what you had in mind! I often didn't know exactly what I had in mind; I just had it with a guitar and could sort of picture what they'd bring to it. But they always surprised me and did something better than what was in my mind. I sometimes didn't know if I had that strong a song and they'd turn around and give me something incredible, like with 'Don't Pull Me Over' [on Mojo]. I didn't even intend to show them that song. It's got a slight reggae groove to it and I thought that might rule it out. But we ran out of songs [laughs]. So, I said, 'Well, I've got this thing, but I don't know…' They came out with this fantastic groove on it. We weren't going to put it on the record but anybody who came by the studio said we should put it on the record. So, it got us all thinking it was something." "We all didn't want to quit. I felt so in the pocket – I was coming up with songs and the band was cutting them so easily and having such a good time doing it. I think we'd still be there but we had to quit because of the [summer] tour coming up on us. It could have very easily been a double album. We still have a few tracks that didn't end up on the record because of time constraints. I just never felt so comfortable recording. I could have just kept going." The Trip To Pirate's Cove The lyrics on Mojo have the density and intensity only a life deeply lived could produce. But, it's largely not sing-along Petty fare, instead delving into gray areas and culling memorable but not necessarily bright moments from Petty's long road. One number that slithers with a grimy, realistic underbelly is slow burn "The Trip To Pirate's Cove." "I think it's probably got some reality base [laughs]. That was a really particular one where I really liked the story so much and Ryan and I talked about it a lot. We really liked the story but when we started to do the song I had a whole different set of music to it. It was much quicker, a faster tempo, and it just wouldn't play," recalls Petty. "It was one of the only difficult ones, and I rewrote it three times and came in with different ideas that we'd try. We got a little discouraged and thought we might have to throw it away. But it was too good a story, so we felt we had to find the right groove for it. We finally found the music that we used, and I was really relieved. Now I can't imagine it any other way." The track has the quality of Santa Cruz, California on a stormy day after the tourists and college students have left and only the locals move through quiet, windblown streets. Petty says, "That's what I kept thinking – that we had to find something that captured the feel of the story. It just took a while to find the feel and the groove and the melody." One of the first shows on the brief 2008 West Coast Mudcrutch tour was in Santa Cruz, and it drew in a colorful bunch of bikers, aging hippies, curious roots rockers and Gainesville expatriates [see the original JamBase review here]. It was a marvelous affirmation of rock's power over some folk's lives, not the least of which the five guys up on stage. "That was the second show we played, and we were just elated by it. That was such a fun little tour. I wish it could have gone on & on. We were just so happy to be back together. They were all staying at my house, and we were all just having such a great time," says Petty, who confirms the impression that what one heard inside the Santa Cruz Civic was the sound of guys rediscovering why they'd picked up instruments in the first place. "Yes, very much so. There was no other agenda other than to enjoy ourselves and play that music. It really did feel like the old days having those guys all together. Everything we played, all the covers, were things we used to play. It was really nostalgic for us. And Tom Leadon and Mike have such a cool guitar thing going together." Bringing The New Into The Old The tunes on Mojo seem readymade for the road and likely to thrive once they've had some time to breathe in front of a fired up crowd. "I didn't ever use more than six pieces. The idea was to keep it down to combo size, and I didn't really go for any major production. I just wanted to get a nice sound on the band and let them play," says Petty. "When we've been rehearsing the new stuff has been very strong, very powerful, maybe more powerful than the record." Tom Petty and The Hearbreakers began their new tour last week. The challenge with any band that's been around this long and had as many hits as these guys is how to integrate the new material into the existing body of work in a live context, where, face it, many fans pony up the bucks to hear "American Girl" and "Free Fallin'" rather than what's happening today. It's part of the American tendency towards major brand loyalty and fear of the non-familiar that creates a challenge to Petty in balancing audience expectations with artistic needs. "It's something we've really been talking about a lot lately. You really do walk a thin line when you've got this big a catalog. We can do shows where people sing the entire show, and when we interrupt their sing-along they tend to get testy. But I think it's time we really focus on the new stuff, and we'll give them enough of the old stuff. Okay, I'll give you what you came to hear, but I think it's important that we keep this a contemporary trip or we're gonna start to feel like this is some kind of oldie-goldie thing, which it isn't," states Petty. "I love the old stuff but I think this tour you're gonna hear a lot of the new stuff. And if you don't like that then don't come." "I really believe we're gonna be able to play a great deal of this new stuff and no one is gonna go for a beer. It's really strong in the rehearsals. And I'm just really taken with how strong it is in general," says Petty, who knocked it out with the band recently on Saturday Night Live, shaking maracas and looking hell bent for leather [see the performance below]. "I did the run-through with the guitar and I just didn't feel good with it. And I thought, 'I'm not really doing anything here,' and I wasn't even playing it till the end of the song. So, I decided to put it down and try it without it." One can see Petty egg Campbell on in this performance, literally motioning him into the spotlight and firing him up. This is what a great bandleader does – aids and abets his players, draws out the best in them – and Petty is surely one of rock's finest bandleaders at this stage in his career. "That's my job – to get the most out of them I can get and to keep them focused. It isn't really that hard." http://www.jambase.com/Articles/23022/Tom-Petty-Something-Good-Coming/1
Voldar: Спасибо,Дарья.Интересное исследование.
SLQ: Old rockers never die June 18, 2010 by Rikki MacCuish Filed under Arts & Entertainment, Music Diva Leave a Comment There’s nothing like a little nostalgia to draw a full house at General Motors Place in Vancouver. Nostalgia is exactly what draws Tom Petty fans to keep returning to his concerts. I know I’m not the only kid raised on Full Moon Fever or the Traveling Wilburys’ Volume I. Tom Petty has released so many great hits, it’s nearly impossible to keep track of them all. The June 8 show at GM Place also featured opening act—or first headliner, depending on how you view him—Joe Cocker. Known for his outrageous stage persona back in the ‘70s and early ‘80s, Cocker has put forth hits like “A Little Help From My Friends” and “Up Where We Belong”. His best performance onstage at the Vancouver show was definitely “You Are So Beautiful”, portraying his incredible vocal talent. When pondering the possible set list for the Tom Petty and the Heartbreakers show, it was hard to picture whether it would be old hits to please fans, or it would include mostly new material from Mojo, the still unavailable new album—a streaming version is available for listening at ESPN.com. Gladly it was a mix of both, leaning heavily towards the former. Listening to Petty belt out the lyrics to “Runnin’ Down a Dream” brought back the days of sifting through the parents’ CD stack, looking for something other than terrible country records. Thankfully Tom Petty, leaning towards the mellower, simpler side of rock and roll, was among them. “Free Fallin’” was the typical sing-and-drive song or campfire anthem, and of course everyone knows “I Won’t Back Down”, Petty’s own mantra after having survived the arson attack on his home. The Tom Petty and The Heartbreakers concert at GM Place was flawless, and the band seems really tight after having been together for over 30 years. Dreadlocked guitarist Mike Campbell threw out some great tunes as the band reminded audiences that they will remain as one of the best rock acts to ever produce music. Tom Petty’s lyrics are ridden with his trademarked simplicity, and so is the rest of the music. Everything is easy to remember, catchy and classic. Very few songs are poetic or complicated with riddles. Straight up lyrics have created Petty’s songs into household anthems that pass from generation to generation. The songs are like the Rolling Stones crossed with Bob Dylan. Petty’s recognizable nasally voice soars as this 60-year-old rocker, donned in a white-collared shirt and black leather vest, recalled good old times for his fans, thanking them in the process. There’s nothing better than going to a packed stadium with everyone standing up and singing the lyrics to all their favourite old songs. Tom Petty and The Heartbreakers are certainly a band that will go on and be remembered for years to come. This band certainly shows no signs of slowing down. A listen to the new album Mojo brings back memories of old Tom Petty songs. In particular, “Good Enough” is a great, moody song that sounds both complex and simple at the same time. This was a memorable concert with insane energy and an amazing band that has not only been inducted into the Rock and Roll Hall of Fame, but also as a household standard, a basis by which families can build great musical bonds from. Have a listen to the new album, due out June 15 and if you get the chance, definitely catch the next tour. http://sunpeaksnews.com/old-rockers-never-die-2344.htm
SLQ: Не очень хорошая рецензия на альбом Tom Petty and the Heartbreakers: Mojo(Reprise) 2 звезды из 5 Michael Hann The Guardian, Friday 18 June 2010 Article history In his 50s, Tom Petty seems to be living the Grumpy Old Man phase of his career. His last album with the Heartbreakers, 2002's The Last DJ, bitterly attacked the state of the music business. This record – with the songs recorded live in the studio, and the equipment used by the band all listed (no guitar made after 1965 here, folks) – would appear to be the "Listen, youngsters, this is how we used to do it" one. That impression is heightened by the fact that Mojo is, largely, tasteful blues rock, with Mike Campbell's guitar to the fore. There are sparks of life in the rollicking country rock of US 41 and the spiralling riff of First Flash of Freedom, but it's all very polite. And in Don't Pull Me Over – a plea to a police officer for clemency over marijuana possession, set to an Eric Claptonesque vision of reggae – Petty may have written the worst song ever. http://www.guardian.co.uk/music/2010/jun/18/tom-petty-and-the-heartbreakers-mojo-cd-review Насколько же разделились мненитя кртитиков. Кто-то в полном восторге . Кото-то раскритиковали альбом в пух и прах. Да, не все любят блюзовое звучание, увы.
Voldar: ....караван идет.Только Don't Pull Me Over мне тоже как то не очень.
SLQ: The Word On: Mojo, Tom Petty & the Heartbreakers Friday, 18 June 2010 "'Mojo' is the strongest set of songs from Tom Petty & the Heartbreakers in over a decade and a half." esdmusic.com "'Something Good Coming' is the loveliest, most soulful ballad Petty's written in years. But for fans hoping for a reminder of the band's true greatness, 'Mojo' offers more frustrating proof that the waiting is still the hardest part." popdose.com "It seems that the actual songwriting has taken a backseat to superfluous bluesy jams." ventvox.com "The best Heartbreakers record since 'Southern Accents' and the best Petty record since Wildflowers and that is why it belongs in your collection." nodepression.com http://www.independent.co.uk/arts-entertainment/music/features/the-word-on-mojo-tom-petty-amp-the-heartbreakers-2003163.html
SLQ: 10 things you didn't know about Mike Campbell By Cam Fuller, The StarPhoenix June 17, 2010 Mike Campbell has played lead guitar in Tom Petty's band since the very beginning, which means he's been a key part of every landmark song, from Don't Do Me Like That and Refugee to The Waiting and Free Falling, for the past 34 years. He's known as an unselfish band-mate, the ultimate team player. But as a result, his accomplishments often go unnoticed. Here are 10 things you probably didn't know about Mike Campbell. 1. He's ready to love us. Saskatoon "sounds like a faraway place," Campbell said in a recent interview. It's the band's first time playing in Saskatchewan. But "the last tour we went to Calgary and Edmonton. The audiences really enjoyed it. They were incredibly great. So if you're anything like that, it will be fun. I sincerely mean it. We were stunned at how great the Canadian audiences in the west part of the country were. So we're looking forward to it." 2. A guitar inspired the new album, Mojo. "It's one of my favourite records we've ever done, for a lot of reasons. It came about as a result of a discussion I had with Tom one day about a guitar that I had purchased, an old '59 Les Paul sunburst and I was going on about how great it sounded. And he said 'why don't we make an album around the sound of that guitar? Some great guitar up loud with some great songs underneath it.' And we went from there." 3. He likes the Mojo promo -- free album download with concert ticket. "I think that's a great idea. If I were a fan and could get an album and a concert ticket I would be quite pleased. The industry has changed quite a bit, so there's different ways to get your record out there than there used to be. If that works, that's fine with me. It's a wacky business, it's always evolving and you just have to go with it." 4. He really likes Tom. "He's the greatest. He's my best friend. He's bright. He's funny -- really funny. And he just loves music. Tom is like a hybrid of Bob Dylan and Keith Richards. He's got those two energies together and every band should have one. 5. He wrote the music for Don Henley's Boys of Summer. "I write all the time. I love to write, and that was just a piece of music that I had." Producer Jimmy Iovine suggested he play it for Henley. "So I went over and did and he got inspired by it and wrote a really great song. I was really just in the right place at the right time, I guess." 6. They recorded Free Falling in his garage. "Working with Jeff (Lynne) was a revelation. It was like going to musical college. The guy was so brilliant making records. He came in and said 'OK, here is what we're going to do. Lay down some acoustics. Put some drums on it, put some backgrounds.' And we did it all in one afternoon and by the end of the day it was done and mixed and Tom and I just looked at each other. Wow. Thank you, Mr. Lynne. Then we proceeded to do the rest of the record." 7. He got into music for the music (and the girls). "My generation was the Beatles and Stones generation. We were greatly influenced by that whole era. And when I was young I was moved by (Bob Dylan's) Like a Rolling Stone. What is this thing that's so magnetic and powerful? I started playing guitar and I never dreamed that I would some day work with the guy who wrote that song. But a lot of my dreams have come true. I just feel really blessed. It just came from that. Of course, the girl thing is a joke, but when you play in a band, sometimes it's easier to meet girls and stuff. So that plays into your young testosterone part of it. But mostly it was just the pure spirit of rock 'n' roll music. It's a powerful thing. It's my religion." 8. He ain't exactly a heartbreaker. He and his wife have been married 35 years: "Isn't that amazing? I'm very proud of that. I think I'm in the .1111 per cent. But I have a wonderful wife who's been very patient. It wasn't always easy, but I love my family and they support me in my music and we've managed to make it work. We're just really lucky that way." 9. He has a life off-stage. "I'm addicted to writing and recording. When I'm not doing that, I'm doing family things. I have a lot of dogs and my kids and my wife. We do normal things that most people do. And then I have a little band called The Dirty Knobs, which is my friends here in town, and when I'm between Heartbreaker stuff I take them out into little clubs and try out new songs and have a lot of fun with no pressure. It's a great outlet for me to keep my craft up and also have some fun." 10. He's still amazed by the 2008 Super Bowl half-time gig. "It was over the moon. The best thing for me personally is that it happened to be, like, one day after my birthday. So I had my kids all come out to Phoenix. I was Super Dad that day. The gig was a lot of stress, a lot of pressure because it is so huge. You can't even comprehend how huge it is. But once we got there and we kicked in, it was a lot of fun. You only do it once, fortunately it worked out for us." Read more: http://www.thestarphoenix.com/news/things+didn+know+about+Mike+Campbell/3165142/story.html#ixzz0rCNEhHnq
SLQ: По ссылке можно послушать и скачать радио интервью Тома , Майка и Бенмонта, котрое они дали Джиму Ледду. В конце шоу можно услышать еще одну новую песню - "Mystery of Love" ,которая не вошла в альбом "Mojo" http://www.955klos.com/blog.asp?id=37816
Voldar: На этой фотографии ,Том имеет сходство с одним отечественным рокером.А как песня,которая не вошла в альбом?
SLQ: Voldar пишет: А как песня,которая не вошла в альбом? "Mystery of Love"
Voldar: Лена,я имел ввиду,как впечатления.У меня сейчас, к сожалению не очень много времени,бороздить по просторам инета.
SLQ: Voldar пишет: Лена,я имел ввиду,как впечатления.У меня сейчас, к сожалению не очень много времени,бороздить по просторам инета. Хорошая песня. Хотя пока еще как следует ее не послушала.
SLQ: Пара концертных обзоов No heartbreak at Tom Petty show in Saskatoon Years of waiting worth it for Saskatchewan's Tom Petty fans By Kevin Blevins, The Leader-Post June 21, 2010 Read more: http://www.leaderpost.com/health/heartbreak+Petty+show+Saskatoon/3180556/story.html#ixzz0rZHKgLuy Tom Petty & the Heartbreakers (with Joe Cocker) Credit Union Centre Saskatoon "The Waiting" really was the hardest part. And, although Tom Petty and the Heartbreakers didn't play that gem from 1981's Hard Promises at their near-capacity show in Saskatoon Friday night, there were plenty of sizzling standards -- with a sprinkling of new mojo -- to delight those who had long awaited the Florida rockers' first-ever performance in Saskatchewan. Hitting the stage to the upbeat and optimistic strains of 1978's "Listen To Her Heart," Petty immediately sensed the good vibe in the air. Looking resplendent in his red satin shirt, pinstriped velvet pants and black cowboy jacket with skulls and crosses, the 59-year-old rock icon flashed his famous toothy grin over and over again for ovations that were longer than expected. After completing the brooding "You Don't Know How I Feel" and the defiant "I Won't Back Down," the mood at Credit Union Centre was anything but down, something that was not lost on Petty who may or may not have realized he was in the middle of one of the best concerts Saskatchewan will see this summer. Bowing, quite literally, to the 10,000 strong, one of America's greatest modern-day songwriters finally spoke of skipping over Saskatchewan during his 34-year career: "This is our fist time to Saskatoon," he said in his deep southern drawl to screams of approval. "I should have come here a long time ago." Sticking to the hits, Petty and the Heartbreakers broke out a beautiful version of "Free Fallin'" and the crowd joined in for a joyous singalong, raising their lighters and mobile phones high in the air as their voices raised the rafters of Saskatoon's not-so-new-anymore hockey rink. Speaking of highs, the smell in CUC was just right -- if you know what I mean -- when Petty and the boys launched into their ode to marijuana, "Mary Jane's Last Dance." High, hot and sweaty on this muggy June night, the fans -- full of young adults who knew all the words -- were now in the mood for a classic heartbreaker, the sexy "Breakdown" from the band's 1976 self-titled debut, Tom Petty and the Heartbreakers. With Benmont Tench's keyboards setting the mood, and Steve Ferrone's drum beat and Ron Blair's bass line rolling the concrete beneath our feet, the beautiful brunette next me (my wife, another beautiful brunette, was beside her dancing the night away) declared: "This is a great song to (make love) to" while Petty and guitar thrusted to the words "Go ahead and give it to me ..." Now well into his 117-minute set, Petty took a chance and decided to play four bluesy numbers from his just released Mojo CD, his first studio effort with the Heartbreakers in eight years. When new material has only been available for a short time -- in this case a few days -- performers always run the risk of losing the crowd, even exceptional artists like Petty. But the material on Mojo is strong and worth showcasing, even if the fans sit on their hands for a few numbers. And as Petty explained, "It's so much fun to play a new song." "First Flash of Freedom" was exceptional thanks to the work of lead guitarist Mike Campbell and multi-instrumentalist Scott Thurston, who traded guitar licks back and forth, with a proud Petty strumming in the middle. But the audience seemed to enjoy the radio-friendly hooks of "I Should Have Known It" even better, returning to their feet and re-igniting the energy in the building. Sensing he had them back, Petty ditched "Good Enough" -- a new song he has been playing often this tour -- to return to the hits, in this case a stripped-down, mostly acoustic version of "Learning to Fly," a monster smash from 1991's Into The Great Wide Open. Then after a psychedelic version of the Alice in Wonderland-inspired "Don't Come Around Here No More," -- punctuated by blinding strobe and laser light effects -- Petty hit everyone where they hurt with show closer "Refugee," his King-making, career-saving FM radio staple from 1979's Damn The Torpedoes. Returning to the stage for a well-deserved encore to rip through fan favourites "You Wreck Me" and "Runnin' Down A Dream" with a fine cover of Them's "Mystic Eyes" wedged in between, a classy and humbled Petty stepped to the mic to acknowledge the obvious: "You come back and we'll come back. God bless you all." As always, the waiting will be the hardest part ... SETLIST: 1. Listen To Her Heart 2. You Don't Know How It Feels 3. I Won't Back Down 4. Free Fallin' 5. Oh Well (Fleetwood Mac cover) 6. Mary Jane's Last Dance 7. Drivin' Down To Georgia 8. Breakdown 9. Jefferson Jericho Blues 10. First Flash Of Freedom 11. Running Man's Bible 12. I Should Have Known It 13. Learning To Fly 14. Don't Come Around Here No More 15. Refugee ENCORE: 16. You Wreck Me 17. Mystic Eyes (Them cover) 18. Runnin' Down A Dream Read more: http://www.leaderpost.com/health/heartbreak+Petty+show+Saskatoon/3180556/story.html#ixzz0rZGYland ------------------- Winnipeg Free Press - PRINT EDITION Getting their Mojo on Old, new songs thrill their fans By: Rob Williams 20/06/2010 1:00 AM DAVID LIPNOWSKI / WINNIPEG FREE PRESS Tom Petty performs at the MTS Centre Saturday night with his band, the Heartbreakers. With a batch of new songs surrounded by hits, you could say Tom Petty and the Heartbreakers delivered a Mojo sandwich to Winnipeggers Saturday. Petty and his veteran Florida rock outfit have recorded so many hits over the years, they could have played nothing but classics and easily filled out a three-hour concert (at least). Instead, the group divided their 110-minute show at the MTS Centre into three parts: hits, songs from their just released album Mojo and finally, more singles. It was a risky strategy, since the line, "we've got a new album and we'd like to play some of it for you," at many shows is the cue for the crowd to head out for more beer, but Petty's fans are a devoted bunch, and most of the 10,000 people who filled the arena for his second appearance in the city in less than two years stuck around to hear the mini-Mojo set. The album is a hit-and-miss affair, but the band wisely chose four songs that allowed the group to show off their diversity and skill, especially that of wild-man guitarist Mike Campbell, whose work on Jefferson Jericho Blues and I Should Have Known It were the highlights of both tracks. The highlights of the night were numerous, though, even if American Girl didn't make the set list. Petty and the Heartbreakers -- Campbell, bassist Ron Blair, multi-instrumentalist Scott Thurston, keyboardist Benmont Tench and drummer Steve Ferrone -- took the stage to the rootsy Listen to Her Heart before the one-two-three punch of You Don't Know How it Feels, I Won't Back Down and Free Fallin'. Each song had more people getting up and out of their seats to dance, sway, pump their fists in the air and sing. The audience did plenty of singing throughout the show, getting into a call-and-response with Petty at the conclusion of Breakdown and taking over the end of Learning to Fly. The group showed off their blues influence with an intense version of the Peter Green-era Fleetwood Mac tune Oh Well and stayed in the heavy-rock mode with Drivin' Down to Georgia, a song that doesn't appear on any of their studio albums, but was included as part of last year's live anthology collection. They should have included it on Mojo. The stage featured a backdrop of light screens and lighting columns that bathed the band in various colour schemes. There were also occasional strobe blasts and lasers used for extra visual punch. Six video screens showed the group up close, so you could see that big grin on Petty's face no matter where you were sitting. Yes, as happy as the fans were to hear Refugee and show climax Don't Come Around Here No More, Petty and his crew seemed to be enjoying themselves just as much. "We thank you all from the bottom of our hearts. Thank you so much. God bless you Winnipeg," Petty said earnestly following the three-song encore of You Wreck Me, their version of Van Morrison's Mystic Eyes and Runnin' Down a Dream. Handling opening duties was Joe Cocker, who was joined by a six-piece band and two female backup vocalists for a classy 75-minute set of soulful covers and songs he has made his own, no matter who wrote them or recorded them first. The 66-year-old mad dog still possesses a surprisingly strong voice, which he used to great effect on a powerful version of With a Little Help from My Friends, the tearjerker You Are so Beautiful and Up Where We Belong, written by Buffy Sainte-Marie. Sainte-Marie was in town this week and performed the song at The Forks Wednesday during the first of two Truth and Reconciliation Commission concerts, but didn't join Cocker on stage last night. Bummer. http://www.winnipegfreepress.com/local/getting-their-mojo-on-96746754.html
SLQ: Petty works his Mojo at MTS By DARRYL STERDAN, Winnipeg Sun Sun Rating: 4 out of 5 Something old, something new, something borrowed and plenty of blues. No, there wasn't a wedding — but Tom Petty and The Heartbreakers did achieve a near-perfect union of musical styles and eras during their Saturday night gig at MTS Centre. Playing the downtown arena for the second time in 24 months and armed with tunes from their first new album in almost eight years — not to mention more than three decades of radio-rock standards and staples — the veteran California sextet held 10,000 rambunctious fans in the palm for the duration of a well-paced 115-minute set. "It's great to be back here," remarked the 59-year-old Petty, looking dapper in a blue velvet suitjacket, his recent beard trimmed back to a demonic goatee. "We've got quite a lot of songs to play for you tonight, so I'm gonna get right to it." And get right to it they did. The singer-guitarist and his quintet — leather-clad guitar technician Mike Campbell, laid-back bassist Ron Blair, fedora-topped keyboardist Benmont Tench, drummer Steve Ferrone and utility player Scott Thurston — frontloaded their 18-song set with sure winners like the jangly Listen to Her Heart, the slow-burning You Don't Know How it Feels and the defiantly chugging I Won't Back Down, which sparked the first audience singalong of the night. With his waist-deep catalog of hits, Petty doesn't need to go overboard on the bells and whistles. And he doesn't. Sure, he came equipped with the now-standard eye-popping multi-media show — the stage was topped with a pair of concentric lighting rigs, ringed at the front by half a dozen horizontal video screens displaying the individual band members, and surrounded at the rear by another two dozen vertical screens used mostly for graphics. And yeah, there were superbly programmed lights and a quartet of tastefully deployed lasers. But compared to the previous night's Carrie Underwood spectacle — which featured a motorized, multi-tiered stage set, a massive tree branch with a swing, and a flying pickup truck — this was old-school. As was their gear: The stage was packed with more classic amps than the world's coolest pawn shop, while Petty and Campbell boasted an apparently endless guitar arsenal of vintage Fenders, Gibsons, Rickenbackers and, of course, Petty's trademark teardrop-shaped white Vox. And they put all those strings to good use. After finishing off their opening hit-parade quintet with Free Fallin', the band kicked it into second gear with a ferocious version of the Peter Green-era Fleetwood Mac classic Oh Well, followed a couple of songs later by the roots-rocker Drivin' Down to Georgia (a relatively unknown cut from last year's Live Anthology) and the bruising Breakdown, with Petty improvising some extra vocals during the middle section. With 50 minutes of goodwill under his belt, the Florida-born rocker finally got down to new business, leading his band through a four-song mini-set drawn from their blues-based Mojo CD. In keeping with that title, Petty worked it like the old pro he is, introducing every song beforehand and profusely thanking the crowd afterward. To his credit (and my surprise), the bulk of the audience didn't use the new songs as the usual cue for beer runs and bathroom breaks, but instead stayed to listen. They were rewarded with the hard-driving Jefferson Jericho Blues, the 6/8 shuffle of First Flash of Freedom (which included some stellar dual-guitar work from Thurston and Campbell, the latter playing a replica of the sunburst ’58 Les Paul that inspired the album), the tangy Running Man's Bible and the British blues-rock blast of I Should Have Known It. After 25 minutes, however, Petty returned to the songs that need no introduction. Learning to Fly brought the bulk of the crowd to its feet. Don't Come Around Here No More — which evolved from the understated tune we're all familiar with to an overwhelming barnburner — kept them there. Refugee sent them into a frenzy. And the three-stage encore of You Wreck Me, the Bo Diddley-inspired Them chestnut Mystic Eyes and the strummy Runnin' Down a Dream sent them home happy. If that response was anything to go by, Petty and co. can come around here as often as they like. And they can bring Joe Cocker back with them. The British blues belter opened the night with a 75-minute set heavy on ’60s and ’70s hits like Feeling Alright, The Letter, Cry Me a River and You Are So Beautiful. Personally, I would have rather seen Drive-By Truckers (who are opening for Petty on his next leg of dates), but there's no disputing that Cocker's set was a massive hit with the crowd. And you have to credit Petty for giving his opening acts (in 2008 it was Steve Winwood) enough time to play a full set — and take an encore. That's what Joe would call getting by with a little help from your friends. darryl.sterdan@sunmedia.ca Set List: Listen to Her Heart You Don't Know How it Feels I Won't Back Down Free Fallin' Oh Well Mary Jane's Last Dance Drivin' Down to Georgia Breakdown Jefferson Jericho Blues First Flash of Freedom Running Man's Bible I Should Have Known It Learning to Fly Don't Come Around Here No More Refugee Encore: You Wreck Me Mystic Eyes Runnin' Down a Dream
Voldar: Мнения продолжают довольно резко отличаться...
SLQ: Voldar пишет: Мнения продолжают довольно резко отличаться... Ну даже среди фэнов нет единого мнения, да и песни всем совсем разные в фаворитах. Даже у нас тут на форуме всем разные вещи нравятся и не нравятся.
Voldar: Хорошо,что хотя бы в музыке мы пока можем выражать собственное мнение.
SLQ: ГОЛОСУЕМ за песню I Should Have Known It на сайте http://www.roks.ru/index.php?chapter=hittop&action=vote
Voldar: Я проголосовал.
Goldenday: Я тоже.
Шубидуба: и я 3 раза
SLQ: Billboard Charts: Drake Debuts At #1 Posted by Mitch Michaels on 06.23.2010 Plus, a huge debut for Tom Petty and Sarah McLachlan and Now 34 crash the Top 10... Drake's Thank Me Later debuts at #1 on the Billboard 200 this week after moving 447,000 copies in its first week. That's the third best week of the year, behind Sade's Soldier of Love and Lady Antebellum's Need You Now. The entire Top 4 is comprised of new albums this week. Tom Petty & The Heartbreakers' Mojo lands at #2 with 125,000 in its debut. That's Petty's biggest first week in the SoundScan era and his highest chart effort since Damn The Torpedoes hit #2 in 1980. Sarah McLachlan's Laws Of Illusion debuts at #3 with 94,000, nearly a quarter of what her last studio album, Afterglow, moved in its first week back in 2003. And Now 34 comes in at #4, moving 88,000 copies in its first seven days. It's the first Now album from the main series to debut with less than 100,000 copies since the original Now! That's What I Call Music. Billboard 200 Top 10 1. Drake - Thank Me Later, 447,000 2. Tom Petty & The Heartbreakers - Mojo, 125,000 3. Sarah McLachlan - Laws Of Illusion, 94,000 4. Now! That's What I Call Music 34, 88,000 5. Jack Johnson - To The Sea, 68,000; down 24%) 6. The Twilight Saga: Eclipse - Original Motion Picture Soundtrack, 55,000 7. Justin Bieber - My World 2.0, 47,000 8. Lady Antebellum - Need You Now, 40,000 9. Christina Aguilera - Bionic, 40,000 10. Glee: The Music, Journey to Regionals, 39,000
Voldar: Отличный старт.
Шубидуба: да, круто!
SLQ: Petty Pays Tribute To Late Bandmate Epstein In New Song Rocker TOM PETTY wrote new song RUNNING MAN'S BIBLE during a flood of emotions about former bandmate HOWIE EPSTEIN's death. The Heartbreakers leader has often struggled with Epstein's 2003 drug-related death, admitting the bass player's narcotics use had turned him into an unpredictable bandmate - but he was still devastated after hearing of his passing. In a past interview, Petty said, "He was just degenerating on us to the point where we thought keeping Howie in the band was actually doing him more harm than getting rid of him. His personal problems were vast and serious. "We tried everything we could to reach him but it got to the point where his ability to do gigs was diminishing. Eventually, we realised that we were just contributing to the problem. When you're living a life where you really don't have any responsibilities, it's easy for evil forces to take over. "There's a great sadness, because Howie was never not a Heartbreaker. He just got to where he couldn't do it anymore... It's like you got a tree dying in the backyard. And you're kind of used to the idea that it's dying. But you look out there one day and they cut it down. And you just can't imagine that beautiful tree isn't there anymore." But there's a tribute to the bassist on Tom Petty & The Heartbreakers' new album Mojo. Petty tells Rolling Stone magazine, "I'd always wanted to deal with Howie's death, and there's some of that in there. It's (Running Man's Bible) one of those embarrassingly revealing songs. It just crept into my mind one day. I was playing the guitar, and it started falling out."
SLQ: Published Thursday June 24, 2010 Review: Tom Petty & the Heartbreakers rock the Qwest By Kevin Coffey WORLD-HERALD STAFF WRITER « MusicRSS SHARE Digg Newsvine del.icio.us Reddit Facebook Twitter PRINT EMAIL What a night. What a singalong. When Tom Petty & The Heartbreakers delivered “American Girl,” their most longstanding hit, the 10,000-plus in attendance answered back with loud, breathless singing of the inconic chorus: “Oh yeah. Alright. Take it easy, baby. Make it last all night. She was an American Girl.” While that song stood out the most, it certainly wasn’t out of place as Petty and his band performed 18 songs on Wednesday night at Qwest Center Omaha. “Well how are ya?” Petty said. “We’re back in Omaha one more time. We got a lot of songs planned for ya tonight and, well, we’re going to get right into it.” Advertising From the start, Petty dove headlong into his music. The set, just short of two hours, kicked off with “Listen To Her Heart,” “You Don’t Know How It Feels,” “Won’t Back Down” and “Free Fallin’”, which Petty dedicated to “all the young lovers in the house, whether you’re cheatin’ or not.” A bearded Petty strutted and danced around the stage and was adored by the crowd. And he seemed to love it, grinning all the way and profusely thanking the audience at every turn. The only dip in the show was a selection of six songs from the band’s newer material. The band performed “Running Man’s Bible,” “Jefferson Jericho Blues,” “First Flash of Freedom” and “I Should Have Known It” from the album “Mojo,” which was released last week. Two other unfamiliar tunes were Petty’s “Drivin’ Down To Georgia” and the Peter Green’s “Oh Well,” which both appeared on last year’s “The Live Anthology.” It’s not that those songs are bad or didn’t fit in with the rest of the set, but fans didn’t know them well. While the crowd cheered at the end of each tune, they weren’t familiar enough to get the crowd singing, clapping or dancing. In fact, many standing sat down in their seats and quite a few others bolted for the councourses as soon as the new songs began. But the rest of the set was filled to the brim with songs the crowd recognized. There was “Last Dance With Mary Jane,” “Breakdown,” “Don’t Come Around Here No More” and “Refugee.” Those were followed with an encore including “Runnin’ Down A Dream” and “You Wreck Me” before ending the night with “American Girl.” Absent from the set are classic rock radio staples such as “I Need To Know,” “Here Comes My Girl,” “Waiting,” “You Got Lucky” and “Into The Great Wide Open.” And nothing appeared from the four albums previous to “Mojo.” No complaints here. The show was pretty well-rounded already and would have lasted up to four hours if Petty decided to play every good song from his 15 albums. The Heartbreakers — Scott Thurston, Steve Ferrone, Ron Blair, Benmont Tench and Mike Campbell — were fantastic. Described as Petty as the “co-captain,” lead guitarist Campbell deserves more credit than he usually gets, which is not much. All night, he played stinging, fluid guitar solos that added depth and flair to the songs. Before and during the show, the arena’s corridors were abuzz with fans talking about how long they’d listened to Petty’s music and how they had to see Petty and the Heartbreakers at least once. “Thank you so much, from the band and from me,” Petty said after the show ended. “It’s been a pleasure being here. You come back and we’ll come back. God bless you, Omaha.” http://www.omaha.com/article/20100624/ENTERTAINMENT04/706249841
SLQ: Tom Petty stretches his rock 'n' blues musclesIn their fourth decade together, he and his Heartbreakers sounded better than ever at Xcel Center. By JON BREAM, Star Tribune Last update: June 23, 2010 - 1:57 PM Photo gallery: June 22: Tom Petty and the Heartbreakers More from Music NY vet dogs Mariah Carey over bills for pets' care Drummer Bobby Meide, 59, 'rocked like no one else' Memoir by Sammy Hagar due out next year Free Buffett concert tickets gone; eBay bans sale Gregg Allman undergoes successful liver transplant Bruce Springsteen, Sting and Tom Petty came from blue-collar families, fell in love with rock 'n' roll as kids, launched their recording careers in the 1970s and all ended up in the Rock and Roll Hall of Fame. And they're all still active and vital. Sting and Springsteen remain among the Hall of Fame's most ambitious musicmakers. Sting, 58, performed in St. Paul Monday with a 45-piece symphony doing orchestral interpretations of his vast catalog. Since being AARP eligible, Springsteen, now 60, has become a prolific recording artist and age-defying dynamo onstage who has outdistanced his longtime bandmates. Petty, who turns 60 in October, remains pretty much the same as he ever was. Except that the Heartbreakers, the King of Laidback Rock's band, sound better than ever -- well into their fourth decade together. On Tuesday at the Xcel Energy Center, Steve Ferrone's drums were thick, crisp and driving, Mike Campbell's guitar glistened, Scott Thurston's guitar, organ and harmonica filled in the gaps, Benmont Tench's keyboards splashed colors from a wide palette, and Ron Blair's bass added precision bounce. When you've got a band that crackles like that, Petty couldn't help but sound good. Petty and the Heartbreakers showed their versatility during an 18-song, nearly two-hour performance. The first segment was devoted to their MTV era, with taut and potent versions of the likes of "I Won't Back Down" and "Free Fallin.'" A cover of Fleetwood Mac's "Oh Well," which felt more like Led Zeppelin than early Big Mac, hinted at what was to come. The Heartbreakers were going to stretch out and flex their rock 'n' blues muscles. "Drivin' Down to Georgia" was a rock workout that gave way to an extended treatment of Petty's 1976 breakthrough hit "Breakdown," all moody and dramatic. Then Petty and the Heartbreakers got their mojo working on a mini-set of tunes from their week-old album, the bluesy "Mojo," their first studio recording in eight years. But the four-song blues set proved to be little more than a detour de force. Petty and crew downshifted once again for "Learning to Fly," the night's biggest of many sing-alongs. The 12,807 fans clearly craved the radio hits, so, predictably, the home stretch became a classic-rock cavalacade, with the slow-burn, clap-along "Don't Come Around Here No More" and the stinging "Refugee," Petty's sharpest and best rocker in his 34-year recording career. The encore was what encores should be -- some rocking with abandon ("Runnin' Down a Dream"), a surprise, fun cover (Them's "Mystic Eyes") and one of the band's own beloved hits ("American Girl"). Sting and Springsteen would have been proud of Petty, very proud.
SLQ: Petty & Heartbreakers: America's greatest rock 'n' roll band By L. KENT WOLGAMOTT/Lincoln Journal Star | Posted: Thursday, June 24, 2010 1:00 am OMAHA -- There's no mythology around Tom Petty and the Heartbreakers. Or at least far less than the legends that surround Bruce Springsteen and the E-Street Band. But I'd be hard pressed to choose which of the two is America's greatest rock ‘n' roll band. That thought hit me early in Petty's two hour set at Qwest Center Wednesday and it was repeatedly confirmed throughout. If there's a better, tighter band on the road now, I'd like to see it and it's certain that group doesn't have the catalog and connection that Petty and company bring to the stage. With 34 years behind them, Petty and original Heartbreakers Benmont Tench on keyboards and the "co-captain" lead guitarist Mike Campbell have a boatload of hits -- many of them garage pop classics. But live, they take on looser form, a groove and guitar combination that sends the songs sprawling without losing their hooks or meandering into nowhere. So it's no wonder that the four songs from "Mojo," TP&HB's new album fit so well live. Those tunes are bluesy, groove oriented live in the studio affairs and on stage they're even more effective. Note to all neo-psychedelic jam bands: get a copy of Wednesday's totally trippy performance of "First Flash of Freedom -- that's the way it should be done. Petty's set (listed below) contained a lion's share of his biggest hits and the close-to-sellout crowd sang along with most, even taking the lead vocal part on a couple tunes. Petty seemed genuinely touched and impressed with the enthusiastic response throughout the evening. In previous concerts, Petty had been ending the show with an encore that included a cover of Them's "Mystic Eyes." Wednesday, that song was dropped in favor of "American Girl," a perfect way to cap a stellar show that defines "classic" rock in a new way. A couple other notes: Campbell survived a guitar strap malfunction on "You Wreck Me," the night's penultimate song. Early on the strap broke, forcing him to hold the guitar by the neck to strum and, at one point, kneel and balance it on his leg to play a lead. He seemed to enjoy the challenge and was more than up to it. The Drive-by Truckers anthemic, three-guitar rock translates just fine in arenas, thank you very much. I've seen the Truckers in TV studios with 30 people, crappy clubs, nice clubs and on outdoor stages. But I'd not seen them in an arena until they opened for Petty Wednesday. Their hour-long set was dynamic and engaging enough that audience members were on their feet, screaming along to the chorus of "Hell No, I Ain't Happy," a song most likely not heard before the show began. A song I hadn't heard live closed the Truckers set with striking style. "Angels and Fuselage" ended "Southern Rock Opera," the band's 2001/2002 song-cycle album about Lynyrd Skynyrd. The haunting song details a band member's thoughts as the plane is crashing. When Patterson Hood finished singing, he laid his guitar down on stage, still plugged in and walked off. He was followed, one-by-one, by Mike Cooley and the rest of the band, leaving the stage empty when the music ended. Wow. With the Truckers delivering an impressive opening set and Petty and the Heartbreakers again proving they are one of the greatest if not the best live rock ‘n' roll band, Wednesday's show is going to be hard to top on my best of 2010 list, at least for arena shows. Tom Petty and the Heartbreakers setlist "Listen To Her Heart" "You Don't Know How It Feels" "I Won't Back Down" "Free Fallin'" "Oh Well" (Fleetwood Mac cover) "Last Dance with Mary Jane" "Driving Down To Georgia" "Breakdown" "Jefferson Jericho Blues" "First Flash of Freedom" "A Running Man's Bible" "I Should Have Known Better" "Learning to Fly" "Don't Come Around Here No More" "Refugee" ------------------------- "Running Down a Dream" "You Wreck Me" "American Girl" http://journalstar.com/entertainment/music/article_166d2aa0-7f56-11df-a538-001cc4c03286.html
SLQ: Tom Petty and the Heartbreakers at Xcel, 6/22/10 By Rob Van Alstyne, Wednesday, Jun. 23 2010 Photos by Steve Cohen Now entering his fifth decade in the music biz, Tom Petty has reached that enviable point in his career where he could be easily forgiven for resting on his laurels and calling it a day. He'll turn 60 later this year and has already sold 60 million records and been inducted to the Rock & Roll Hall of Fame -- suffice it to say his musical bucket list isn't exactly robust at this point. So it's refreshing that even with nothing left to prove Petty and his longtime backing band the Heartbreakers unleashed Mojo on an unsuspecting public a few weeks back. Clocking in at 15 tracks and over an hour in length, Mojo's the work of a group of old hands more than comfortable in their own skin, a swampy and bluesy affair that's pretty much the antithesis of Petty's most popular albums (the pristine and sparkly combo of Full Moon Fever and Into the Great Wide Open). While it's far from my cup of tea -- I prefer my Petty set to a bouncy Byrds-ian jangle rather than besotted with B.B. King -- Mojo does make for an exquisite showcase for lead guitarist Mike Campbell, a true six-string beast let off the leash on record all too rarely. So the question headed into Petty and Co.'s big gig at the Xcel Energy Center was just how much Mojo's meandering melodies would dominate the evening or whether they would still favor the old standbys sure to satisfy the fans who had shelled out big bucks to see them (the cheapest seats in the house ran $63 after service charges, primo seats topped out over $175). Wisely the band found a comfortable middle ground, playing the hits from every chapter of Petty's storied career, while pausing to take a detour into Mojo's muddy musical waters on a four-song mini-set that lasted for about 25 minutes about two-thirds of the way into the set. At this point the "new" guy in the band is drummer Steve Ferone, and even he's been around for 16 years. The lived-in chemistry of the six-piece band was palpable from the opening chords of "Listen to Her Heart" right on through to the final ringing note of "American Girl," but while their sound was never less than tight the band's stage presence left something to be desired. Perhaps this is an unfair gripe to have with a band whose members will soon be eligible for AARP discounts, but it has to be stated that all of the Heartbreakers with the exception of harmony vocalist Scott Thurston appeared to be mostly joyless automatons on stage. There's a fine line between workmanlike precision and seeming bored, and lead guitarist Mike Campbell often found himself on the wrong side of that line in the early part of the set, although his stage presence seemed to liven and his face actually broke its inexpressive mask mold over the show's second half. As for Petty, he appeared amiable but dazed. He indulged in no banter beyond the rare perfunctory utterance ("Thanks so much," "We love playing music for you") and not once acknowledged what city he was actually playing in (I, for one, am uncertain he knew). He did, however, playfully shimmy whenever cut loose from his rhythm guitar duties and clearly enjoyed his rare turns on lead (the raw guttural solo he played to close out "Last Dance with Mary Jane" was a highlight of the night). The band may not have been in high spirits, but the well-lubricated crowd definitely was, with nearly the whole of the audience on floor remaining on its feet for the full two hours Petty was on stage. With the smell of weed rampant in the air from the jump and plenty of Bic-flipping signs of approval throughout, the near capacity crowd was clearly having a good time whether or not the band shared their unbridled enthusiasm. I was reminded once again how powerful a force the crowd can be at arena shows as the impact of nearly 20,000 voices singing in unison transformed structurally modest songs like the eternal classic "Free Falling" into a spine-tingling and epic experience and made a slowed-down gospel-tinged take on "Learning to Fly" the highlight of the night by holding down the chorus while Petty sang a different vocal counter melody. Petty and the Heartbreakers may have brought their B game, but the fans were A all the way. Setlist: Listen to Her Heart You Don't Know How it Feels Won't Back Down Free Falling Oh Well Last Dance With Mary Jane Driving Down to Georgia Breakdown (Start of Mojo Mini-Set) Jefferson Jericho Blues First Flash of Freedom Running Man's Blues I Should've Known It Learning to Fly Don't Come Around Here No More Refugee Encore Break: Running Down a Dream Mystic Eyes (Them cover) American Girl Total set time approximately 1 hour and 50 minutes
Voldar: Неплохо продается альбом и на iTunes. iTunes' top 10 selling albums of the week ending June 21, 2010: 1. Thank Me Later - Drake 2. Recovery - Eminem 3. Laws of Illusion - Sarah McLachlan 4. Glee: The Music - Journey to Regionals - Glee Cast 5. To the Sea - Jack Johnson 6. Mojo - Tom Petty And The Heartbreakers 7. The Twilight Saga: Eclipse (Original Motion Picture Soundtrack) - Various Artists 8. B.o.B Presents: The Adventures of Bobby Ray - B.o.B 9. Glee — The Music - Vol. 3 — Showstoppers - Glee Cast 10. American Slang - The Gaslight Anthem http://blogcritics.org/music/article/tom-petty-sarah-mclachlan-debut-on/page-2/
Goldenday: Помните такую статью? http://www.rollingstone.ru/articles/2425 Том Петти и фолк Автор: Нил Штраус "Rolling Stone", №26 Американский поп-рокер Том Пети отправился в прощальный мировой тур со своей группой The Heartbreakers. За несколько дней до начала гастролей корреспондент RS побывал на заполненной термитами студии Петти, чтобы расспросить его о 30-летней карьере и выяснить, как можно спастись от хронической депрессии при помощи разведения кур. «Часа через полтора наше интервью закончится, и я больше не скажу репортерам ни слова», — бросает мне Том Петти и принимается допивать уже остывший кофе. Наш разговор проходит в довольно нервозной обстановке: студия Sony старается не подпускать лишних людей к певцу, который вместе со своей группой The Heartbreakers готовится к прощальному мировому турне. Единственный чужак, допущенный в команду Петти, — режиссер Питер Богданович, который во время гастрольного тура должен отснять про The Heartbreakers фильм-концерт. Поставив чашку на столик, Том начинает жаловаться, что Богданович не отстает от него ни на секунду. В голосе певца, который назначил мне встречу на террасе своего дома в Малибу, явно сквозит ирония: «Какую бы песню я ни репетировал — от стареньких вещей Fleetwood Mac до совсем недавно написанной баллады “Square One”, — Питер всегда тут как тут со своей камерой. Он говорит, что таким образом ему будет проще выбрать положение камеры во время будущих шоу». «Сейчас со мной все возятся, как с младенцем, — Петти скептически поглядывает на ассистента фотографа, устанавливающего свет для съемки. — Можно сказать, что я наверстываю упущенное, ведь в детстве я был предоставлен самому себе. Мама умерла, когда я был совсем маленьким, а отец постоянно где-то шлялся. Пять лет назад я женился на Дане Йорк, и они с моей тещей как будто бы меня усыновили. Дана ведет все хозяйственные дела, а ее мать не дает мне соскучиться — постоянно что-то стряпает и рассказывает разные дикие истории». Несколько часов назад в домашней студии Петти закончилась репетиция, и певец сразу же побежал искать свою супругу — через какое-то время мы уже знакомимся с бывшей хиппи Даной, щеголяющей в такой же, как у мужа, замшевой курточке. Прощальное турне Тома Петти и The Heartbreakers пройдет в поддержку сольной пластинки Тома «Fleetwood Mac», которая появится на прилавках в августе. «Предыдущий сольник я записал двенадцать лет назад, а с The Heartbreakers не работал года три, — загибает пальцы Том. — Да какие три — четыре! И это притом, что я каждый день давал себе обещание засесть за сочинительство. Зато новый диск удалось сделать всего лишь за четыре месяца». Петти на секунду умолкает и после паузы признается, что у него нет четкого ответа на вопрос о причинах столь длительного молчания. «В конце концов это мое дело, за тридцать лет карьеры c The Heartbreakers я заслужил право быть затворником». Мне тут же приходит на ум провести параллель между Томом и другими отшельниками от музыки — Слаем Стоуном и Капитаном Бифхартом. «Я всегда хотел на них походить, — утвердительно кивает головой Том. — К тому же у меня был повод — я невероятно тяжело переживал развод». Когда в 1996 году том Петти развелся с Джейн Беньо, которая была его супругой более двадцати лет, друзья музыканта всерьез опасались, что он подсядет на иглу — без героиновых вечеринок не обходился ни один тур The Heartbreakers. Петти предпочел совладать с депрессией иначе: он переехал на уединенную ферму и начал работу над мрачной пластинкой «Echo». «В лесах есть такие места, куда едва пробиваются лучи солнечного света, — в этот момент тон музыканта становится зловещим. — Моя берлога располагалась в глухом районе Пасифик Палисэйдс. Я наслаждался одиночеством и жил как настоящий фермер — ходил с ружьем, разводил кур. И однажды, сидя на кровати, я снова задумался о браке с Джейн и понял, что для меня она умерла. Этого оказалось достаточно, чтобы я смог вернуться к нормальной жизни среди людей». Вместе с Томом мы подходим к студийному пульту, из-под которого певец вытаскивает бутылку минеральной воды и жадно пьет. «Раньше здесь была полноценная студия, — Петти обводит комнату бутылкой. — Потом в доме завелись термиты, и железяки пришлось запаковать в полиэтилен. Все здание обработают инсектицидом, но мне почему-то кажется, что из студии они никуда не денутся». Выйдя из леса, Петти довел до ума пластинку «Echo», а в 2002-м записал концептуальную рок-оперу «The Last DJ», направленную против индустрии звукозаписи. Свою войну с лейблами Том начал еще в начале 80-х, когда между ним и компанией MCA разгорелся скандал из-за того, что в розничной продаже были резко подняты цены на пластинку «Damn The Torpedoes». Тогда снимок Петти, разрывающего долларовую банкноту, появился на обложке Rolling Stone. «Меня раздражает бездействие коллег, как-то я размышлял над этим целую ночь, — Том начинает раздражаться. — Я убежден, что, если бы цены на компакт-диски держались на более-менее разумном уровне, интернет-магазины типа iTunes не имели бы сейчас такого влияния на музыкальную индустрию». Сидя в кресле на веранде своего дома в Малибу, Петти разошелся не на шутку и горячо рассуждает о том, как низко сейчас оплачивается некоммерческая музыка. Однако спустя некоторое время певец успокаивается и начинает потягиваться в кресле, щурясь на солнце. «Сейчас мои мысли заняты только работой с The Heartbreakers, мы планируем наконец-то доделать концертный альбом. Надеюсь, он все-таки появится в этом году. Также я хотел бы восстановить свою старую кантри-группу Mudcrutch — она существовала в 70-х, и мне было бы интересно снова поработать в этом жанре». Петти одергивает бахрому на куртке и вдруг замирает, роняя пепел от зажженной сигареты на пол веранды: «Я что-то забыл тебе сказать… Что-то важное…» Кажется, что за последние лет двадцать он совсем не изменился — возраст выдают только несколько глубоких морщин. Но когда Том начинает улыбаться (что происходит с ним крайне редко), в его бледно-голубых глазах появляется мальчишеский огонек. «Мне стало страшно, когда я начал прикидывать, сколько времени мне осталось провести на сцене, — признается Петти. — Именно поэтому я и работаю сейчас как заведенный». В школе Томми Петти активно подражал Элвису Пресли, которого он увидел на съемочной площадке фильма «Следуй за мечтой» («Follow That Dream», 1962). Поиграв немного в рокабилльных командах (The Sundowners и Epics), Том попал в группу Mudcrutch и вместе с ее участниками Майком Кэмпбеллом и Бенмонтом Тенчем организовал проект «Том Петти и The Heartbreakers». Их дебютный альбом поначалу прошел абсолютно незамеченным, однако был довольно быстро переиздан, попал в американский Top-40 и неплохо продавался в Англии. Том Петти закидывает ногу на ногу и смущенно улыбается: «Я думаю, что The Heartbreakers оценили по достоинству. Мы были последовательны и не позволяли себе записывать слабые пластинки. Как ни странно, мы оказались последней калифорнийской группой, развившей наследие The Byrds». Певец закуривает сигарету и констатирует: «На нас завершилась целая эпоха в музыке, а все из-за того, что мы не раскисали и поддерживали семейную атмосферу». Петти просит жену принести нам еще пару чашек кофе и заявляет, что доволен своим последним альбомом. «Я свожу его очень тщательно и ни за что не отправлю на лейбл отдельными файлами. Моя музыка должна восприниматься концептуально, иначе она потеряет всякий смысл». Когда я задаю вопрос о том, правда ли, что Red Hot Chili Peppers позаимствовали гитарную партию из томовского суперхита «Mary Jane’s Last Dance», певец недовольно морщится и прикуривает очередную сигарету. «Слышал-слышал. Меня всегда обдирали, но здесь, наверное, не тот случай, — Петти по своему обыкновению смотрит куда-то мимо меня. — Слишком несерьезная причина для обвинения. Вот, скажем, The Strokes слегка переделали песенку Чака Берри “American Girl”, назвав ее “Last Nite”, а потом еще долго смеялись. Они даже ничего не отрицали, эти мальчишки. Если так поступили бы с моей песней, я тут же подал бы в суд». В 1981 году Том Петти бросил своих партнеров по The Heartbreakers и отправился гастролировать с новозеландской группой Split Enz — таким образом Петти хотел прославиться в Канаде, где Enz были чрезвычайно популярны, а тех, в свою очередь, раскрутить в США. Из этой затеи не вышло решительно ничего, однако Том еще вернется к идее создания коммерческой супергруппы: в самом конце 80-х Петти вошел в состав The Traveling Wilburys, где к нему присоединились Боб Дилан, Джордж Харрисон и Рой Орбисон. С одним из партнеров того времени — лидером Electric Light Orchestra Джеффом Линном — Петти работает до сих пор. «Вдова Джорджа Харрисона Оливия попросила меня и Джеффа представить Харрисона в Зал Славы Рок-н-ролла, — вспоминает Том, выливая лимонный сироп в стакан минеральной воды. — Сейчас Линн совсем не выступает живьем, мне это не нравится, но на сцене он держится превосходно. На церемонии в Зале Славы мы отыграли потрясающий сет, и когда мы возвращались после шоу, то договорились сделать одну песенку. Потом еще одну, и пошло-поехало». The Traveling Wilburys просуществовали всего несколько лет, их последний диск «Traveling Wilburys, Vol. 3» вышел в 1990 году. Когда Том вспоминает о том времени, на его худом лице появляется какой-то намек на улыбку. Он вообще редко общается с журналистами, да и те его не особенно ценят — из Петти не вытащишь ни острого комментария, ни какого-то жареного факта. Зато в откровенности с Томом могут поспорить разве что Брюс Спрингстин да Эрик Клэптон, которые так же трепетно относятся к собственным словам, опубликованным в СМИ. «Меня критикуют все кому не лень, — бросает мне Петти, когда я задаю ему вопрос об ироничных рецензиях на его рок-оперу “The Last DJ”. — Считают меня наивным? Ну что же, пусть считают, я от этого не заплачу, поверь. Я отношусь к своей работе не как к шоу-бизнесу, а как к чему-то более возвышенному. Как-то Боб Дилан сказал мне, что с большим удовольствием послушал “The Last DJ” и что, по его мнению, это настоящая актуальная поп-музыка. Лучшего отзыва о своей работе я не получал за всю жизнь». Вместе с Томом Петти мы отправляемся в его рабочий кабинет — просторную комнату, заваленную огромным количеством компакт-дисков и винила. «Год назад я понял, что с этим барахлом надо что-то делать, — сообщает мне Том. — В общем, мне пришла в голову мысль открыть программу на радио XM. Она называется “Остров сокровищ”. Представляешь, вот уже второй сезон я кручу записи из собственной коллекции и пока еще не повторился ни разу». На рабочем столе Петти я замечаю его портрет в компании покойного басиста The Heartbreakers Хауи Эпштейна, умершего от рака. Поговаривали, что смерть Хауи была связана с героиновой зависимостью, от этого в свое время пострадали многие участники The Heartbreakers. Лицо Петти искажает гримаса, ему явно не хочется поднимать эту тему, но в конце концов он все-таки говорит: «Пойми, мы всегда были одной семьей и старались поддерживать эту атмосферу. Когда Хауи умер, мне показалось, что в нашем механизме что-то разладилось. Мы не хотели видеть в The Heartbreakers нового, чужого нам человека, и я позвонил нашему старому басисту Рону Блэйру». В колонках кабинета Тома начинает звучать его новый альбом «Highway Companion » — умиротворенная гитарная музыка, которую издал на своем лейбле American Recordings великий продюсер Рик Рубин. Пока мы слушаем «Saving Grave» и «Big Weekend», Петти приносит мне легкое кресло и предлагает выкурить по сигарете на прощание. 55-летний певец пускается в пространные рассуждения по поводу мифологии своей пластинки. «Почти каждый персонаж на “Highway Companion” передвигается — на машине, по морю, на борту самолета. Этот альбом — о разбитых иллюзиях и взрослении. Наверное, чем-то все герои напоминают меня — они по-своему одиноки, они плывут по течению и хотят, чтобы старая любовь и потерянные чувства пришли к ним хотя бы во сне». Петти задумывается и внезапно хлопает себя по колену: «Проклятые термиты, я опять забыл позвонить на эпидемстанцию!»
SLQ: Goldenday пишет: Помните такую статью? Отвратительный перевод. Я сравнивала его с оригиналом - тут половино переврано, добавлены какие-то несуществующие в оригинале факты , куча полнешей бредовой отсебятины!!!!!
SLQ: За прошлуюнеделю песня заняла 11 место. Не забудте проголосвоать на этой неделе! ГОЛОСУЕМ за песню I Should Have Known It на сайте http://www.roks.ru/index.php?chapter=hittop&action=vote Кстати, приятно что диджеи этой радиостанции крутят и другие песни с нового альбома.
Goldenday: А можешь выложить оригинальный текст? Меня сразу некоторые моменты в этой статье смутили. P.S. за эту неделю проголосовал
SLQ: Goldenday пишет: А можешь выложить оригинальный текст? У меня своего сканера нет, но как только будет возможность - выложу.
Voldar: Где то мне эта статья попадалась в электронном виде,но на сайте RS её сейчас нет.
SLQ: Свежее иньервью с ТР из июньского выпуска журнала "Rolling Stone"
Goldenday: Спасибо! Ого, Том оказывается знает старое французское кино. Мелвильского "Стукача" и "Лифт на эшафот" Луи Малля он, видите ли, смотрит в дороге
SLQ: CD Review: Tom Petty and the Heartbreakers, Mojo June 30, 2010 at 5:32 pm by Joe Bardi Closing in on 60, Tom Petty has delivered a new studio album that effectively reshapes his sound in a fashion that has invigorated both him and his Heartbreakers band. The 15-song opus is just a few less-than-stellar songs away from being a masterpiece along the lines of Damn the Torpedoes. Mojo has been characterized elsewhere as Petty’s blues album, which is only marginally true. A more accurate summation is that Tom Petty and the Heartbreakers have embraced the blues — sometimes in structure, often in spirit — far more than on any prior effort. Put another way, Mojo is far more Gainesville than L.A. This point is driven home by the opener, “Jefferson Jericho Blues,” a fast shuffle built around a guitar/harmonica riff that could’ve been dreamed up by Robert Johnson in a shotgun shack. Petty’s most significant break from past efforts is an openness to collaboration. In previous decades, he was always very much the boss. On Mojo, he’s removed the shackles from the Heartbreakers — as if he suddenly discovered, “Hey these guys are fucking good” — thus their playing is expansive and organic. Guitarist Mike Campbell, who until now has only been able to show his virtuosity on concert stages, seizes front and center. Whether it’s a crunchy Zeppelin-esque riff on “I Should Have Known It,” the gun-slinging solo on “Good Enough,” or the heartbreakingly tender slide solo on the Dylan-esque ballad “Something Good Coming,” Campbell exhibits consummate taste mixed with an unprecedented vigor and enthusiasm. On Mojo, it’s about the songs and the playing. The epic “First Flash of Freedom” is an unabashed homage to early Allman Brothers, with a quasi-swing groove, blues/jazz opening riff, swirling organ and twin-guitar middle section. The song should rightfully be a concert showstopper for years to come, as should several other tunes from Mojo. http://blogs.creativeloafing.com/dailyloaf/2010/06/30/cd-review-tom-petty-and-the-heartbreakers-mojo/
Voldar: А в Англии дела у альбома пока не очень.В первую неделю 38 место,а на вторую уже 88. http://www.theofficialcharts.com/albums-chart/
SLQ: Voldar пишет: А в Англии дела у альбома пока не очень.В первую неделю 38 место,а на вторую уже 88. Очень неровная критика, мне кажется. Прияем солидные издания альбом гораздо выше оценили, чем всякие местные критиканы. А что касается Англии, то чаще в Европу надо кое-кому ездить, а то забудут кто такой совсем.
Voldar: SLQ пишет: А что касается Англии, то чаще в Европу надо кое-кому ездить, а то забудут кто такой совсем. Мы конечно все были бы счастливы,если бы Том приблизился к нашим пенатам,но согласно словам некой г-жи Соловьевой,которая является нашим местным видным промоутером ,в ихнем шоу-бизнесе сложилась интересная ситуация.Получение доходов музыкантами сместилось с выпуска альбомов на носителях на продажу контента через интернет-лавки и большие гастрольные туры,причем монстры этого самого шоу бизнеса это быстро почуяли и выкупают возможные туры артистов,аж на несколько лет вперед.Обратите внимание,что даже Том известный своим негативным отношением к этим людям,был вынужден продать свой тур Live Nation,а это крупнейшая прокатывающая компания в мире.Так что вполне возможно, решение о европейском туре будет приниматься маркетологами этой корпорации.
Goldenday: В общем, похоже, что цены на концерты будут расти
SLQ: American Songwriter: Mojo (Review) -------------------------------------------------------------------------------- By Lynne Margolis on June 23rd, 2010 TOM PETTY AND THE HEARTBREAKERS Mojo (REPRISE) Rating: **** When Tom Petty & the Heartbreakers made The Last DJ, their last “official” Heartbreakers album, in 2002, Petty was mad: the state of the music industry—and plenty of other issues—had him downright pissed off. But on Mojo, he’s not out to wag a sharply accusing finger or make biting political statements (aside from the obligatory “legalize it” message of the reggae-fied “Don’t Pull Me Over”). This time, it’s about reconnecting with, well, the mojo—the thing that made this band such a joy in the first place. It’s about playing great music. Specifically, great jazz-blues music. Petty said when he was recording the album that it had a very Allmans-y sound, and he wasn’t kidding. It’s full of the gliding chords that drove those early-era Allman Brothers Band jams, when Duane and Gregg would hit their Les Paul-and-Hammond sweet spots and the rest of the band would fall right in. In fact, we could re-label the Heartbreakers the Tom Petty Blues Band and not be out of line. We could also re-label them the Mike Campbell Blues Band; Mojo owes as much to Campbell’s brilliance as his boss’s. Though Petty plays lead on one of the most obviously Allmans-influenced tunes, “Running Man’s Bible,” Campbell’s lovely glissandos rule the equally Allmans-ish “First Flash of Freedom,” and much of the rest of the album. His Rickenbacker lap steel work on the ballad “No Reason to Cry” is simply gorgeous. Of course, Benmont Tench contributes his share on keyboards, providing occasional Steely Dan inflections to the proceedings. It’s hard to pick a better pair of ‘70s influences than that Georgia outfit and those Bard College alums, especially if your intent is to step out of your roots-rock/pop comfort zone and back into the sauntering instrumental interludes that gave “Breakdown” its charm. Petty and his pals come out cookin’ on the very first track, “Jefferson Jericho Blues,” which nails our third president for consorting with his slaves. Scott Thurston’s harmonica applies additional heat under the burner. Petty tosses off some brilliant turns of phrase in the slightly sinister “Running Man’s Bible,” which seems to address his nasty relationship with his late father. “I’ve been next in line/I’ve been next to nuthin,” he sings unapologetically. “I took on my father and I’m still walkin’. … I see you with the eyes of somethin’ wounded/Something still standin’ after the storm.” Strong confessions made by someone who survived the pain and fear, but hasn’t quite worked his way through it. The songs that sound most typically Petty-like are “High in the Morning,” featuring another soaring Campbell solo, and “I Should Have Known It,” which spews a little venom and a lot of grit amid Ron Blair’s deep bass notes. “Candy” is a classically structured blues rocker, complete with some chicken pickin’; “Takin’ My Time” harks back to Muddy Waters; and “U.S. 41” makes you wanna stomp your boot heel on the back porch planks to keep time with the harp and slide guitar. “Lover’s Touch” is sexy and slinky, with bayou moss hanging all over it. There’s something enticing about it, like most of this album. The only questionable track is the last one, “Good Enough,” which is a big song, with a bombastic stadium-rock guitar solo and a bloated feel that just seems unnecessary, especially in this context. This band has been there, done that. The direction they’ve taken on the rest of the album is so cool, there’s no reason to toss another bone to arena fans. They can pull out those great blasts from their very fine past when they step onstage; they don’t need to clutter an album with new attempts to swing for the back seats. Any true Petty fan would get the mojo behind Mojo immediately, anyway. And love this band even more for finding such a sweet new groove. Source: http://www.americansongwriter.com/20...breakers-mojo/
Voldar: We could also re-label them the Mike Campbell Blues Band и эти туда же...
SLQ: Voldar пишет: и эти туда же... С другой стороны радует, что они осознали, что в группе кроме Тома еще классные музыканты есть. Давно пора...
SLQ: За вторую неделю песня заняла 4 место. (На прошлой неделе было 11) Не забудте проголосвоать на этой неделе! ГОЛОСУЕМ за песню I Should Have Known It на сайте http://www.roks.ru/index.php?chapter=hittop&action=vote
Goldenday: SLQ пишет: За вторую неделю песня заняла 4 место. Ну что, лифт движется вверх Проголосовал
Voldar: Не новая,но довольно интересная рецензия. Tom Petty and Steve Miller: boomers with something to prove A sincere and hearty thanks to the baby boomers for creating some of the best pop music of the modern era. As they march toward seniority, however, a quandary arises: Why do older artists so rarely make relevant music? Let's consider boomer rockers Tom Petty, 59, and Steve Miller, 66. Both release albums next week (Tom Petty and the Heartbreakers' "Mojo," Steve Miller Band's "Bingo!") and play the Seattle area soon (Petty with two shows at the Gorge this weekend, Miller on July 14 at Chateau Ste. Michelle). Based on their albums — both nods to their early years — it's apparent Petty has outlasted Miller. The best tracks on "Mojo" hearken back to Petty's early '70s, pre-Heartbreakers band Mudcrutch. A loose, louche swagger dominates the album, jammier and less overtly pop than previous Petty. "First Flash of Freedom" takes flight via longtime Petty foil Mike Campbell's meandering guitar, reminiscent of Jerry Garcia; the song's about the golden potential of the unexplored, a theme similar to the slow-burning "The Trip to Pirate's Cove." "Don't Pull Me Over" is a reggae-inflected pro-marijuana protest groove. Lead single "I Should Have Known It" takes a standard blues guitar riff and jacks it up, Led Zeppelin-style, into radio-ready rock. The album's not without its missteps. At 15 tracks, it's too long, and its underlying blues sensibility is occasionally stale, though Petty's way with a hook brightens even the most sluggish numbers. Sharp songwriting gives slow-simmering blues "US 41" and "Let Yourself Go" raw, humid heat. Thematically, musically, Petty plays to kids and kids-at-heart. His choice of venue is another indicator of his prospective audience: Two nights at the Gorge = three-day car-campout suited only to die-hards and kids. And here's Steve Miller Band playing Seattle's most VIP-oriented, office-casual venue. There are no kids at Ste. Michelle save toddlers towed in by moneyed parents. On stage and on "Bingo!," Miller now plays for old folks. The album has 10 tracks of blues classics previously recorded dozens, if not hundreds, of times, by the likes of Howlin' Wolf, Otis Redding, Earl King — dudes far bluesier than Miller. "Bingo!" is 17 years in coming; 17 years since 1993's "Wide River," Steve Miller Band's last album, which featured its last Top 40 hit (the title track, their tenth Top 40 single). After 17 years, Miller should have something original to impart. Instead he's playing other people's songs. These songs, he's explained to reporters, were his initial introduction to the guitar way back when. He loves 'em. But they're dreadfully dated, un-updated. Cliché. Miller's playing is strong, albeit aided in places by shredmeister Joe Satriani. But as recorded here, the songs — "You Got Me Dizzy," "Ooh Poo Pah Doo," "Rock Me Baby," which is not "Rock 'N Me," the 1976 Steve Miller Band hit you know by heart — are utterly forgettable. It's fine for Miller to drop filler like this into his live shows, which are typically unabashedly fun, cross-generational summertime celebrations. But to offer an album of rehashed standards as your latest opus is the embarrassing sound of a 66-year-old man with nothing new to say who insists on speaking up anyway. Petty and Miller have sold some 50 million records between them. They're beloved American musicians, and for good reason. Almost 40 years after their first hits, Petty makes a valid case for America's continued fascination with the boomers' legacy. Miller should've kept quiet and let that legacy speak for itself. http://seattletimes.nwsource.com/html/musicnightlife/2012083474_petty11.html?prmid=head_more
Voldar: Название клипа говорит само за себя. Lost Vids of Early MTV - Tom Petty and the Heartbreakers
Daria: на самом деле непонятно, почему они lost, это по-моему самые известные клипы. но оба мои любимые :) особенно the Waiting
Шубидуба: MTV сами потеряли, сами нашли
Voldar: Dylan's back pages - Farm Aid II, with Tom Petty and the Heartbreakers, July 4, 1986 In 1986, Bob Dylan toured the United States for the first time in five years. It was the joint "True Confessions" tour with Tom Petty and The Heartbreakers, a traditional rock band Dylan hooked up with at the original Farm Aid in 1985. The Queens of Rhythm - this time Carolyn Dennis, Queen Esther Marrow, Madelyn Quebec, and Louise Bethune - were also there. The appearance help restore Dylan's credibility as a viable live act after the devastatingly bad reviews he received after his misunderstood Live Aid set two months earlier. Farm AId, in fact, was inspired by a comment made by Dylan at Live Aid: I hope that some of the money...maybe they can just take a little bit of it, maybe...one or two million, maybe...and use it, say, to pay the mortgages on some of the farms and, the farmers here, owe to the banks.... The following year, Dylan, with Petty, the Heartbreakers, and the Queens, toured "Down Under", then, after a break, the United States. The set list format was similar to the track listing of the Before The Flood album, with Dylan performing solo, Dylan backed by Petty and the Heartbreakers, and Petty and the Heartbreakers with two of their own sets. For the second Farm Aid - which took place in Manor, Texas - Dylan did not appear live, but via satellite, from Buffalo, New York, with the Heartbreakers et al in tow. It was a double bill with the Grateful Dead. Part of the Dead's set was also broadcast at Farm Aid II, as well as three songs by the Heartbreakers, leading into three with Dylan joining Petty and the gang. Since this was the relatively early days of satellite television transmissions, astute viewers could watch the entire live feed, not just the part that was broadcast on television. Thus it wasn't long before the first two hours of the Dylan/Petty set was in the hands of collectors. The feed ended abruptly after the third - and final - Dylan song was broadcast. It's a fascinating document, seeing a live concert as it happens, not as a heavily edited and sanitized "rockumentary", like Hard To Handle. Some of the more humorous moments occur once Dylan eventually notices a camera over his shoulder. From that point on, Dylan seemed amused and somewhat bothered by it, and periodically looked directly into the camera. Rich Stadium, Buffalo, New York, 4 July 1986 1. So Long, Good Luck And Goodbye (Weldon Rogers) 2. Positively 4th Street 3. Clean Cut Kid 4. Emotionally Yours 5. Trust Yourself 6. We Had It All (Donny Fritts-Troy Seals) 7. Masters Of War Tom Petty & The Heartbreakers: Straight Into Darkness (Tom Petty) Think About Me (Tom Petty) The Waiting (Tom Petty) Breakdown (Tom Petty) 8. To Ramona 9. One Too Many Mornings 10. A Hard Rain's A-Gonna Fall 11. I Forgot More Than You'll Ever Know (Cecil A. Null) 12. Band Of The Hand 13. When The Night Comes Falling From The Sky 14. Lonesome Town (Baker Knight) 15. Ballad Of A Thin Man Tom Petty & The Heartbreakers: Bye Bye Johnny (Chuck Berry) Make It Better (Forget About Me) (Tom Petty) * Spike (Tom Petty) * Refugee (Tom Petty & Mike Campbell) * 16. Rainy Day Women # 12 & 35 * 17. Seeing The Real You At Last * 18. Across The Borderline (Ry Cooder/John Hiatt/Jim Dickinson) * 19. I And I 20. Like A Rolling Stone 21. In The Garden — 22. Blowin' In The Wind 23. Uranium Rock (Warren Smith) 24. Knockin' On Heaven's Door Concert #19 of the 1986 True Confessions US Tour. Concert #38 with Tom Petty & The Heartbreakers. 1986 concert #38. Bob Dylan (vocal & guitar) with Tom Petty & The Heartbreakers: Tom Petty (guitar), Mike Campbell (guitar), Benmont Tench (keyboards), Howie Epstein (bass), Stan Lynch (drums) and with The Queens Of Rhythm: Carolyn Dennis, Queen Esther Marrow, Madelyn Quebec, Louise Bethune (backing vocals). 8-10 Bob Dylan solo (vocal & acoustic guitar). 8, 9, 24 Bob Dylan (harmonica). 11, 22, 24 Bob Dylan and Tom Petty (shared vocals). 16 Howie Epstein (slide guitar), Tom Petty (bass). http://www.examiner.com/x-21829-Bob-Dylan-Examiner~y2010m7d3-Dylans-back-pages--July-4-1986-with-Tom-Petty-and-1987-with-the-Grateful-Dead?cid=examiner-email
SLQ: http://www.roks.ru/index.php?chapter=hittop&action=save На этой неделе песня Тома опустилась на 2 пункта. Голосование продолжается! Так что не забудте прогодлосовать.
Voldar: Dylan's back pages - Dylan surprises Etta James and Tom Petty's Heartbreakers, July, 1986 On July 8 and 9, 1986, Bob Dylan, while on his "True Confessions" tour with Tom Petty, the Heartbreakers, and the Queens Of Rhythm, played his first two shows ever at the brand new Great Woods amphitheatre in Mansfield, Massachusetts, which was later called the Tweeter Center before being renamed again as the Comcast Center. The venue opened they previous month, and the first "rock" act was Julian Lennon. It was one of the first outdoor sheds. Dylan was so impressed with the venue that he added a third gig of the 22nd. That date is not listed on the official tour t-shirt. In the early hours of the 10th, Bob Dylan joined Etta James and Shuggie Otis on stage at the Providence Marriott Hotel. You can almost hear Dylan smile as he kept repeating the same suggestive verse of "I'm A King Bee" (The one about "making honey"). Here's the information, courtesy of Olof: Marriott Hotel, Providence, Rhode Island 10 July 1986 1. You Win Again (Hank Williams) 2. I'm A King Bee (James Moore) 3. Let The Good Times Roll (Leonard Lee) 4. Earth Angel (Dootsie Williams/Curtis Williams) 5. Goodnight, Sweetheart, Goodnight (James “Pookie” Hudson) Bob Dylan (guitar), Etta James (shared vocal), Shuggie Otis (guitar), Jack McDuff (organ), Richard Reid (bass), Paul Humphrey (drums). 1-4 Bob Dylan (solo vocal) I caught the Great Woods concert on the 9th. My next "True Confessions" show was on July 11th, at the Hartford Civic Center. I had only owned a car in Massachusetts for about two years when I got tickets for this show, and didn't quite realize how far it was from Boston. Not that it mattered. I bought four floor seats, but through some misunderstanding, the set up was changed so that two of my friends sat in the row behind us. This show sticks out in my mind as one of my all-time favorites for one specific reason - the encore. Dylan seemed to be in a mischievous mood all evening. Possibly parodying Bruce Springsteen, who toured the globe in1984-5 promoting Born In The U.S.A., he announced early in the show, "All right, thank you. I wanna say hello to all those people up here on the right." When he returned for the encore, he pointed to the same section of the crowd, saying, "All right now, one more time we wanna say hello to those people right up here". He never acknowledged the rest of the arena. Dylan was also dripping with sarcasm during his solo acoustic set, when he said, "OK, all right. I'm not, I'm not playing 'Mr. Tambourine Man', no. Sooo sorry." The show was pretty similar to Mansfield, with Dylan substituting "Emotionally Yours" for "I'll Remember You". Nothing too earth-shattering. The main set ended the same predictable way - "Like A Rolling Stone", the lights went down, Dylan and the Heartbreakers sat on stage in the darkness, smoking cigarettes. Then it was time for the real last song of the set, "In The Garden". After a short break, Dylan and the Heartbreakers returned for an encore, performing "Blowin' In The Wind". Then he did something unexpected. Instead of the expected oldie, "Shake A Hand", Dylan started singing and playing "Lay, Lady, Lay". It was the only time he played it the entire tour. This would seem to also include rehearsals. There was visible tension on stage. Heartbreaker guitarist Mike Campbell leaned forward, watching Dylan, who was looking straght ahead. Campbell was trying to follow the unusual chord sequence, and held the neck of his guitar up so that Petty and the other members of the band could play along. While the band were up to the challenge, the Queens Of Rhythm - Carolyn Dennis, Queen Esther Marrow, Madelyn Quebec, and Louise Bethune - were obviously stressed. They looked worried, clasping their hands, their eyes darting around, looking for some divine inspiration. They decided to sing "Oooh . . Oooh", which was just as well, since Dylan changed the lyrics as he went along. After the wonderfully shambolic, and humorous, performance, Dylan playfully shoved Petty, as if this was some sort of high school prank. Then Dylan said, "All right now. I don't usually do that song but I did it tonight for a special request. Can't remember who it's for! " The show ended on a more normal note, with "Knockin' On Heaven's Door". Then it was a long trip back to Massachusetts. http://www.examiner.com/x-21829-Bob-Dylan-Examiner~y2010m7d11-Dylans-back-pages--Dylan-surprises-Etta-James-and-Tom-Petty-Heartbreakers-July-1986
Voldar: Такая вот хвалебная статья.. Old rockers never die June 18, 2010 by Rikki MacCuish There’s nothing like a little nostalgia to draw a full house at General Motors Place in Vancouver. Nostalgia is exactly what draws Tom Petty fans to keep returning to his concerts. I know I’m not the only kid raised on Full Moon Fever or the Traveling Wilburys’ Volume I. Tom Petty has released so many great hits, it’s nearly impossible to keep track of them all. The June 8 show at GM Place also featured opening act—or first headliner, depending on how you view him—Joe Cocker. Known for his outrageous stage persona back in the ‘70s and early ‘80s, Cocker has put forth hits like “A Little Help From My Friends” and “Up Where We Belong”. His best performance onstage at the Vancouver show was definitely “You Are So Beautiful”, portraying his incredible vocal talent. When pondering the possible set list for the Tom Petty and the Heartbreakers show, it was hard to picture whether it would be old hits to please fans, or it would include mostly new material from Mojo, the still unavailable new album—a streaming version is available for listening at ESPN.com. Gladly it was a mix of both, leaning heavily towards the former. Listening to Petty belt out the lyrics to “Runnin’ Down a Dream” brought back the days of sifting through the parents’ CD stack, looking for something other than terrible country records. Thankfully Tom Petty, leaning towards the mellower, simpler side of rock and roll, was among them. “Free Fallin’” was the typical sing-and-drive song or campfire anthem, and of course everyone knows “I Won’t Back Down”, Petty’s own mantra after having survived the arson attack on his home. The Tom Petty and The Heartbreakers concert at GM Place was flawless, and the band seems really tight after having been together for over 30 years. Dreadlocked guitarist Mike Campbell threw out some great tunes as the band reminded audiences that they will remain as one of the best rock acts to ever produce music. Tom Petty’s lyrics are ridden with his trademarked simplicity, and so is the rest of the music. Everything is easy to remember, catchy and classic. Very few songs are poetic or complicated with riddles. Straight up lyrics have created Petty’s songs into household anthems that pass from generation to generation. The songs are like the Rolling Stones crossed with Bob Dylan. Petty’s recognizable nasally voice soars as this 60-year-old rocker, donned in a white-collared shirt and black leather vest, recalled good old times for his fans, thanking them in the process. There’s nothing better than going to a packed stadium with everyone standing up and singing the lyrics to all their favourite old songs. Tom Petty and The Heartbreakers are certainly a band that will go on and be remembered for years to come. This band certainly shows no signs of slowing down. A listen to the new album Mojo brings back memories of old Tom Petty songs. In particular, “Good Enough” is a great, moody song that sounds both complex and simple at the same time. This was a memorable concert with insane energy and an amazing band that has not only been inducted into the Rock and Roll Hall of Fame, but also as a household standard, a basis by which families can build great musical bonds from. Have a listen to the new album, due out June 15 and if you get the chance, definitely catch the next tour. http://sunpeaksnews.com/old-rockers-never-die-2344.htm
SLQ: http://www.beatles.ru/postman/forum_messages.asp?msg_id=18421&cfrom=1&showtype=0&cpage=2#1297596 На форуме beatles.ru идет довольно любопытное местами обсуждение в теме "фотографии звезд тогда и сейчас" Том там тоже есть. Меня правдо немного зацепило , что некотрые (см. ссылку выше) Тома к поп-року отнесли. Может я не права, но вот поп-рокером он никогда не был.
Voldar: К сожалению адекватность некоторых персонажей на данном форуме оставляет желать лучшего.
SLQ: Petty mixes old and new By Bill Thompson • bthompson@enquirer.com • July 16, 2010 It was appropriate that the final song from Tom Petty & the Heartbreakers at Riverbend Thursday night was “American Girl.” After all, Petty is the quintessential American Boy. He has said he wanted to be in a band the moment he saw the Beatles on the “Ed Sullivan Show,” just like every boy in America in 1964. Petty has played music with three of the Heartbreakers -- guitarist Mike Campbell, keyboard player Benmont Tench and bass player Ron Blair -- since they were growing up in Gainesville, Fla. They continued running down their dream when they moved to Los Angeles more than 30 years ago. The journey culminated at the Rock and Rock Hall of Fame in 2002. The majority of Thursday’s 17 songs were from Petty’s seemingly endless catalog of hits, including guaranteed crowd-pleasers starting with “Listen to Her Heart,” “I Won’t Back Down,” “Free Fallin’,” “Mary Jane’s Last Dance” and “Breakdown.” While the songs are distinctively Petty’s, they offer a peek into the songwriter’s influences, from the Byrds to his fellow Traveling Wilburys, Bob Dylan and George Harrison. The night’s early surprise was a rousing version of Fleetwood Mac’s “Oh Well (Part 1),” where Campbell replicated Peter Green’s original, but added a dose of controlled fury. The other surprise was that the group waited for almost an hour before playing anything from its fine new album “Mojo.” But the wait was worth it, as they tore through “Jefferson Jericho Blues,” “Good Enough” (which should be re-titled “Great Enough”), “Runnin’ Man’s Bible” and “First Flash of Freedom.” The revelation, however, came with “I Should Have Known It.” The straight-ahead rocker shows that the American boys spent a lot of time listening to Led Zeppelin while goofing around Gainesville. Campbell played the part of Jimmy Page to perfection, while drummer Steve Ferrone, who is a ringer for “Late Show” stage manager Biff Henderson, channeled John Bonham with his stop-and-start thunder. After that, it was back to the classics with “Learning to Fly,” “Don’t Come Around Here No More” and “Refugee.” After a short break, the group returned to the stage with Petty and Campbell strapping on matching Gibson Firebird guitars. The distinctive models were the dream instrument of every music-crazed American boy in the late ’60s. When Campbell hit the opening notes of “Runnin’ Down a Dream,” every balding, graying, paunchy American man in the audience Thursday (and there were plenty) was suddenly transformed into a skinny, longhaired guitar hero (at least in their own minds) for about four minutes. Then they were ready to sing along to their own “American Girl.” The evening began with a rousing ruckus created by Drive-By Truckers, the Athens, Ga.-based band that has learned its classic rock lessons well. Fronted by guitarists Patterson Hood and Mike Cooley, the group performed an energetic set that was highlighted by Hood’s shout-out to Northside’s Shake It Records, which released the band’s cover of Eddie Hinton’s “Everybody Needs Love.” After a dozen original tunes, the band closed with “Let There Be Rock," which Hood introduced with “Rock ’n’ roll saved my life when I was a teenager, and it has been doing it every day since.” The song name-checks groups ranging from AC/DC to the Clash, but the singer claims he never saw Lynyrd Skynyrd, the southern icons that the Truckers are frequently compared to. In the end, however, Hood, Cooley and John Neff lined up at the front of the stage, and for a moment, the thought occurred that “Free Bird” might be played after all.
SLQ: Tom Petty and the Heartbreakers show they're still vital to rock 'n roll Comments July 18, 2010 BY THOMAS CONNER Pop Music Critic My old man was born to rock But he's still tryin' to beat the clock - "You Don't Know How It Feels" Tom Petty keeps threatening to quit, but he never goes away. At least twice in the last four years the veteran rocker has hinted at hanging up his guitar, but as there are no term limits in rock he just keeps running. He returns to the studio, possibly to make some final career statement, and winds up making yet another formidable rock record (the Grammy-nominated "Highway Companion," the new blues-infused "Mojo"). The tours keep selling. He just won't back down. Judging by Saturday night's performance at Chicago's United Center, Petty and the Heartbreakers - easily one of the best bands still working - could keep running down their dream for a nice, long time, and God bless 'em. Even when recrafting a slate of greatest hits for umpthousandth time, this bunch of seasoned players has such a command of song and stage - and such visceral, crackling chemistry still between them - that every tune, no matter how ancient, comes alive. These old men were born to rock, and that's all they do. Little posturing, no social statements, just no-nonsense rock 'n' roll. The two hours of hits ("American Girl," "Refugee," a light acoustic take on "Learning to Fly"), album cuts (the lurid "Honey Bee") and new "Mojo" tracks were completely consistent. This is a collective sound, made by a band. Petty is front and center, but there were four spotlights keeping track of the equal contributors on the United Center stage. Many of the songs are written and assembled to showcase the cohesion. Saturday night's breakdown of "Breakdown" focused the easy elegance of the rhythm section, stretching out that ambling pace for six or seven minutes while Petty led a call-and-response of ooh's and yeah's, as well as Benmont Tench's finesse on the keyboards and guitarist Mike Campbell's own six-string voice. Petty's no slouch, either. He prowls the stage, taking his share of solos on his trademark teardrop guitar, sometimes leaning into Campbell as he played counterpoint or simply strolling to each side of the stage and flashing his amiable grin. His whiskers are graying, and when the band played a cover of Fleetwood Mac's "Oh Well," he paused before singing the opening lines, using a comic's timing to drain the lyric of its original acidity and turn it into a self-depricating old-age joke: "I can't help about the state I'm in / I can't sing, I ain't pretty and my legs are thin." The songs from "Mojo" were dropped into the middle of the set - go ahead, fair-weather fans, take a beer break - and while this isn't an album that reaches out and collars you, its exploration of rocking blues is more refreshing than most of what you'll find at the Chicago Blues Festival. "Good Enough" is a sly, slow chugger containing all the musical mastery (dig the double guitar solo) and lyrical bent ("You got a little buzz on / You're kissing in the rain") lifelong Petty fans should love, and "First Flash of Freedom" - which the band had to restart after a moth flew into drummer Steve Ferrone's mouth and threw him off - is a cavernous space, bookended by a slamming series of power chords, in which Campell and multi-instrumentalist Scott Thurston trade licks in solos that seem as carefully constructed as those on a Steely Dan record. At least it doesn't feel like a new album made simply for the purpose of providing tour merch. Even mining the catalog and producing the requisite middle-age blues album, Petty and the Heartbreakers remain a vital voice in rock 'n' roll. http://www.suntimes.com/entertainment/conner/2508602,petty-heartbreakers-concert-review-071810.article
SLQ: Tom Petty and the Heartbreakers Mojo (Reprise) ::rock That old appealing Heartbreakers sound is all there on Tom Petty's first official studio recording with his reliable bandmates in eight years. It's a durable blend of rootsy garage rock and Americana -- Petty's pleading, drawling vocals and jangly rhythm guitars, Mike Campbell's bluesy leads, Benmont Tench's oozing B3 organ and sturdy rhythm-section grooves. There's a certain aural spaciousness at work, too, as listeners can hear every snap of the snare and crackle of a pick on the string of a guitar, each one of which is identified by year, make, model and, in some cases, color. The Heartbreakers' songwriting mojo, though, is another matter. Nothing on this set of music, recorded live without overdubs, smacks of instant classic. Still, fans will warm to the jazzy sprawl of the Allmans-esque "First Flash of Freedom," the gritty R&B bounce of "Running Man's Bible" and "I Should Have Known It," a surprisingly raw rocker with Led Zeppelin writ large all over. The closing "Good Enough" is a laidback-to-nervy ode to an American girl, a song equipped with some of the disc's most vivid images. Throughout, Campbell, sounding newly invigorated, is given more space than ever to wail, and he does. Pleasant, and occasionally engaging? Yes. A return to form? No. PHILIP BOOTH http://www.lasvegascitylife.com/articles/2010/07/01/music/cd/iq_36693305.txt
Voldar: Weather adds drama to stellar Petty concert As if Tom Petty and the Heartbreakers' concert at Verizon Wireless Amphitheater on Sunday wasn't spectacle enough, fans in the upper pavilion and lawn seating areas of the venue were treated to an epic light show of natural origin. Throughout the evening, giant thunderheads to the south produced a constant barrage of lightning in sheets and streaks, though no rain ever fell on the venue to mar the evening. One could infer, perhaps, that God (or Zeus, or your deity of choice) is a Tom Petty fan, too, and simply wanted to sit in. Petty and the Heartbreakers brought plenty of heavy weather themselves, though, in the form of hits from the past and new songs from their recently released album, "Mojo." Those who have responded tepidly to the new album, which is blues-oriented and favors the band's ensemble playing over potential hit singles, might reconsider its worth after hearing the songs played live. Petty bunched five of the new tracks together into a mini-set that delivered maximum impact. Guitarist Mike Campbell, introduced by Petty as "the co-captain" of the Heartbreakers, especially shone on the roadhouse-ready "Jefferson Jericho Blues," as well as "Good Enough," which Petty called a "slow blues for a steamy night," and a stellar "I Should Have Known It." More casual fans that simply came for the hits got a good supply of them, drawn from all periods of the band's long history, plus Petty's solo albums. Opening with the hard-charging "Listen to Her Heart," the band downshifted for the laconic "You Don't Know How It Feels" and then back up into a defiant "I Won't Back Down." After a gorgeous reading of "Free Fallin," the vintage Fleetwood Mac tune "Oh Well" provided a nice detour for the set, with Campbell turning in a torrid solo. Another nice surprise was a relative obscurity from the Heartbreakers' "Live Anthology" set, "Drivin' Down to Georgia." Some unintended drama occurred late in the show. After the trippy "Don't Come Around Here No More," Campbell was suddenly taken ill and had to be carried off the stage. Petty said an abrupt goodnight and then came back quickly to explain what happened. If Campbell was up to it, he said, they'd return and play more. After five or six minutes, Campbell recovered, and the band roared through "Refugee," "Runnin' Down a Dream" and "American Girl" before calling it a night. Appropriately, the dance party going on in the heavens ended about the same time and the lightning subsided as Verizon's house lights went up. Tom Petty set list "Listen to Her Heart" "You Don't Know How It Feels" "I Won't Back Down" "Free Fallin'" "Oh Well" "Mary Jane's Last Dance" "Drivin' Down to Georgia" "Breakdown" "Jefferson Jericho Blues" "Good Enough" "Running Man's Bible" "Takin' My Time" "I Should Have Known It" "Learning to Fly" "Don't Come Around Here No More" Encore "Refugee" "Runnin' Down a Dream" "American Girl" http://www.stltoday.com/entertainment/music/reviews/article_bab7cd12-934d-11df-b7eb-0017a4a78c22.html
Voldar: Darryl Holter Going Soph Darryl Holter's sophomore album, West Bank Gone, will be released on September 21st by 213 Music. The album features special guest musicians Benmont Tench (Tom Petty & the Heartbreakers) on keyboards, pedal and lap steel guitar master Greg Leisz and renowned percussionist Nate Wood. West Bank Gone was produced by Grammy nominee Ben Wendel, recorded at Conway Studios. Darryl Holter will celebrate the release of West Bank Gone with a series of September dates in both Los Angeles (including a show at Hotel Café) and Minneapolis/St. Paul. (dates not provided in the announcement) Combining the deft touch of both a lyricist and a musical historian, Darryl Holter recreates the fabled "West Bank" folk and roots music scene in Minneapolis of the 1960s, which spawned a young Bob Dylan and where Bonnie Raitt recorded her first album. Drawing from his own North Country roots experiences, Holter paints a vivid tableau of what it was like back then, with songs such as "The Mixers," a sad but engaging ballad set in a popular West Bank bar; "5 am," a spirited song about a chance encounter in a dreary all-night coffee shop; or the title track, which chronicles some of the West Bank personalities who are no longer with us. In addition to the original tunes, West Bank Gone also includes four covers of songs from Jay Farrar ("Back Into Your World"), "Spider" John Koerner and Willie Murphy ("Friends and Lovers"), Gram Parsons ("One Hundred Years from Now"), and the Bard of Hibbing, himself, Bob Dylan ("Girl from the North Country"). The extensive CD booklet liner notes include personal remembrances from Darryl Holter about his coming of age in the area, how each of the songs came about and insights into the characters that populated this world. It also includes an introduction from celebrated author Joe Nick Patoski, who also lived there at the time and says of the album, "These songs and the vivid imagery within them bring it all back home for just a little bit." http://www.antimusic.com/news/10/july/19Darryl_Holter_Going_Soph.shtml
stvol: Майк упал. В обморок: "As some of you may have heard, Mike Campbell fainted due to heat exhaustion towards the end of last night’s show in Maryland Heights, MO. The show was stopped for approximately ten minutes and Mike returned to play another three songs with the band. Mike is feeling better today but is seeing doctors as a precaution. Mike sincerely thanks fans for their well wishes. " oh no!
Voldar: Old rockers never die.Доброго здравия Майку.Вот как бывает,мы больше опасались за Тома,а оказывается с Майком не все хорошо.
SLQ: Слава Богу, все обошлось! Доброго здоровья Майку!!!!
SLQ: Вот рассказ одного из зрителей с этого шоу: It was hot in St L and I couldn't help but wonder how the guys on stage could wear long sleeved shirts, pants, vests, etc. when we were sweating just sitting there in t shirts and shorts before they started playing. Mike came out with the same scarf tied to his belt that he got from a fan in KC, which I found touching. It was another fantastic show up until the point that Mike collapsed, which was so scary to watch unfold. The audience was very enthused, much more responsive than the KC show where people seemed insouciant to the new material. With a few more weeks of Mojo listening under their belts this audience was captivated by a searing rendition of Good Enough. Practice is making perfect and Mike burned this one up. I Shoulda Known it was also really good. Mike was out front and giving it all he had. The audience sang along with Running Man's Bible. Mike was at the top of his game. But then during Don't Come Around I saw him looking a his guitar like something was wrong with it and he talked to the roadies about something. Then he sat down in front of the drums and kept playing, which having seem him many times was very out of character and alarming to me. I thought he was getting overheated. The professional that he is he kept playing and tried to stand up again, then went to the back between Benmont and Ferrone and got down on his knees and bent over. Some roadies were there talking to him but I never saw anyone get a cold towel or anything that would cool him off. He got back up and sat on the drum set again to try to keep playing, white as a sheet, and then just nodded out and slumped over, soaked in sweat. I was so worried for him. Some lights were on him and I wondered why the people doing the lighting didn't cut those lights--undoubtedly contributing to the heat--and also leave him in the dark so everyone couldn't witness what was going on. The rest of the band kept playing and for a while there I wondered if Tom, who was up front, even noticed that Mike kept sitting down. Finally some of the crew stood him up and with arms around him carried him off the stage. Tom announced that a doctor would check Mike out and if they could take a little break they'd come back if they could. After about ten minutes of intermission they came back on stage, Mike in fresh clothes (in the photo from KMOV) playing again for the last few songs. He even pushed himself a little and although he never recovered his color he got back in the game. Mike is my hero. Overall it was another wonderful show, I liked it better than KC, but yes it was so very hot. I hope Mike is fully recovered, it was a frightening event to witness happening to my favorite member of the band.
SLQ: Weather adds drama to stellar Petty concert As if Tom Petty and the Heartbreakers' concert at Verizon Wireless Amphitheater on Sunday wasn't spectacle enough, fans in the upper pavilion and lawn seating areas of the venue were treated to an epic light show of natural origin. Throughout the evening, giant thunderheads to the south produced a constant barrage of lightning in sheets and streaks, though no rain ever fell on the venue to mar the evening. One could infer, perhaps, that God (or Zeus, or your deity of choice) is a Tom Petty fan, too, and simply wanted to sit in. Petty and the Heartbreakers brought plenty of heavy weather themselves, though, in the form of hits from the past and new songs from their recently released album, "Mojo." Those who have responded tepidly to the new album, which is blues-oriented and favors the band's ensemble playing over potential hit singles, might reconsider its worth after hearing the songs played live. Petty bunched five of the new tracks together into a mini-set that delivered maximum impact. Guitarist Mike Campbell, introduced by Petty as "the co-captain" of the Heartbreakers, especially shone on the roadhouse-ready "Jefferson Jericho Blues," as well as "Good Enough," which Petty called a "slow blues for a steamy night," and a stellar "I Should Have Known It." More casual fans that simply came for the hits got a good supply of them, drawn from all periods of the band's long history, plus Petty's solo albums. Opening with the hard-charging "Listen to Her Heart," the band downshifted for the laconic "You Don't Know How It Feels" and then back up into a defiant "I Won't Back Down." After a gorgeous reading of "Free Fallin," the vintage Fleetwood Mac tune "Oh Well" provided a nice detour for the set, with Campbell turning in a torrid solo. Another nice surprise was a relative obscurity from the Heartbreakers' "Live Anthology" set, "Drivin' Down to Georgia." Some unintended drama occurred late in the show. After the trippy "Don't Come Around Here No More," Campbell was suddenly taken ill and had to be carried off the stage. Petty said an abrupt goodnight and then came back quickly to explain what happened. If Campbell was up to it, he said, they'd return and play more. After five or six minutes, Campbell recovered, and the band roared through "Refugee," "Runnin' Down a Dream" and "American Girl" before calling it a night. Appropriately, the dance party going on in the heavens ended about the same time and the lightning subsided as Verizon's house lights went up. Tom Petty set list "Listen to Her Heart" "You Don't Know How It Feels" "I Won't Back Down" "Free Fallin'" "Oh Well" "Mary Jane's Last Dance" "Drivin' Down to Georgia" "Breakdown" "Jefferson Jericho Blues" "Good Enough" "Running Man's Bible" "Takin' My Time" "I Should Have Known It" "Learning to Fly" "Don't Come Around Here No More" Encore "Refugee" "Runnin' Down a Dream" "American Girl"
SLQ: Tom Petty and the Heartbreakers put Mojo on display at Verizon Amphitheater Concert Review: Tom Petty and the Heartbreakers, "The Mojo Tour" by Jeff Ritter Published: July 19, 2010 I'm throwing whatever tiny bit of impartiality I may typically posses out the window. Tom Petty and the Heartbreakers were the first concert I ever saw, way back when the Verizon Amphitheater first opened as the Riverport Amphitheater. I was still in high school, and my musical tastes were all over the place. I listened to the catchy rap of Young MC, the tough gangsta rhymes of Ice-T and the NWA, and the wide spectrum of rock & roll. This was the late 1980s/early 1990s, so I was still basking in the glory of "Reagan Rock" -- the New Wave 80s pop, synth pop, one-hit wonders, etc. But I also nurtured a deep appreciation of classic rock: The Beatles, The Rolling Stones, Cream, Journey, The Doors, Led Zeppelin and Black Sabbath (yep, I like the harder stuff too). I was aware of Tom Petty and the Heartbreakers, but mine was a crowded musical landscape and they were admittedly lost in that collage of styles and music that made up my record collection. And then The Traveling Wilburys came to town. Not literally, unfortunately. I would have loved to see Tom Petty, George Harrison, Bob Dylan, Roy Orbison and Jeff Lynne on stage together. Their first album increased my interest in Petty's work exponentially. Less than a year later, the first of Tom's "solo" albums, Full Moon Fever, was released. To my eager ears, this was a masterpiece. To my now presumably wiser ears, it still holds up as one of the best albums you'll ever listen to from beginning to end. So when The Heartbreakers rolled into St. Louis to rock our then-new concert venue, I all but camped outside the box office for tickets. It's been nearly 20 years since then. Tom Petty and the Heartbreakers had released their self-titled debut album in 1976 -- I was three years old. I wish it hadn't taken me so long to really "discover" their music, but it was a joy to collect their back catalog. And I've had a fantastic time at every one of their concerts that I've been privileged to attend through the years. The July 18th, 2010 show at Verizon Wireless Amphitheater was no exception. This tour, in support of their newest album, Mojo, featured the consistently strong showmanship The Heartbreakers delivery whenever they play. The Heartbreakers don't really do "theme" albums, but Mojo has a distinct feel and consistent rhythm throughout. The songs are a little slower, somber, and firmly rooted in the blues. That's not to say they aren't catchy and likable, but they're not the sort of sound that the corporate controlled rock stations are going to rush to play. That's OK with me, though. I think Mojo demonstrates a period of personal and professional comfort for the band. They've been at it 35 plus years (not counting Mudcrutch, the original Tom Petty band that also featured future Heartbreakers founders Benmont Tench on keyboards and the highly talented and grossly under-appreciated Mike Campbell on guitar), they've earned their accolades Photo by Ken Calcaterra, July 18, 2010 photo credit: Ken Calcaterra, 2010 and fortunes, they're entitled to play whatever they feel like. Mojo is an album that will grow on listeners the more they let it play. The guitar work in particular is tremendous--perhaps the best of Mike Campbell's career. It's nice that he gets time to display his skills with more solos than I recall from the previous couple of releases. Of course, that could be fuzzy logic on my part--Mojo is the first new album for The Heartbreakers since The Last DJ, as Highway Companion was a "solo" Tom Petty album (I use quotes on "solo" because many of The Heartbreakers were contributors on Full Moon Fever, Wildflowers, and Highway Companion). Opening for The Heartbreakers on this leg of the tour was Drive-By Truckers, a southern rock band from Georgia with a comparable sound to The Heartbreakers, heavily influenced by Lynyrd Skynyrd. I felt bad for them as they attemted to connect with an audience they couldn't see. The bright St. Louis sun was setting behind the seats, blinding the band. Still, they played gamely and were warmly accepted by the audience. I'm interested in exploring their music more myself, after hearing them live. As the skies over St. Louis finally grew dark, Tom Petty and the Heartbreakers took the stage. The set opened with one of my all-time favorites, "Listen to her Heart." They follow that with rousing renditions of "You Don't Know How It Feels," "I Won't Back Down," and "Free Fallin'." "Oh Well" was a surprise, with the band having a bit of fun covering the Fleetwood Mac song from the Bob Welch era. I dare say The Heartbeakers might even do it better. The band continued on with "Mary Jane's Last Dance," "Heading Down To Georgia," -- a rare song for them to play live -- and "Breakdown." The Heartbreakers then take the audience through the recently charted waters of Mojo with "Jefferson Jericho Blues," "Good Enough," "Running Man's Bible," "Takin' My Time," and "I Should Have Known It." I would have liked to hear "The Trip To Pirate's Cove" and "Don't Pull Me Over" as well, but of course if the band had started playing at lunchtime and finished up at Maryland Height's extraordinarily lame 11:00 pm curfew, there would still be favorites left unplayed. They ended the main set with "Learning To Fly," "Don't Come Around Here No More" and...suddenly that was it. My good friend and photographer for this show, Ken Calcaterra, leaned in and asked, "Did you notice Campbell sitting down for the last three songs?" I had not -- I'd been focused on Petty. After a few moments in which some folks headed for the exits, Tom himself came back to the microphone. "Let me tell you what's going on. Mike got a little sick right there at the end, so he's getting checked out in the back. If he can come back out, we're gonna play a bunch more for you." As the crowd waited patiently, a chant of "Mike! Mike! Mike!" rose from the crowd. St. Louis takes for granted that our summers are hot and humid, but I suspect Mr. Campbell fell victim to the terrible trio: heat, humidity and stillness. There was virtually no breeze, and as hot and steamy as it was for the fans, I'm sure it was exponentially hotter under Photo by Ken Calcaterra, July 18, 2010 photo credit: Ken Calcaterra, 2010 the lights. Eventually Mike recovered enough to come back out and send everyone home happy, rocking out hard for the encore after the impromptu intermission with "Refugee," "Runnin' Down A Dream," and "American Girl." I freely acknowledge that Tom Petty's voice isn't universally appealing. People either love him or they don't. If you're one of those that don't, you might be surprised if you give his recent offerings Highway Companion and Mojo an honest listen. Like a fine wine, Petty's voice has gotten better with age, and the songs, some co-written by Mike Campbell, have matured as well. The Heartbreakers, guitarists Mike Campbell and Scott Thurston, long-time bass man Ron Blair (who returned to the band in 2002, coming full-circle 21 years after he originally departed to replace his own replacement, Howie Epstein, who passed away in 2003), keyboardist Benmont Tench, and drummer Steve Ferrone, are one of the most consistent acts you'll ever see live. Some bands sound terrible on stage, owing their success to gaudy overproduction. The Heartbreakers have always been a little stripped down, a very honest, forthright, what-you-see-is-what-you-get sound. This performance was no exception. Every one of them is a fine musician in their own right, but I can't say enough about Mike Cambell. Discussions of rock guitarists usually start with Eddie Van Halen, segue either toward Zakk Wylde if the conversation is slanted towards hard rock/heavy metal, Alex Lifeson from Rush representing the progressive point of view and Eric Clapton or Jimmy Page for those with a nostalgic bone for blues-rock. It's a shame Campbell doesn't often get the recognition he deserves, having written songs or played guitar for the likes of Don Henley, The Wall Flowers, Fleetwod Mac, Brain Setzer, Roger McGuinn, John Prine, and the late, great Johnny Cash. Mike Cambell may be one of the most under-the-radar names in rock & roll, but Heartbreakers fans know the truth. Tom Petty and the Heartbreakers are one of the most talented and enjoyable acts in my lifetime. Their 2002 induction into the Rock and Roll Hall of Fame was well deserved. Treat yourself to a night of great music by talented musicians led by one of the most unique voices in the industry whenever they come to town. I do, every time, and it always reaffirms my faith in rock and roll and that the whiny emo bands and corporate puppet bands haven't completely taken over. Hope you feel better, Mike. \ http://www.the-trades.com/article.php?id=12004
полная версия страницы