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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!!!!!
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