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ЛЕНТА НОВОСТЕЙ ТОМА ПЕТТИ - 3
Goldenday: Новости, факты, интересные статьи, фото и пр.
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
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