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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 Íà ýòîé íåäåëå ïåñíÿ Òîìà îïóñòèëàñü íà 2 ïóíêòà. Ãîëîñîâàíèå ïðîäîëæàåòñÿ! Òàê ÷òî íå çàáóäòå ïðîãîäëîñîâàòü.
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: Òàêàÿ âîò õâàëåáíàÿ ñòàòüÿ.. 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 Íà ôîðóìå beatles.ru èäåò äîâîëüíî ëþáîïûòíîå ìåñòàìè îáñóæäåíèå â òåìå "ôîòîãðàôèè çâåçä òîãäà è ñåé÷àñ" Òîì òàì òîæå åñòü. Ìåíÿ ïðàâäî íåìíîãî çàöåïèëî , ÷òî íåêîòðûå (ñì. ññûëêó âûøå) Òîìà ê ïîï-ðîêó îòíåñëè. Ìîæåò ÿ íå ïðàâà, íî âîò ïîï-ðîêåðîì îí íèêîãäà íå áûë.
Voldar: Ê ñîæàëåíèþ àäåêâàòíîñòü íåêîòîðûõ ïåðñîíàæåé íà äàííîì ôîðóìå îñòàâëÿåò æåëàòü ëó÷øåãî.
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: Ìàéê óïàë. Â îáìîðîê: "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.Äîáðîãî çäðàâèÿ Ìàéêó.Âîò êàê áûâàåò,ìû áîëüøå îïàñàëèñü çà Òîìà,à îêàçûâàåòñÿ ñ Ìàéêîì íå âñå õîðîøî.
SLQ: Ñëàâà Áîãó, âñå îáîøëîñü! Äîáðîãî çäîðîâüÿ Ìàéêó!!!!
SLQ: Âîò ðàññêàç îäíîãî èç çðèòåëåé ñ ýòîãî øîó: 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
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