Rock, Metal

Tom Petty & The Heartbreakers - Echo (1999)

2017-10-10T11:52:15Z

Tom Petty & The Heartbreakers - Echo (1999)


1 	Room At The Top 	5:01
2 	Counting On You 	4:05
3 	Free Girl Now 	3:30
4 	Lonesome Sundown 	4:32
5 	Swingin' 	5:30
6 	Accused Of Love 	2:45
7 	Echo 	6:37
8 	Won't Last Long 	4:22
9 	Billy The Kid 	4:09
10 	I Don't Wanna Fight 	2:48
11 	This One's For Me 	2:42
12 	No More 	3:16
13 	About To Give Out 	3:13
14 	Rhino Skin 	3:57
15 	One More Day, One More Night 	5:38

Acoustic Guitar, Electric Guitar, Backing Vocals – Scott Thurston
Bass Guitar, Backing Vocals – Howie Epstein
Drums – Steve Ferrone
Guitar [Lead], Bass – Mike Campbell
Percussion – Lenny Castro
Piano, Electric Piano, Organ, Mellotron [Chamberlin], Clavinet – Benmont Tench
Vocals, Guitar, Harmonica – Tom Petty

Although the stripped-down, immediate production of She's the One was reminiscent of Wildflowers, Tom Petty's forays into Lindsey Buckingham-inspired pop turned out to be a passing thing, since Echo, his first full-fledged record with the Heartbreakers since 1991's Into the Great Wide Open, is an extension of Wildflowers, at least in terms of sound and feel. The weird thing is, Echo sounds like a sinewy band recording, but its sentiment makes it feel like a solo record. To be blunt, much of Echo feels like a by-product of Petty's divorce from his wife of over 20 years; even the intoxicating hard rock of "Free Girl Now" has a layer of sorrow and regret. That weary melancholy is the bond that keeps Echo together, bridging the gap between the ballads and the rockers, providing an emotional touchstone that makes the record more than just another Petty record. Then again, the music on Echo manages to sound like every other Petty album, yet it stays fresh. Petty, Mike Campbell, and Rick Rubin (along with some help from George Drakoulias) keep the spirit of Wildflowers alive by keeping the production uncluttered, direct, and muscular -- which just reveals what a strong, versatile band the Heartbreakers are. And while there are no surprises, Petty once again delivers an album that works as a whole while having several clear highlights -- which is a pretty neat trick, actually. At times, the disc feels a little long, but all the pieces work individually and illustrate that Petty is the rare rocker who knows how to mature gracefully. Although the album is spiked with sadness and regret, nothing on the album feels forced or self-conscious, either lyrically or musically -- and he is one of the few rockers of his generation that can make such a claim.---Stephen Thomas Erlewine, AllMusic Review

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Tom Petty & The Heartbreakers - Mojo (2010)

2013-05-18T16:03:07Z

Tom Petty & The Heartbreakers – Mojo (2010)


1 	Jefferson Jericho Blues 	
2 	First Flash Of Freedom 	
3 	Running Man's Bible 	
4 	The Trip To Pirate's Cove 	
5 	Candy 	
6 	No Reason To Cry 	
7 	I Should Have Known It 	
8 	U.S. 41 	
9 	Takin' My Time 	
10 	Let Yourself Go 	
11 	Don't Pull Me Over 	
12 	Lover's Touch 	
13 	High In The Morning 	
14 	Something Good Coming 	
15 	Good Enough

Tom Petty – vocals, rhythm guitar, Bass on (3 credited) as being a Club Hofner bass
Mike Campbell – lead guitar, production
Scott Thurston – rhythm guitar, harmonica
Benmont Tench – acoustic and electric piano, organ
Ron Blair – bass guitar
Steve Ferrone – drums, percussion

Tom Petty has been fronting the Heartbreakers off and on (mostly on) for over 30 years now, and he and his band have been delivering a high level of no-frills, classy, and reconstituted American garage rock through all of it. Petty often gets lumped in with artists like Bruce Springsteen, whose careful and worked-over lyrics carry a kind of instant nostalgia, but Petty's songwriting at its best cleverly bounces off of romance clichés, often with a desperate, lustful drawl and sneer, and he’s usually been more concerned with the here and now than he is about musing about what’s been abused and lost in contemporary America, although he's certainly not blind to it. Petty has always been more immediate than that -- until now, that is.

Mojo is Petty's umpteenth album, and technically the first he’s done with the Heartbreakers since 2002’s sly The Last DJ. This time out he’s tackling the blues, trying to graft the Heartbreakers' (Mike Campbell on guitar, Scott Thurston on guitar and harmonica, Benmont Tench on keyboards, Ron Blair on bass, and Steve Ferrone on drums) patented 1960s garage sound to the Chicago blues sound of Chess Records in the 1950s. Sonically it certainly works, mostly because this is a wonderful band, but then it all seems a little tired, worn, and exhausted, too, and not a single song here has that certain desperate, determined defiance that Petty has always delivered in the past with a knowing sneer and a little leering wink.

The opener, “Jefferson Jericho Blues,” is a case in point. It starts by being a song about Thomas Jefferson’s dalliance with one of his black maids, and it could have been a scathing indictment of an out-of-date Southern attitude, contemporary racism, and so much more. Instead, it tumbles unfocused into, well, a song about missing a girl and how time moves slow, and one can’t help but wonder why Petty dragged Thomas Jefferson and his maid into any of it in the first place. Petty has never sounded so emotionally drained and detached as a vocalist as he does on this album, and while it’s nice to hear the Heartbreakers flirt with the blues -- and to hear Campbell's clear, precise slide guitar playing -- there’s no excuse for not having solid songs to scaffold it. There’s a worn-out, regretful, and boringly meditative tone to so many tracks here -- this is not what one expects from a band that rocks as fine as this one can. Again, the playing is solid, but one wishes Petty & the Heartbreakers had simply covered some of those old Chess classics rather than trying half-heartedly to write their own -- it would have made for an album closer to intent. ---Steve Leggett, AllMusic Review

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Tom Petty & the Heartbreakers – Greatest Hits (1993)

2010-09-27T16:32:35Z

Tom Petty & the Heartbreakers – Greatest Hits (1993)


01. American Girl
02. Breakdown
03. Anything That’s Rock & Roll   play
04. Listen to Her Heart
05. I Need to Know                play
06. Refugee
07. Don’t Do Me Like That
08. Even the Losers
09. Here Comes My Girl
10. The Waiting
11. You Got Lucky
12. Don’t Come Around Here No More
13. I Won’t Back Down
14. Runnin’ Down a Dream
15. Free Fallin’
16. Learning to Fly
17. Into the Great Wide Open
18. Mary Jane’s Last Dance
19. Something in the Air

Personnel: 
Tom Petty (vocals, guitar, keyboards); 
Mike Campbell (guitar, keyboards); 
Benmont Tench (keyboards, background vocals); 
Stan Lynch (drums, background vocals); 
Howie Epstein, Phil Seymour (background vocals)

Greatest Hits is a lean yet complete overview of Tom Petty & the Heartbreakers' biggest singles from their first prime. Sure, it's possible to pinpoint a few great songs missing, but the group had a lot of great songs during the late '70s and '80s. This rounds up the biggest hits from that era, and in doing so, it turns into a succinct summary of the band at the top of its game. Everything from "American Girl" to "Free Fallin'" is included, with 18 tracks proving that Petty was one of the best rockers of his time. ---Stephen Thomas Erlewine, AllMusic Review

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Tom Petty - Highway Companion (2006)

2017-10-06T12:22:23Z

Tom Petty - Highway Companion (2006)


1 	Saving Grace 	3:47
2 	Square One   (Bass – Tom Petty)	3:25
3 	Flirting With Time 	3:15
4 	Down South 	3:27
5 	Jack     (Lead Guitar, Keyboards – Tom Petty) 	2:28
6 	Turn This Car Around 	3:58
7 	Big Weekend 	3:15
8 	Night Driver      (Electric Piano – Tom Petty)	4:27
9 	Damaged By Love 	3:22
10 	This Old Town 	4:16
11 	Ankle Deep     (Autoharp – Jeff Lynne)	3:23
12 	The Golden Rose    (Vibraphone – Mike Campbell)	4:42

Tom Petty - Lead Vocals, Rhythm Guitar, Drums, Backing Vocals, Harmonica
Jeff Lynne - Bass, Rhythm Guitar, Keyboards, Backing Vocals
Mike Campbell - Lead Guitar

Tom Petty's concept for his third solo album is laid bare in its very title: it's called Highway Companion, which is a tip-off that this record was made with the road in mind. As it kicks off with the chugging Jimmy Reed-via-ZZ Top riff on "Saving Grace," the album does indeed seem to be ideal music for road trips, but Petty changes gears pretty quickly, down-shifting to the bittersweet acoustic "Square One." Although the album ramps back up with the '60s-styled pop of "Flirting with Time" and the swampy, Dylan-esque "Down South," the quick move to the ruminative is a good indication that for as good as Highway Companion can sound on the road, Petty looks inward on this album just as frequently as he looks outward. Perhaps this is the best indication that this is indeed a solo affair, not a rock & roll record with the Heartbreakers. Petty of course doesn't go it completely alone here: his longtime guitarist Mike Campbell is here as is producer/co-writer Jeff Lynne, who helmed Petty's 1989 solo debut, Full Moon Fever, and the Heartbreakers' 1991 Into the Great Wide Open and now returns to the fold 15 years later. Lynne's previous Petty productions were so bright, big, and shiny, they would have been suitable for an ELO album, and given that track record, it would be easy to assume that he would follow the same template for Highway Companion, but that's not the case at all. Highway Companion has as much in common with the rustic, handmade overtones of 1994's Wildflowers as it does with the pop sheen of Full Moon Fever -- it is precise and polished, yet it's on a small scale, lacking the layers of overdubs that distinguish Lynne's production, and the end result is quite appealing, since it's at once modest but not insular. But Highway Companion also feels a little off, as if Petty is striving to make a fun rock & pop record -- a soundtrack for the summer, or at least a good drive -- but his heart is in making a melancholy introspective album, where he's grappling with getting older. This gives the album a sad undercurrent even at its lightest moments, which makes it ideal for driving alone late at night. Since it arrives after the bombastic The Last DJ, it's refreshing to hear Petty underplay his themes here, and it also helps that Lynne helps toughen up his songcraft. All this makes Highway Companion at the very least another typically reliable collection from Petty, but at its core, it's moodier than most of his records. It has a lot in common with Petty's divorce album, Echo, but it's coming from a different place -- one that's content, yet still unsettled. That may mean that this album isn't quite as fun as it initially seems on the surface, but that bittersweet undercurrent does indeed make Highway Companion a good partner for long nights on the road. ---Stephen Thomas Erlewine, AllMusic Review

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Tom Petty - Tom Petty and the Heartbreakers (1976)

2017-10-04T12:44:12Z

Tom Petty - Tom Petty and the Heartbreakers (1976)


A1 	Rockin' Around (With You) 	2:26
A2 	Breakdown 	2:42
A3 	Hometown Blues 	2:14
A4 	The Wild One, Forever 	3:01
A5 	Anything That's Rock 'N' Roll 	2:23
B1 	Strangered In The Night 	3:32
B2 	Fooled Again (I Don't Like It) 	3:54
B3 	Mystery Man 	3:04
B4 	Luna 	3:59
B5 	American Girl 	3:33

Ron Blair - Bass (Electric), Cello, Guitar (Bass)
Mike Campbell - Guitar
Stan Lynch - Drums, Keyboards
Tom Petty - Guitar, Keyboards, Vocals
Phil Seymour - Vocals (Background)
Benmont Tench - Organ, Piano

At the time Tom Petty & the Heartbreakers' debut was released in 1976, they were fresh enough to almost be considered punk. They weren't as reckless or visionary as the Ramones, but they shared a similar love for pure '60s rock and, for the Heartbreakers, that meant embracing the Byrds as much as the Stones. And that's pretty much what this album is -- tuneful jangle balanced by a tough garage swagger. At times, the attitude and the sound override the songwriting, but that's alright, since the slight songs ("Anything That's Rock 'N' Roll," to pick a random example) are still infused with spirit and an appealing surface. Petty & the Heartbreakers feel underground on this album, at least to the extent that power pop was underground in 1976; with Dwight Twilley providing backing vocals for "Strangered in the Night," the similarities between the two bands (adherence to pop hooks and melodies, love of guitars) become apparent. Petty wound up eclipsing Twilley because he rocked harder, something that's evident throughout this record. Take the closer "American Girl" -- it's a Byrds song by any other name, but he pushed the Heartbreakers to treat it as a rock & roll song, not as something delicate. There are times where the album starts to drift, especially on the second side, but the highlights -- "Rockin' Around (With You)," "Hometown Blues," "The Wild One, Forever," the AOR staples "Breakdown" and "American Girl" -- still illustrate how refreshing Petty & the Heartbreakers sounded in 1976. --- Stephen Thomas Erlewine, AllMusic Review

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Tom Petty and the Heartbreakers - Damn The Torpedoes (1979)

2011-05-19T12:57:08Z

Tom Petty and the Heartbreakers - Damn The Torpedoes (1979)


1. Refugee 
2. Here Comes My Girl 
3. Even The Losers 		play
4. Shadow Of A Doubt (A Complex Kid) 
5. Century City 
6. Don't Do Me Like That 	play
7. You Tell Me 
8. What Are You Doin' In My Life? 
9. Louisiana Rain

* Tom Petty – 6 & 12 string guitars, lead vocals and harmonica
* Mike Campbell – 6 & 12 string guitars, slide guitar, keyboards, accordion, bass guitar
* Benmont Tench – piano, organ, harmonium and vocals
* Ron Blair – electric bass guitar
* Stan Lynch – drums and vocals
* Donald "Duck" Dunn – bass on "You Tell Me"

Not long after You're Gonna Get It, Tom Petty & the Heartbreakers' label, Shelter, was sold to MCA Records. Petty struggled to free himself from the major label, eventually sending himself into bankruptcy. He settled with MCA and set to work on his third album, digging out some old Mudcrutch numbers and quickly writing new songs. Amazingly, through all the frustration and anguish, Petty & the Heartbreakers delivered their breakthrough and arguably their masterpiece with Damn the Torpedoes. Musically, it follows through on the promise of their first two albums, offering a tough, streamlined fusion of the Stones and Byrds that, thanks to Jimmy Iovine's clean production, sounded utterly modern yet timeless. It helped that the Heartbreakers had turned into a tighter, muscular outfit, reminiscent of, well, the Stones in their prime -- all of the parts combine into a powerful, distinctive sound capable of all sorts of subtle variations. Their musical suppleness helps bring out the soul in Petty's impressive set of songs. He had written a few classics before -- "American Girl," "Listen to Her Heart" -- but here his songwriting truly blossoms. Most of the songs have a deep melancholy undercurrent -- the tough "Here Comes My Girl" and "Even the Losers" have tender hearts; the infectious "Don't Do Me Like That" masks a painful relationship; "Refugee" is a scornful, blistering rocker; "Louisiana Rain" is a tear-jerking ballad. Yet there are purpose and passion behind the performances that makes Damn the Torpedoes an invigorating listen all the same. Few mainstream rock albums of the late '70s and early '80s were quite as strong as this, and it still stands as one of the great records of the album rock era. ---Stephen Thomas Erlewine, AllMusic Review

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Tom Petty ‎– Wildflowers (1994)

2017-10-03T14:01:45Z

Tom Petty ‎– Wildflowers (1994)


1 	Wildflowers 	3:12
2 	You Don't Know How It Feels 	4:49
3 	Time To Move On 	3:15
4 	You Wreck Me		3:23
5 	It's Good To Be King 	5:10
6 	Only A Broken Heart 	4:30
7 	Honey Bee	4:58
8 	Don't Fade On Me 	3:32
9 	Hard On Me	3:48
10 	Cabin Down Below	2:51
11 	To Find A Friend	3:23
12 	A Higher Place 	3:56
13 	House In The Woods		5:32
14 	Crawling Back To You 	5:05
15 	Wake Up Time 	5:19

Acoustic Guitar, Electric Guitar, Vocals – Tom Petty
Backing Vocals – Howie Epstein
Bass, Harpsichord, Guitar, Sitar, Producer – Mike Campbell
Conductor – Michael Kamen (tracks: 1, 3, 5, 15)
Drums – Steve Ferrone
Featuring – The Yard Dog Orchestra
Harmonium, Piano, Organ, Mellotron, Performer [Zenon] – Benmont Tench
Percussion – Lenny Castro
Producer – Rick Rubin, Tom Petty
+
Bass – Howie Epstein (4,10)
Percussion – Phil Jones (4,10)
Backing Vocals – Carl Wilson (7)
Bass – Howie Epstein (7)
Bass – John Pierce (9)
Drums – Ringo Starr (11)
Guitar [Pedal Steel] – Marty Rifkin (13)
Saxophone – Brandon Fields, Gary Herbig, Jim Horn, Kim Hutchcroft (13)

Under the guidance of producer Rick Rubin, Tom Petty turns in a stripped-down, subtle record with Wildflowers. Coming after two albums of Jeff Lynne-directed bombast, the very sound of the record is refreshing; Petty sounds relaxed and confident. Most of the songs are small gems, but a few are a little too laid-back, almost reaching the point of carelessness. Nevertheless, the finest songs here ("Wildflowers," "You Don't Know How It Feels," "It's Good to Be King," and several others) match the quality of his best material, making Wildflowers one of Petty's most distinctive and best albums. ---Stephen Thomas Erlewine, AllMusic Review

It's easy to take Tom Petty for granted. Among his generation of heartland-rock heroes he's conspicuous for not having cultivated a clear public persona. Neither a blue-collar poet like Bruce Springsteen nor an outspoken maverick like Neil Young, Petty is most familiar to us in the dryly goofy, self-effacing guises he adopts in his videos the Mad Hatter haplessly burping into the camera or the adoring oaf dragging around Kim Basinger's corpse.

Petty's music, however, has always demanded a respect that no amount of wry humility could undermine, and his new album, Wildflowers, proves no exception. On it the fortysomething rocker offers 15 songs that focus on the conflicting emotions of adulthood, from rueful nostalgia to cynical self-doubt to hope and yearning. True, Wildflowers is not as sonically adventurous as Southern Accents (1985) or as instantly accessible as Full Moon Fever (1989), Petty's two most impressive albums since the early peak he reached in 1979 with Damn the Torpedoes. But Wildflowers' resolute passion and maturity grow more evident with each listen until the album acquires a haunting, enduring resonance.

Wildflowers is tagged a solo effort, sans the Heartbreakers, Petty's backing band since the '70s. Like Full Moon Fever, his only previous solo project, the new release features two musicians who have been central to the Heartbreakers' sound since the beginning: guitarist Mike Campbell (who also co-wrote two songs on the disc) and pianist Benmont Tench. (Bassist Howie Epstein, a member of Petty's band since the early '80s, also appears on several tracks.) And manning the boards this time with Petty and Campbell is Wunderkind industry honcho and producer Rick Rubin, whose strength lies in his ability to pinpoint and accentuate the strengths of the artists he works with (particularly veteran artists like Mick Jagger and Johnny Cash, with whom he has worked recently).

In Petty's case the key virtues are grit and grace, and Rubin's taut, muscular production emphasizes both these gifts. Buoyant tracks like "A Higher Place" and "You Wreck Me" remind us that Petty and his band were the first to marry the chiming lyricism of the Byrds to a more raw, harder style of rock & roll, prefiguring the approach R.E.M. and others would later use to revitalize contemporary music.

Also at the fore is Petty's sense of humor. For all its urgency, Wildflowers brims with flashes of the singer's trademark deadpan wit, from the crisply rhythmic "You Don't Know How It Feels" on which he asserts, "Let me get to the point/Let's roll another joint/And turn the radio loud/I'm too alone to be proud" to the sly, snarling irony of "Honey Bee" and "Cabin Down Below," two steady burners fueled by Petty and Campbell's testosterone-drunk electric guitars (and by such lyrics as "I'm a man in a trance/I'm a boy in short pants/When I see my honeybee").

On "It's Good to Be King," Petty assumes the identity of your basic self-obsessed male, singing, "It's good ... to have your own way.... It's good to meet girls/A sweet little queen/Who can't run away." Characteristically, his sarcasm stops short of judgmental sneering. "Can't help it if I dream from time to time," he allows sympathetically.

But the heart of Wildflowers can be found in its more wistful numbers. "Which way to something better," Petty wonders on the bittersweet "Time to Move On." "Which way to forgiveness/Which way do I go?" "Don't Fade on Me" is more unsettling: Over a darkly lyrical acoustic duet with Campbell, the singer pleads with a lover who's drifting from him and possibly from herself.

"Wake Up Time" is a lovely coda, a dramatic ballad about the struggle to triumph over failed dreams, with Petty on piano (temporarily filling in for Tench, whose supple playing supports other tracks). It's one of the album's more poignant songs, thanks to Petty's stringent musicianship and his typically unaffected vocal.

As a final note, it's worth mentioning that Wildflowers arrives about a month after the release of You Got Lucky, a tribute album (yes, another tribute album) featuring endearingly scrappy, distortion-fueled covers of Petty classics by such relatively obscure groups as Everclear ("American Girl") and Fig Dish ("Don't Come Around Here No More"). Of course, those seeking proof of Petty's influence on today's younger bands can also look to Soul Asylum's "Runaway Train."

Wildflowers is worthy of that longstanding impact and evidence that this American boy is moving through middle age with all the gusto and poise that his admirers have come to expect. ---Elysa Gardner, rollingstone.com

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