Tom Petty & The Heartbreakers
Tom Petty once said of "Refugee," "If I'd know it was going to be such a big hit I think I would have spent a lot more time working on it." The quote reveals a casual, self-depreciating nature. Petty, solo or with the Heartbreakers, and there isn't much difference (usually a Heartbreaker or two lends a hand on the solo records), is often unfairly described as a meat and potatoes Rocker. He is really more of a straight ahead, no nonsense kind of guy, who delivers. Also, it helps to have a band like the Heartbreakers led by Mike Campbell's guitar.
Petty started his career under the influence of Bob Dylan and the Byrds. "American Girl" captured both Dylan's vocal style and the Byrds ringing guitars. The song was later covered by former Byrds' frontman Roger McGuinn.
As a member of Mudcrutch, Petty left his Gainesville, FL, hometown and ventured to L.A. with a demo tape. The tape sparked interest and eventually the rest of Mudcrutch moved west. However, their first album remained in the can and shortly thereafter Mudcrutch ceased. Their label, Shelter Records, suggested Petty go solo. Meanwhile, former Mudcrutchers Mike Campbell and keyboard player Benmont Tench were putting a group together. Petty, using all his southern charm and powers of persuasion, convinced them to become Heartbreakers.
An appearance on the "FM" soundtrack ("Breakdown") helped establish the group. Early on though, Petty ran into financial troubles that, instead of wiping him out, resulted in the creation of a label to release his recordings. Shelter had been sold to ABC Records, who in turn were purchased by MCA Records. MCA figured Petty owed them more than a half a million dollars. At the time Petty had only a tenth of that. He declared bankruptcy and MCA, figuring they weren't going to squeeze any money out of a broke musician, created and controlled Backstreet Records, for Tom Petty and the Heartbreakers. It was a nice piece of convoluted business that the record industry is famous for.
 Tom Petty |
"Don't Do Me Like That," "The Waiting," and "You Got Lucky" followed. Solo, Petty came up with "I Won't Back Down" and "Running Down A Dream," which gave a nod to Rock 'n' Roller Del Shannon, whose career Petty had worked to revive. Petty and Campbell contributed to Stevie Nicks' "Stop Draggin' My Heart Around" which, if momentarily, pulled the Fleetwood Mac singer out of her usual dream-like state and forced her to Rock it up. Earlier, Nicks had added vocals to Petty's "Insider." Petty also was a member of the Traveling Wilburys with George Harrison, Bob Dylan, Jeff Lynne and the late Roy Orbison.
Tom Petty has been at it for over thirty years - that's at least six lifetimes in the Rock world. He has never strayed too far from his basic concept and has certainly found an audience. Better still, he's managed to keep it.
"Highway Companion," Petty's first solo album in over a decade arrived in '06. The Jeff Lynne/Petty/Campbell produced disc featured "Saving Grace." The three musicians also played all the instruments on the album. It was Petty's first release with American Recordings, an imprint of his longtime label, Warner Bros. Records.
After reviving his original Gainesville band, Mudcrutch (see Mudcrutch for more information), Petty & The Heartbreakers toured North America with Steve Winwood as the opening act. But before that got underway, there was a halftime performance at Super Bowl XLII in Phoenix. They played "American Girl," "I Won't Back Down," "Free Fallin'," and "Runnin' Down A Dream."
For a band with a longstanding live reputation, it was natural to release "The Live Anthology," a massive collection covering thirty years. That was followed by the '10 release, "Mojo." "It's Blues-based," said Petty in a Rolling Stone interview. "Some of the tunes are longer, more jam-y kind of music." Then came the live vinyl LP "Kiss My Amps" issued on Record Day (11/25) in '11. The tracks were culled from the band's '10 tour in support of "Mojo."
Tom Petty & The Heartbreakers rolled into view in '76. Early recordings on Shelter laid the groundwork for his classic "Damn The Torpedoes." Petty's most recognizable songs, "Don't Do Me Like That," "Refugee" and "Her Comes My Girl" are here. A decade later "Full Moon Fever" appeared with "Running Down A Dream." It also has the uppity "I Won't Back Down." "Greatest Hits" covers the expected.
The title track of "The Last DJ" tells the tale of the lone voice on the airwaves who lives (and plays music) by his own rules. Like the heroic cowboy in Westerns, the story has been so blown out of proportion that one wonders if such a person ever really existed. The song implies that radio, and by extension the record industry, has become stagnant and safe in this era of corporate media consolidation. While consolidation usually leads to a formula approach, truth is, commercial radio has always been a mess. Caught between attracting listeners and pleasing advertisers, radio has not so much managed to walk the tightrope as it has caught itself when it stumbled.
A couple songs deal with music industry hypocrisy and dirty dealings, which have existed since day one. Petty isn't going to change anyone's mind but at least the topic gets his juices flowing. For "Money Becomes King" and "When A Kid Goes Bad," Petty brings enough grit to carry them. "You & Me" and "The Man Who Loves Women" are good little Rock 'n' Roll numbers and the album's saving grace.
Speaking of "Saving Grace," that song is opening track, first single and best song on Petty's third solo effort "Highway Companion," a pleasing low key acoustic/electric guitar album with Country ("Big Weekend") and Folk-Rock ("Flirting With Time" and "This Old Town") leanings.
Many "Mojo" songs could have been played by Chicago bluesmen resurrecting their Delta roots. But it's actually a bunch of Southern boys employing a rich motif that long ago seeped into their veins.
Recorded "live" in the studio, with minimal overdubbing, "Mojo" has a sharpness and unity to the performances. From hard-bitten ("I Should Have Known It") to exuberant ("Let Yourself Go"), there are songs that are destined to become a part of the Petty/Heartbreakers vernacular.
"Jefferson Jericho Blues," the set opener, lives up to its name with a classic guitar/harmonica workout. The inspirational "First Flash Of Freedom" is slower but gets nudged along by a great bass line. "Candy," which references turnip greens, rests comfortably in that stretch from the Florida panhandle to the Mississippi River. "U.S. 41," an uptempo "white line fever" track about a now supplanted freeway that runs through Florida and up north, has an air of freedom while "High In The Morning" shows escape attempts come with a price.
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