With Neil Young very much being on my mind after listening to his music last night and writing a related post earlier today, I thought why not throw in a truly epic live performance of one of his rock anthems. Rockin’ In The Free World, which he wrote together with long-time collaborator and Crazy Horse rhythm guitarist Frank “Poncho” Sampedro, appeared on Freedom.
Released in October 1989, Young’s 18th studio album marked a triumphant comeback after a largely unsuccessful decade. The record was well received by music critics and climbed to no. 35 on the Billboard 200. Rockin’ In The Free World also appeared separately as a single in November that year. It peaked at no. 2 on the Billboard Mainstream Rock Songs chart and is at no. 216 on Rolling Stone’s 500 Greatest Songs of All Time from 2011.
As I previously noted, the storied Stax label is celebrating its 60th birthday this year. Among others, they are issuing compilations with music from some of their biggest stars like Otis Redding, Wilson Pickett, Albert King, Booker T. & The M.G.s and, of course, the unforgettable Sam & Dave. I was reminded of the anniversary this morning, when I saw some of the celebratory compilations in Apple Music, which leads me to the above clip. Check out this extended killer performance of Hold On, I’m Comin’ – damn! If this doesn’t get you up and moving, you’re probably dead!
Written by songwriter team Isaac Hayes and David Porter, the tune was released as a single in March 1966 and became the title track to Sam & Dave’s debut album, which appeared in April that year. Like for pretty much all Stax recordings at the time, Sam & Dave were backed by Booker T. & The M.G.’s, and what a kick-ass band they were! It’s very how cool how they are called out during the above performance, which apparently was captured in 1966: The singing, the groove, the craftsmanship – I don’t think music can get better than this!
1966:The Supremes A’ Go-Go, the ninth studio album by The Supremes hit no. 1 on the U.S. Billboard 200, marking the first time an all-female band reached the top of the records charts. It remained for 60 weeks on the chart and eventually sold approximately one million copies in the U.S. and 3.5 million worldwide. The record included the no. 1 hit single You Can’t Hurry Love.
1966:Good Vibrations by The Beach Boys entered the U.S. Billboard Hot 100. Written by Brian Wilson with lyrics by Mike Love, the complex tune was recorded in Los Angeles at various studios over a two-month period, relying on top session musicians, according to Songfacts. At an approximate cost of $50,000, it became the most expensive pop song ever recorded at the time. Good Vibrations peaked at no. 1 in December that year, becoming one of four no. 1 singles The Beach Boys scored in the U.S. The song is widely recognized as one of the most important compositions and recordings of its time. It was ranked no. 6 on Rolling Stone’s500 Greatest Songs of All Time in 2011 and included in the Rock and Roll Hall of Fame’s500 Songs That Shaped Rock and Roll.
1969:Led Zeppelin released their second studio album Led Zeppelin II on Atlantic Records in the U.K. Produced by Jimmy Page, the album was recorded between January and August that year at various locations in the U.K. and North America between four European and three American tours. The record includes various of the band’s early classics, such as Heartbreaker, Ramble On, Moby Dick and the epic Whole Lotta Love, which also appeared separately as a single in the U.S. and became the band’s first hit there. The album was a huge international success, reaching no. 1 in the U.K., U.S., Canada and various other countries.
1976:Bob Seger & the Silver Bullet Band release Night Moves, Seger’s ninth studio album. On four of the nine songs Seger was backed by the Muscle Shoals Rhythm Section, including Mainstreet. The record also includes the classics Night Moves and Rock And Roll Never Forgets. All three tunes were also released separately as singles. Night Moves peaked at no. 4 on Billboard Hot 100, giving Seger his first big hit since Ramblin’ Gamblin’ Man from 1969. The album became Seger’s second Gold record in the U.S. and his first to receive Platinum certification. It ultimately achieved sextuple Platinum.
Sources: This Day In Music, Songfacts Music History Calendar, Songfacts, Wikipedia, Rolling Stone, YouTube
The California rock band’s debut album is a timeless gem
I suppose like most folks, the first time I heard of Counting Crows was in late 1993/early 1994 when seemingly out of nowhere they burst on the music scene with Mr. Jones. I instantly loved that tune and still do. It’s yet another example illustrating the formula for many great rock songs: A few chords, a good groove and a catchy melody.
According to a Rolling Stonefeature from June 1994, the band from Berkeley, Calif. was generally well received by music critics, though many couldn’t resist the temptation to compare their music to other artists. The long list included The Band, R.E.M., Bob Dylan, Tom Petty and the Heartbreakers and Bruce Springsteen, to name a few. The “sha-la-la” passage in the beginning of Mr. Jones was also compared to Van Morrison’sBrown-Eyed Girl.
It is simply amazing to me how meticulously new recording artists are oftentimes analyzed. In this context, I also recall initial criticism of Lenny Kravitz sounding too much like his ’60s influences. To that I say so what! The last time I checked, the ’60s was one of the greatest decades in rock if not the best! Plus, frankly, in how many different ways can you play songs that consist of three to four chords. So let’s stop this silly quest to over-analyze everything and remember what it’s ultimately about – enjoying great music, which brings me back to August And Everything After.
Released in September 1993 on Geffen Records and produced by none other than T-Bone Burnett, Counting Crows’ debut album marked an impressive start for the band. Like so many other music artists, they had struggled only a few years prior to the record’s appearance.
The album kicks off with Round Here, a terrific opener. Duritz wrote the song when he was still with his previous band The Himalayans, together with other members of that rock band Dan Jewett, Chris Roldan and Dave Janusko. The tune has great ups and downs in dynamic. It also became the album’s second single.
Mr. Jones captures the experience of so many struggling music artists and their dreams of making it big someday. In this particular case, it’s about Adam Duritz, the band’s lead vocalist and main songwriter, and Marty Jones, bassist of the above noted The Himalayans. Co-written by Duritz and Counting Crows’ guitarist and vocalist David Bryson, Mr. Jones was also released separately as the album’s lead single in December 1993. It became a major international hit for Counting Crows, peaking at no. 2 on the Billboard Mainstream Top 40 on April 16, 1994, and hitting no. 1 on the Canada Top Singles chart. The tune also charted in Australia, New Zealand and various European countries.
Perfect New Buildings is another strong tune on the album. Written by Duritz, the song is about the emptiness that being on the road and sleeping in impersonal hotel rooms can bring, according to Songfacts.
Rain King is another co-write by Duritz and Bryson. The song was inspired by Henderson the Rain King, a book Duritz read during his studies at the University of California. According to Songfacts, he explained its meaning on Counting Crows VH1 Storytellers special as follows: “The book became a totem for how I felt about creativity and writing: it was this thing where you took everything you felt inside you and just sprayed it all over everything. It’s a song about everything that goes into writing, all the feelings, everything that makes you want to write and pick up a guitar and express yourself. It’s full of all the doubts and the fears about how I felt about my life at the time.” Rain King also appeared separately as the record’s third single and charted in the U.S., Canada and the U.K.
The last tune I’d like to highlight is the record’s closer, A Murder Of One, which includes the band’s namesake in the lyrics. It also became the album’s fourth and final single. The song was co-written by Duritz and Matt Malley, the band’s bassist and vocalist at the time. In explaining the meaning, Wikipedia quotes Duritz as saying, “I can remember being eight years old and having infinite possibilities. But life ends up being so much less than we thought it would be when we were kids, with relationships that are so empty and stupid and brutal. If you don’t find a way to break the chain and change in some way, then you wind up, as the rhyme goes: a murder of one, for sorrow.”
Songfacts further explains, “the rhyme is a reference to a Mother Goose rhyme which came from an old superstition. It was said that your fortune was dependent upon how many blackbirds you see on your path. This practice was eventually looked upon as silly, as there is another common saying that an action can be “As useless as counting crows.”
In addition to Duritz, Bryson and Malley, the band’s line-up at the time also included Steve Bowman (drums, vocals) and Charlie Gillingham (keyboards, accordion, vocals). Among the additional musicians on the record was multi-instrumentalist David Immerglück, of friend of Duritz, who did not become an official member of the band until 1999. He remains with Counting Crows to this day, along with Duritz, Bryson, Gillingham. The current formation also includes Jim Bogios (drums, percussion) and Dan Vickrey (lead guitar).
Since August And Everything After, Counting Crows have released six additional studio albums, six live records and two compilations. About three weeks ago, the band wrapped up an extensive summer tour with Matchbox Twenty. The double-headliner included close to 50 gigs in the U.S. and Canada between July 12 and October 1. I haven’t seen any reports about plans for a new album. In the past, the band has released a new record every three to four years. The last, Somewhere Under Wonderland, appeared in September 2014, so maybe we’ll see something new next year.
Sources: Wikipedia, Rolling Stone, Billboard chars, Songfacts, JamBase, YouTube
An evening with The Royal Scam at Trumpets Jazz Club in Montclair, N.J.
To people who know me and readers of the blog, it won’t come as a big surprise that Steely Dan is one of my all-time favorite bands. The amazing writing and craftsmanship of Donald Fagen and Walter Becker created timeless music that is simply in a league of its own. While unfortunately I never got a chance to catch one of their shows, I probably came as close to it as possible last night at the Trumpets Jazz Club in Montclair, N.J. with The Royal Scam. It was actually the second time I saw this outstanding Steely Dan tribute band.
Named after Steely Dan’s fifth studio album from 1976, The Royal Scam have been faithfully playing the music of Fagen and Becker for 25 years. Lead vocalist Michael Caputo, who does a beautiful job of capturing Fagen’s smooth voice, told the audience they spent the first year with rehearsals before going on the road. This careful prep and the band’s long-time live experience clearly showed. Their attention to the details of the music was incredible, a true labor of love. Another Steely Dan fan who was sitting close to me and has actually seen them put it this way: “They are spot on.” I couldn’t have said it better!
The intimate setting of the Trumpets Jazz Club was a perfect venue to enjoy the music of Steely Dan up close, and there was plenty of it. Between two sets, each lasting more than 90 minutes, The Royal Scam played a great mix of Steely Dan classics like Rikki Don’t Lose That Number, Reelin’ In the Years, Hey Nineteen and Deacon Blues, as well as some deeper cuts I wasn’t as familiar with.
Since smartphone videos oftentimes have mediocre sound quality, I didn’t try to take any footage last night. Fortunately, there are some nice clips of the band on YouTube. Following is a selection.
First Up: Hey Nineteen, from 1978’s Gaucho album. It appears this clip was captured during a gig a few months ago in Linden, N.J., where I saw The Royal Scam for the first time.
Here’s another tune from the same concert: Rikki Don’t Lose That Number from Pretzel Logic (1974), which became Steely Dan’s biggest hit climbing all the way to no. 4 on the Billboard Hot 100 in the summer of 1974.
The Aja album clearly is The Royal Scam’s favorite Steely Dan record, and who can blame them! They usually perform all or most of the tracks from this 1977 gem during their shows. Here is a very cool clip of the band playing side 1 of the album in its entirety: Black Cow, Aja and Deacon Blues!
Next up: Dirty Work from Steely Dan’s 1972 debut Can’t Buy A Thrill – a stellar rendition of one of my favorite early tunes from Becker and Fagen.
And what could be a nicer last clip then more songs from Aja. In fact, how about all of side 2? Here it is, also taken from the band’s website: Peg, Home At Last, I Got The News and Josie.
In addition to Caputo, the band’s current line-up consists of Gino Amato (keyboards and synth programming), Don Regan (guitar), Keith Droz (drums), Larry Chavana (bass), Joe Montini (saxophone) and vocalists Carla Culkin and Wendi Gordy. The Royal Scam will be back at Trumpets on March 10, 2018. Their schedule of upcoming shows is here on the band’s website, along with news and other info.
After they had played their final song of the night, Do It Again from Can’t Buy A Thrill, Caputo thanked folks for coming out and supporting live music. He rightly pointed out that nowadays there are fewer and fewer places like Trumpets where people can enjoy great music up close. While I’ve been to many music events, typically, they haven’t been in an intimate setting. Last night was a great reminder that the music club experience is something that should be cherished.
Sources: Wikipedia, The Royal Scam website, YouTube
Note: This post was updated on November 19, 2017 with some new YouTube videos of the band to replace previous clips that are no longer available.
The above clip captures the final show of Tom Petty and The Heartbreakers at the Hollywood Bowl in Los Angeles on September 25. It was the third of three nights at the legendary venue. This gig was also the last concert of the band’s 40th anniversary tour. It’s still hard to believe that exactly one week thereafter, Petty passed away at only 66 years of age. Not sure how long this clip is going to stay on YouTube, so enjoy while it lasts!
Following is the set list for that final show, along with the album on which each song first appeared. Notably, half of the tracks are from Petty’s first two solo albums. But there is a connection to The Heartbreakers, since both of these records included members of the band.
Rockin’ Around (With You) [Tom Petty And The Heartbreakers, 1976]
Mary Jane’s Last Dance [Greatest Hits, 1993]
Don’t You Know How It Feels [Wildflowers, 1994; second Tom Petty solo album]
Forgotten Man [Hypnotic Eye, 2014]
I Won’t Back Down [Full Moon Fever, 1989; first Tom Petty solo album]
Free Fallin’ [Full Moon Fever, 1989; first Tom Petty solo album]
Breakdown [Tom Petty And The Heartbreakers, 1976]
Don’t Come Around Here No More [Southern Accents, 1985]
It’s Good To Be King [Wildflowers, 1994; second Tom Petty solo album]
Crawling Back To You [Wildflowers, 1994; second Tom Petty solo album]
Wildflowers [Wildflowers, 1994; second Tom Petty solo album]
Learning To Fly [Into The Great Wide Open, 1991]
Yer So Bad [Full Moon Fever, 1989; first Tom Petty solo album]
I Should Have Known About It [Mojo, 2010]
Refugee [Damn The Torpedoes, 1979]
Runnin’ Down A Dream [Full Moon Fever, 1989; first Tom Petty solo album]
You Wreck Me [Wildflowers, 1994; second Tom Petty solo album]
American Girl [Tom Petty And The Heartbreakers, 1976]
The final word goes to the kick-ass musicians of The Heartbreakers. The line-up included Mike Campbell (guitar), Scott Thurston (guitar, harmonica), Benmont Tench (keyboards), Ron Blair (bass) and Steve Ferrone (drums). The backing singers were Charlie Webb and Hattie Webb from England, who are known as The Webb Sisters.
How fond Petty was of his musicians becomes very clear when he introduces them, which starts at approximately 52 minutes and 10 seconds into the clip. His comments also reflect a great sense of humor. If you don’t feel like watching the entire 2 hours and 4 minutes, make sure you catch Petty’s introduction of the musicians.
1951:John Mellencamp, one of my longtime favorite music artists, was born in Seymour, Ind. He started his recording career in 1976 with Chestnut Street Incident, an album of mostly covers, released under Johnny Cougar. The stage name was imposed by his manager at the time, who felt the name Mellencamp was too hard to market. The record flopped anyway. But luckily Mellencamp soldiered on and has released 22 additional studio albums to date. The first record credited to his given name instead of John Cougar Mellencamp, the name he used on most of his ’80s albums, was 1991’s Whenever We Wanted. Starting with the excellent Lonesome Jubilee (1987), Mellencamp gradually moved away from straight rock to more stripped down roots-oriented rock. Here’s a clip of Cherry Bomb from the 1987 album. Happy Birthday!
1960:Elvis Presley recorded Flaming Star, the title song to the soundtrack for his 1960 motion picture. Written by Syd Wayne and Sherman Edwards, the track was also included on an EP in February 1961. It peaked at no. 14 on the Billboard Hot 100. While Presley starred in numerous, mostly mediocre movies, this Western film is considered to be one of his best acting performances. I used to be a huge Elvis fan in my early teens and Flaming Star was one of my favorite tunes. While I’m no longer as crazy about Elvis, I still think he had a great voice and was a terrific performer, especially in his early days.
1963:The Rolling Stones recorded I Wanna Be Your Man, which became their second single released November 1, 1963. Credited to John Lennon and Paul McCartney, this Beatles song was primarily written by McCartney. The Stones’ cover, which appeared prior to the release of The Beatles’ version, climbed to no. 12 on the British chart, giving them an early hit. The tune’s characteristic features are Brian Jones’ slide guitar and Bill Wyman’s driving bass, giving it more pep than the original.
1967: American music producer and promoter Sid Bernstein, who had first brought The Beatles to the U.S. in February 1964 and also was involved in their first Shea Stadium appearance in August 1965, tried to get them back for a third time, offering one million dollars. But The Beatles had grown tired of Beatlemania and decided to retire from touring in late August 1966, so they rejected the offer. It’s a reassuring example money can’t buy everything.
1969: The Youngbloods’ version of Get Together was certified gold. Composed by American singer-songwriter Chet Powers, the Kingston Trio originally recorded the song as Let’s Get Together in 1964. Jefferson Airplane included a cover on their debut album Jefferson Airplane Takes Off, released in August 1966. But the best known and most successful version was recorded by The Youngbloods and first released in July 1967. Initially, it only became a minor hit for the band. Things changed when the tune was used in a radio public service announcement from the National Conference of Christians and Jews calling for brotherhood. The song was reissued in June 1969 and climbed to no. 5 on the Billboard Hot 100.
Sources: Wikipedia, Songfacts, This Day in Music, YouTube
After raving about Under The Milky Way Tonight in my previous post, I thought I might as well put up a clip of the tune. Apparently, this live performance was captured during the induction of The Church into the Australian Recording Industry Association (ARIA) Hall of Fame in 2010.
Steve Kilbey, the band’s songwriter and bassist co-wrote the tune with his then domestic partner Karin Jansson, guitarist of the Swedish punk band Champagne. It was included on The Church’s fifth studio album Starfish, released in February 1988. The song also appeared separately as the record’s lead single.
Under The Milky Way Tonight brought The Church significant mainstream success in Australia and beyond. In the U.S., the track peaked at no. 24 on the Billboard Hot 100 and climbed all the way up to no. 2 on the Mainstream Rock chart. It also charted in New Zealand, Canada, the U.K. and The Netherlands. While I don’t know about the German charts, I definitely recall the song got significant radio play at the time. That’s where I first heard it.
Aussie band continues signature sound that cemented its ’80s cult status
Readers of the blog may be surprised that I’m posting about The Church, which clearly falls outside the type of music I typically cover. While Classic Rock, Blues and British Invasion represent my main wheel house, I actually have a fairly eclectic taste. This Australian band is one example.
The Church first entered my radar screen in 1988 when they released a seductive song called Under The Milky Way Tonight, the lead single for their fifth studio album Starfish. The tune combines spacey sound and psychedelic lyrics with a catchy melody. It also features a cool bagpipes-resembling solo. I ended up buying the album at the time, which I still dig to this day.
Fast-forward almost 30 years to October 6, 2017, when The Church released their 26th studio album Man Woman Life Death Infinity – quite a heavy title! I only came across it coincidentally when browsing Apple Music earlier today. Admittedly, I never explored the band’s catalog beyond Starfish and had completely lost track of them.
The Church’s long history goes far beyond the scope of this post. In a nutshell, the band was formed in Sydney in 1980. Two of the founding members, Steve Kilbey (lead vocals, bass) and Peter Koppes (guitar) are still around, though Koppes left the band in 1992 and returned in 1997. The current line-up also includes Tim Powles (drums, percussion, vocals, guitar), who has been with the band since 1994, and guitarist Ian Haug, who joined in 2013. While The Church didn’t have mainstream success beyond Starfish, the band retains a large international cult following, according to Wikipedia.
After listening to Man Woman Life Death Infinity a few times, the music clearly reminds me of Starfish, except I haven’t discovered any tune yet that stands out to me like Under The Milky Way Tonight or Reptile do on the 1988 album. The record’s opener Another Century pretty much sets the stage for the album’s sound. AllMusicdescribes it as “atmospheric space rock with a hooky pop sensibility.” I think that’s not a bad characterization of what essentially is the band’s signature sound. Here is the official video of the track.
A recurring topical theme on the record is water. Australian music site Music Feedsquotes Kilbey, who typically writes the lyrics to the band’s songs: “I guess water is my element. I’ve always marvelled at the sea and rivers and rain. It wasn’t conscious at all but on reflection, it definitely is a preoccupation on this record. What that means, I don’t know.” Well, if Kilbey doesn’t know, how would anyone else? Here’s a clip of Undersea.
I Don’t Know How I Don’t Know is another tune I like, which AllMusic describes as “moody Byrdsian.” I suppose the guitar is a bit reminiscent of The Byrds, though the track’s sound is much more layered, but let’s not over-analyze it. The song also appears to establish a pattern where Kilbey doesn’t seem to know what he is doing – on a more serious note, here is a clip of the tune.
The last song I’d like to highlight is Something Out There Is Wrong – that may well be the case, though not with this tune! Here’s a clip.
Man Woman Life Death Infinity was produced by Ted Howard, who has frequently worked with the band since the early 2000s. While the music becomes a bit repetitive after a while, there is just something about it. I’ve always been drawn to spacey music. I suppose that’s why I’m such a huge fan of Pink Floyd, especially their ’70s albums up to Wish You Were Here. I also know no other band that sounds quite like The Church. At some point, I may start to further explore their catolog. If anyone reading this is familiar with the band, please feel free to send any recommendations you may have.
Sources: Wikipedia, AllMusic, Music Feeds, YouTube
I still cannot believe that Tom Petty, one of my long-time favorite music artists, is gone. At 66 years, he was even younger than Walter Becker and Gregg Allman, two other giants who recently passed away at 67 and 69 years, respectively. Sure, let’s be honest here – all of these guys did drugs at some time in their lives, but as far as I know, they all had become sober long before they died. I also believe it is not known whether drugs may have had any role in Petty’s cardiac arrest, which preceded his untimely death.
Sadly, Petty’s death also illustrates the frenzy of today’s media world. TMZ broke the news Monday afternoon that Petty was taken to UCLA Santa Monica Hospital on Sunday night after he had been found unconscious and in full cardiac arrest at his Malibu, Calif. home. CBS News prematurely reported his death Monday evening, hours before he actually passed, apparently based on wrong information from the Los Angeles Police Department. E! News, Rolling Stone and other media outlets promptly picked up the story. This triggered immediate condolences from Bob Dylan and others from the entertainment world. It also reportedly prompted a blistering Instagram post from AnnaKim Violet Petty, one of Petty’s surviving three children. Very sad.
Thomas Earl Petty was born on October 20, 1950 in Gainesville, Fla. He had a difficult childhood with an apparently abusive father. School wasn’t his thing, but he discovered his love for music early on and got his first guitar at the age of 12. One of his first guitar teachers was then-fellow Gainesville resident Don Felder, who later became a member of the Eagles. In the mid-’60s, Petty joined his first band, the Sundowners, playing local shows in the Gainesville area.
In 1970, Petty co-founded Mudcrutch together with guitarist and vocalist Tom Leaden. Among the other members of the line-up were Mike Campbell (guitar) and starting from 1972 Benmont Tench (keyboards), who together with Campbell later became part of Petty’s longtime band The Heartbreakers. Originally, The Heartbreakers, which Petty formed in 1976, also included Ron Blair (bass) and Stan Lynch (drums). Petty who had played bass and was the backing vocalist in Mudcrutch switched to guitar and lead vocals.
Tom Petty & The Heartbreakers released their eponymous debut album in November 1976. At first, the record received little attention in the U.S. That changed when it entered the U.K. charts in the wake of a British tour. Breakdown became a top 40 single in the U.S. The album also included American Girl, one of my favorite early Petty tunes that became a staple on rock radio. Here’s a cool clip from the Heartbreakers’ 2002 Rock & Roll Hall of Fame induction performance. I love Petty’s Rickenbacker guitar!
The band’s third record Damn the Torpedoes, which appeared in October 1979, brought significant commercial success in the U.S., reaching Triple Platinum certification and peaking at no. 2 on the Billboard albums chart. Among others, it included the Petty tune Don’t Do Me Like That, as well as Refugee and Here Comes My Girl, both co-written by Petty and Campbell. All three tracks were also released separately as singles and charted in the Billboard Hot 100. Here’s a nice clip of Refuge from Farm Aid 1985.
In November 1982, Tom Petty & The Heartbreakers released their fifth album Long After Dark. It featured another Petty-Campbell co-write that is one of my favorites: You Got Lucky. The song also became the album’s lead single and climbed to no. 20 on the Billboard Hot 100. Here is a clip recorded in Newark, N.J. in June this year during the band’s 40th anniversary tour, which only concluded last week in Los Angeles. I saw the band twice, once in the late ’80s in Germany, and a second time in September 2014 at PNC Bank Arts Center in Holmdel, N.J. I had thought about catching them a third time during the 40th anniversary tour – now I wish I would have done it!
Another highlight in the Heartbreakers’ discography is Southern Accents, the follow-on to Long After Dark, which appeared in March 1985. The album generated three singles: Don’t Come Around Here No More, Rebels and Make It Better (Forget About Me). The first was co-written by Petty and the Eurhythmics’Dave Stewart, while the last two were penned by Petty only. Rebels is my favorite of the three tunes. Here’s a clip of the studio version.
In 1988, Petty joined George Harrison, Jeff Lynne, Roy Orbison and Bob Dylan in The Traveling Wilburys, a true “supergroup” that was initiated by Harrison. They released their debut album Traveling Wilburys Vol. 1 in October 1988. In December that year, Orbison passed away. The remaining four members recorded a follow-on album, Traveling Wilburys Vol. 3, which appeared in October 1990. Here is a clip of Last Night, which was included on the first album and featured Petty and Orbison on vocals.
Petty also released three solo albums, the first which of which came out in April 1989. Recorded with members of both The Heartbreakers (Campbell, Tench and bassist Howie Epstein) and The Traveling Wilburys (Lynne, Orbison and Harrison), Full Moon Fever became Petty’s most popular record in the U.S. It reached no. 3 on the Billboard 200 and was certified five times platinum. The album spawned various singles, including the hits I Won’t Back Down and Free Fallin’. Both songs were co-written by Petty and Lynne. Here’s clip of Free Fallin’.
In 2007, Petty convened his former Mudcrutch bandmates to record their belated debut album. The furthest the band had gotten in the ’70s was to tape some demos. Mudcrutch was released in April 2008 and entered the Billboard 200 at no. 8. A second Mudcrutch record, Mudcrutch 2, came out in April last year. Petty supported both albums with tours. Here is a live clip of Scare Easy from the first album, which was captured during the band’s tour in Nashville last May.
Petty’s 13th and last studio album with The Heartbreakers Hypnotic Eye appeared in July 2014. Here is a clip of Red River, which was written by Petty and became the record’s second single. It was released on June 10 that year, ahead of the album.
Over his 40-year-plus career, Petty was nominated for multiple awards and won various of them. Among others, he won Grammy awards in 1990 (Best Rock Vocal Performance by a Duo or Group; with Traveling Wilburys for Traveling Wilburys Vol. 1), 1996 (Best Rock Album; for Wildflowers solo album) and 2009 (Best Music Video, Long Form;with The Heartbreakers for Runnin’ Down a Dream). In 2002, Petty and The Heartbreakers were inducted into the Rock & Roll Hall of Fame.
Following are some reactions from other music artists to Petty’s death. “It’s shocking, crushing news,” Dylan toldRolling Stone. “I thought the world of Tom. He was a great performer, full of the light, a friend, and I’ll never forget him.”
Separately in Rolling Stone, long-time J. Geils Band lead singer Peter Wolf wrote in an exclusive remembrance: “I first met Tom when he and the Heartbreakers were the opening act on a J. Geils tour back in 1977. It was a full circle honor for me to be his opening act on the 2017 Heartbreakers’ 40th anniversary tour…he worked very hard at everything he did and always with a deep passion and a great sense of dignity. He certainly carved his own way and always stayed one of the good guys!”
Various artists also took to Twitter:
Bon Jovi: “I’m crushed… Praying for all those affected by Vegas last night. And now the loss of one of my great influences Tom Petty today.”
Ringo Starr: “God bless Tom Petty peace and love to his family I’m sure going to miss you Tom.”
Peter Gabriel: “Very sad to say goodbye to Tom Petty, he was a kind and generous man, an excellent musician…”
Steven Van Zandt: “Man this cannot be happening. Not Tom Petty please. Our deepest love and condolences to his family and band. A brother and true believer.”
The last word of this post shall belong to Petty. “Music is a real magic,” he toldNPR’sAll Things Considered in 2014. “It affects human beings, it can heal, it can do wonderful things. I’ve had two people contact me in my life about coming out of comas to their family playing a song to them of mine, that they had liked before they were injured. They credited the song having something to do with that. I find that fascinating. A lot of people have told me, ‘This music got me through a really hard time,’ and I can relate to that.”
Sources: Wikipedia, The New York Times, NPR, Rolling Stone Fox News, YouTube