Jump to content
Mudcrutch Farm Will Be Shutting Down - Read More...

NightDriver

Members
 View Profile  See their activity

  • Content Count

    1,436

  • Joined

  • Last visited

  • Days Won

    13

Posts posted by NightDriver

  5. Posted · Report reply

    Couldn't disagree more about Good Enough. 'I Should Have Known It' is the "Arena song", and it's a damn fine one.

    That's what I thought when I read it...

    Maybe she just felt that ist was misplaced on the album - position-wise....I still think it isn't a last song, should have bee placed in the first half of the album, probably after "Candy"...

  7. Posted · Report reply

    By Lynne Margolis on June 23rd, 2010

    TOM PETTY AND THE HEARTBREAKERS

    Mojo

    (REPRISE)

    Rating: ****

    When Tom Petty & the Heartbreakers made The Last DJ, their last “official” Heartbreakers album, in 2002, Petty was mad: the state of the music industry—and plenty of other issues—had him downright pissed off.

    But on Mojo, he’s not out to wag a sharply accusing finger or make biting political statements (aside from the obligatory “legalize it” message of the reggae-fied “Don’t Pull Me Over”). This time, it’s about reconnecting with, well, the mojo—the thing that made this band such a joy in the first place. It’s about playing great music. Specifically, great jazz-blues music.

    Petty said when he was recording the album that it had a very Allmans-y sound, and he wasn’t kidding. It’s full of the gliding chords that drove those early-era Allman Brothers Band jams, when Duane and Gregg would hit their Les Paul-and-Hammond sweet spots and the rest of the band would fall right in. In fact, we could re-label the Heartbreakers the Tom Petty Blues Band and not be out of line.

    We could also re-label them the Mike Campbell Blues Band; Mojo owes as much to Campbell’s brilliance as his boss’s. Though Petty plays lead on one of the most obviously Allmans-influenced tunes, “Running Man’s Bible,” Campbell’s lovely glissandos rule the equally Allmans-ish “First Flash of Freedom,” and much of the rest of the album. His Rickenbacker lap steel work on the ballad “No Reason to Cry” is simply gorgeous. Of course, Benmont Tench contributes his share on keyboards, providing occasional Steely Dan inflections to the proceedings. It’s hard to pick a better pair of ‘70s influences than that Georgia outfit and those Bard College alums, especially if your intent is to step out of your roots-rock/pop comfort zone and back into the sauntering instrumental interludes that gave “Breakdown” its charm.

    Petty and his pals come out cookin’ on the very first track, “Jefferson Jericho Blues,” which nails our third president for consorting with his slaves. Scott Thurston’s harmonica applies additional heat under the burner.

    Petty tosses off some brilliant turns of phrase in the slightly sinister “Running Man’s Bible,” which seems to address his nasty relationship with his late father. “I’ve been next in line/I’ve been next to nuthin,” he sings unapologetically. “I took on my father and I’m still walkin’. … I see you with the eyes of somethin’ wounded/Something still standin’ after the storm.” Strong confessions made by someone who survived the pain and fear, but hasn’t quite worked his way through it.

    The songs that sound most typically Petty-like are “High in the Morning,” featuring another soaring Campbell solo, and “I Should Have Known It,” which spews a little venom and a lot of grit amid Ron Blair’s deep bass notes. “Candy” is a classically structured blues rocker, complete with some chicken pickin’; “Takin’ My Time” harks back to Muddy Waters; and “U.S. 41” makes you wanna stomp your boot heel on the back porch planks to keep time with the harp and slide guitar. “Lover’s Touch” is sexy and slinky, with bayou moss hanging all over it. There’s something enticing about it, like most of this album.

    The only questionable track is the last one, “Good Enough,” which is a big song, with a bombastic stadium-rock guitar solo and a bloated feel that just seems unnecessary, especially in this context. This band has been there, done that. The direction they’ve taken on the rest of the album is so cool, there’s no reason to toss another bone to arena fans. They can pull out those great blasts from their very fine past when they step onstage; they don’t need to clutter an album with new attempts to swing for the back seats. Any true Petty fan would get the mojo behind Mojo immediately, anyway. And love this band even more for finding such a sweet new groove.

    Source: http://www.americansongwriter.com/2010/06/tom-petty-and-the-heartbreakers-mojo/

  13. Posted · Report reply

    This is Celia Hirschman with On the Beat for KCRW.

    As the record business trends downward, savvy rock stars have had to shift marketing gears to stay relevant with their fan base. Take Tom Petty. He kicked a North American tour of 46 major and secondary markets, beginning June 1. His twelfth album, titled Mojo, was released just last week. So Petty is out on tour as his album hits record stores – all record stores - digital and brick and mortar. The only problem is, unlike years past, there's no central marketing platform to build a buzz for the new tour. In years' past, Petty would rely on the power of MTV, Rolling Stone, rock radio and even retail to help gather fans. But the marketing environment is completely different for music now. Like all other artists, Petty's album was released into a highly bifurcated media market, with thousands of media outlets representing a fraction of the marketing impact. For both legendary artists and newcomers, this is the greatest challenge of the digital age. How does a musician concentrate enough viewers and listeners to generate a buzz?

    Tom Petty changed plans. He, his live promoter, Live Nation, and his record label, Warner Bros tried a new strategy. They booked the regular stadium, arena and amphitheater tour. They kicked up ticket prices, which certainly angered some of his fans. But starting June 15, everyone who bought an online ticket to the show was given a link to download the Mojo album for free. And fans who bought Petty tickets before June 15 were immediately sent two songs from the album, with a link to download the entire album on street date.

    Every person who bought online tickets to Tom Petty's show will also receive eight live tracks at the end of the Mojo tour.

    This is a very smart way to help market a well established artist. Think about it. I can only guess that Warner Bros got a piece of the ticket sales for giving away the album. And more importantly, they had to have gotten the email addresses of every Tom Petty ticket buyer. That's far more valuable then hoping those fans will hear about the record somewhere and go buy it at a store.

    Ticketmaster has to love the idea because it helps market a very expensive tour; and Tom Petty has to appreciate it because it directly connects him with his fans at the gig. Plus, everyone will know the sound of the album before they get there. For a superstar pushing 60, that's not a bad deal.

    The only group that will not be pleased with this arrangement is record retail, who are completely cut out of the economic food chain. But in the music business, it's survival of the fittest.

    This is Celia Hirschman with On the Beat for KCRW.

    Click here for the podcast...

  22. Posted · Edited by NightDriver · Report reply

    ^*sigh*

    I have to

    - mow the lawn

    - drink a beer to recompense myself for mowing the lawn

    - watch Germany win over Ghana in the FIFA World Cup tonight

    lol, happens everytime i go up the street for garlic wings too!!!! but after 400 years with the same woman, 3 nights ain't bad. lol.

    Nurk, this reminds of that one joke...

    Quizmaster: "Congratulations, you have won! You can now choose between two prizes: A - A night with your wife..."

    Contestant:"B!!!!!!!"

×
×
  • Create New...