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Old & new interviews with Tom & the Heartbreakers

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On January 25, 2019 at 10:23 AM, Hoodoo Man said:

I have no clue how commercially viable Mike Campbell's biography would be, but given his history as a Heartbreaker and all the other projects 

Same goes for Benmont too.  

I agree. If this ever happens, I hope they get really in-depth regarding the songwriting and concerts they remember playing.

cheers

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Good news, "Echo in the Canyon" seems to be getting wide release in June!  trailer in link below.

https://www.rollingstone.com/movies/movie-news/echo-in-canyon-documentary-jakob-dylan-tom-petty-brian-wilson-817604/?fbclid=IwAR3OCLhOhmnxI7o7rnSqdqhH151jX3Gr6_wTq3R9IFWJVDiPPwnnt1tCWSE

Spoiler

‘Echo in the Canyon’: See Jakob Dylan, Tom Petty, Brian Wilson, More in New Trailer

 

Doc celebrates explosion of pop music that came out of L.A.’s Laurel Canyon in the mid-’60s as folk went electric, giving birth to the California Sound

By 
RYAN REED

 

 

 

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Now playing - The First Time with Steve...

Brian Wilson, Tom Petty, Ringo Starr, Eric Clapton, Graham Nash and other rock architects reflect on the creative explosion of mid-Sixties Los Angeles in a new trailer for upcoming documentaryEcho in the Canyon. Andrew Slater — a former music journalist, record producer and label executive — helmed the film, which explores the influence of the definitive “California sound” cemented by artists like the Beach Boys, the Byrds, Buffalo Springfield and the Mamas and the Papas.

Throughout the clip, songwriters recall the sonic cross-pollination that occurred during this fertile period, when bands showed up at each others’ houses, played in-progress songs and took inspiration from each other’s music. “California was like this legendary paradise,” Petty says, before plugging in a signature Rickenbacker electric guitar. (The doc marks his last film interview.) “Laurel Canyon became this heavenly place,” Clapton recalls, and Starr notes that he “fell in love” with the scene.

 

 

The trailer also points toward the influence these artists had on the next generation of songwriters. “The music that came out of the Laurel Canyon scene was inspiring to my generation of songwriters,” says Jakob Dylan, the film’s star and executive producer. “These records come all of the sudden, like an avalanche,” Beck says, “and there’s nothing like them before.”

In a statement about the film, Dylan expanded on this theme. “The best test of songwriting is that it transcends its moment in time,” he said. “And there is no doubt that the songs we explore in this film are as powerful today as they were in 1965.”

Echo in the Canyon also includes conversations with Michelle Phillips, Stephen Stills, David Crosby, Roger McGuinn, Jackson Browne, Fiona Apple, Cat Power and Norah Jones. The film opens in Los Angeles on May 24th at Arclight’s Cinerama Dome and the Landmark, followed by a New York premiere at the Angelika and The Landmark at 57 West on May 31st. (Both openings will feature performances by musicians from the film all weekend.) A national rollout and a soundtrack will follow in June.

 

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  https://www.interviewmagazine.com/music/new-again-ringo-starr

Interview magazine originally published this interview in June 1992 then reprinted it (posting it online) in 2005. 💘🐞

image.jpeg.76c75bd16a262802b95b9bc8973d3283.jpeg

RINGO STARR: Good evening. My name is Ringo Starr.

TOM PETTY: And I’m Tom Petty. Two seasoned professionals around the four-track. So you’ve made a new album, Ringo?

STARR: Yes. I’d like to thank you for being on one of the tracks that’s not actually on the album.

PETTY: Oh, I’m always on the ones they take off.

STARR: Well, listen, you used me as a fake drummer in a video, so we’re even.

PETTY: I haven’t got to hear the album yet, but I’m told it’s really, really good.

STARR: Oh, let me give you a copy. Here you go.

PETTY: Thanks. So, you play drums on the album?

STARR: I play the drums. I am the only drummer. I am the best rock drummer on the planet. I’m sure you’ll agree.

PETTY: You certainly are. No arguments there.

STARR: I’ve just been putting things in place since ’88, when I went into rehab. I’m getting back in the business. I’m straight enough to actually play and perform, and to put the first All-Starrs together. And we put out the live album from that tour in ’90. So in ’91, the natural thing to do was a studio album.

PETTY: Great. Are you going on the road?

STARR: I put another all-star band together for this year with Joe Walsh and Nils Lofgren from the last All-Starrs, plus Burton Cummings, Dave Edmunds, Todd Rundgren, Timothy B. Schmit, Zak Starkey [Starr’s son], and Ringo Starr.

PETTY: Wow. That’s quite a band.

STARR: That’s an orchestra.

PETTY: I saw your last one, you know. It was really nice.

STARR: Where? At the Greek [Theatre in L.A.]?

PETTY: Yeah.

STARR: I like it there. it’s a really good-size audience for me. I don’t want ot play those big stadiums like you play. [laughs]

PETTY: Well, that’s because you’re already rich.

STARR: I’ve just heard that you’ve got a new deal. You must be loaded.

PETTY: Well, I’m just doing interviews now.

STARR: So am I. that’s how well-off we are. Of course, Mr. Harrison, the billionaire of life, has just left town.

PETTY: Yeah, ol’ one-gig-a-year guy.

STARR: One gig every seven years.

PETTY: I heard you got onstage at [London’s Royal] Albert Hall recently with George.

STARR: That was such a good show. It was great because Joe Walsh opened, and Zak played with Joe. That was a real thrill to see. I went with the kids and my ex-wife and friends. I was there just to watch. The show went so well—George was just groovin’. He should have taken it on the road. I told him that. He should be doing what god wants him to do: perform. So then Joe sauntered off-stage and said [mimicking Walsh], “George wondered if you want to come on.” It didn’t take much coaxing, and I got up for the last two numbers.

PETTY: Well, Mike Campell [guitarist in Pety’s band, the Heartbreakers] was playing that night, and he said when you came on that he almost had to just sit down and dig the rhythm ’cause you’re a really great drummer. The human metronome, I call you.

STARR: B.B. King called me the human grandfather clock.

PETTY: [laughs] And what did Timothy Leary call you?

STARR: Whaaaa!

PETTY: I got George playing the blues last night. We were jamming. He’s a really good blues guitarist. In all the time I’ve known him, he’s never broken into that.

STARR: Thank god he’s playing the blues and not that bloody ukulele that he loves so much.

PETTY: Well, we went through a few years of that. I’ve got four ukuleles at my house just for emergencies, you know.

STARR: In case George gets withdrawal.

PETTY: What kind of records do you listen to when you’re at home? Do you still listen to the stuff that you grew up digging? I know you were a Johnnie Ray fan, weren’t you?

STARR: Yeah. I don’t listen to too much Johnnie Ray, or Frankie Laine. Nat King Cole, I like to put on.

PETTY: I’m going to do an album with Nat King Cole, I think. It’s bound to go. [laughs]

STARR: It’s bound to be a sensation. Gotta be. They’ll just cut you into the video.

PETTY: Can’t you see me? [sings] “Mona Lisa, Mona Lisa, men have made you…”

STARR: So anyway, you go to the record collection and what do you pick out? Ray Charles never lets me down. And, you know, I’m actually starting to play Sgt. Pepper. I don’t know why….I do know why. Because George Martin is doing a show, The Making of Sgt. Pepper, and he’s interviewing us all, and so I thought, I’d better play that record and see what it’s like. I was really knocked out again. I hadn’t played it in so long that the diversity of the songs blew me away. But it also sounds kind of naïve, really.

PETTY: Naïve?

STARR: Yeah. The production, and the state of the art in those days.

PETTY: Well, it’s great production, though. It’s a really good sound.

STARR: But the mix—stuff over here and stuff over there.

PETTY: But I like that.

STARR: I didn’t say I didn’t like it, Tom. [Petty laughs] I said it sounds naïve.

PETTY: Well, okay. Making any movies? Have you given up acting?

STARR: I haven’t really given it up. I’m just refocusing on being a drummer again. Back to the dream, you know, of when I was 13.

PETTY: Do you live in L.A. now?

STARR: Well, we’re residents of Monte Carlo, but we bought this home in Beverly Hills. And we’re living here because I’m working again. We also have a house in Aspen, of course, like everyone else. I’m sure you do.

PETTY: No.

STARR: Where are you? Telluride? [laughs]

PETTY: No, I can’t ski. I don’t know how.

STARR: You can if you come with me. I love it!

PETTY: But you’ve never broken a leg or anything?

STARR: I’ve never broken a bone in my life, or in my body.

PETTY: [laughs] So, what do you do when you get free time, Ringo?

STARR: Well, I usually come around to your house and watch you sleep.

PETTY: [laughs] Besides that, I mean. Do you have any other interests?

STARR: Right now, we’re unpacking. We’ve just moved into the new house. I really like to sit outside. Things are changing in my head, and I like to be out in the light. So we bought this house—a billion-dollar greenhouse, really. Windows everywhere, huge glass. One level. So, I hang around, make phone calls, watch the TV, play a record. Barbara’s in school studying psychology, and I’m here having fun.

PETTY: So she’s gone back to college then? Good for her.

STARR: I believe I mentioned that she was [getting] a Ph.D., which is totally wrong. That’s down the line.

PETTY: I’m thinking about going back to high school and trying to—

STARR: —learn to spell—

PETTY: —and to add, because I can’t help my kids with their homework. It’s embarrassing.

STARR: All mine have left school, bar one, and I could never help him with his work anyway. But I’m really thinking, if we have any long breaks, of checking out the UCLA curriculum and seeing maybe if I want to take pottery or—

PETTY: Bait casting?

STARR: Chewing-gum making.

PETTY: Are you serious?

STARR: I’m real serious. They have a million things you can do. It would be great to hang out and see what’s happening. So that’s another thing for the future. Anyway, Tom, let’s have a break, because breakfast is here.

PETTY: Okay, we must have done hours by now.

 

THIS INTERVIEW ORIGINALLY RAN IN THE JUNE 1992 ISSUE OF INTERVIEW.

 

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On ‎4‎/‎9‎/‎2019 at 6:40 AM, Big Blue Sky said:

1995 God Bless Our Mobile Home 💘💘💘💘💘

 

Thanks! Don't recall seeing that one before.. nice find. Seems like VH1 had some good lengthier TP specials back in the days..

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From the Goldminemag-Interview:

BT: We have so much unreleased material that’s fantastic. Completely unreleased. The demo tapes from my parents’ living room with Mudcrutch live on two tracks that got us the record deal in the first place. We have that and I’d say about a third of that is really stellar. We have almost an entire alternate record which is from the same time as Hypnotic Eye. We have stuff all through that period. That’s the purpose of American Treasure. Did you ever hear the song “You Can Still Change Your Mind”? Did you ever spot this song version deep in Hard Promises, or the Wildflowers album?

I don’t think that there would be An American Treasure 2. My hope would be to do something that pays attention to a certain period of the band. I don’t know what anyone’s plan is for that kind of thing. It’s just a dream of mine. I know that there’s a lot that had to be left off of American Treasure. With (Best of Everything) there had to be a comprehensive set. Everyone deserves one. The years we were with Shelter and then MCA, those years are pretty much bookended by the first album with “American Girl” and “Breakdown” and the Into The Great Wide Open record. The Warner period begins with Wildflowers and ends with the second Mudcrutch record. That’s a lot of stuff!

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On 19 April 2019 at 6:24 PM, Thelonious said:

Here's a great new and looong Interview with Mike and Ben:

https://www.goldminemag.com/features/the-heartbreakers-fortify-the-legacy-of-tom-petty

  • Extract mentioning the awesome Wrecking Crew! (my highlighting) :D

GM: When I last saw you guys it was at the Beacon in 2013. You opened with an amazing version of “Steppin’ Stone.” Are there any covers that you did live that you wish you’d cut in the studio as well?

MC: We’d do a cover because we had all grown up with the same roots and we all liked the same things. We all liked that version of that song — the Paul Revere (and the Raiders) version, not The Monkees. Any cover we would do was because someone would have brought it in and we would all understand it. We already knew the song. We would listen to the record again and then do it our way. It was always fun because we grew up on those songs.

BT: We would do the Raider’s “Steppin’ Stone.” The Monkees did a great version too — even though it may be The Wrecking Crew actually playing on both. But we kinda leaned toward the Raiders as far as that song goes. In fact, I think I learned the song off their record.

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NPR interview (audio only) with Ben and Dana from September 2018 American Treasure release.  whoops looks like this is a re-post from when it came out.  Can a mod delete this post?   seems I can not...  cheers

 

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