Computer Age

The canon of classic American rock
Jose Luis Ruiz Bureau

It is not Bob Dylan. It is not Bruce Springsteen. It is not Neil Young. Yes it is another heir to Woody Guthrie, but also has been able to maintain a consistency worthy of praise and a remarkable artistic quality along no less than 30-year career. Emerged from a small town called Gainesville (Fla.), Tom Petty, who was born on October 20, 1950, was able to realize the dream of becoming a rock star and did so with a group-The Heartbreakers, who has finished working as a Typical family. Like any kid of the 60 surrendered to the magical power of Elvis Presley and then became fascinated by the hurricane that ravaged were the Beatles. Tom Petty strong bet because his life was music and enjoyed the good fortune that his talent needed to impose an end to adversity. The case is that you can presume, as Jackson Browne, John Mellencamp and John Hiatt, having bequeathed to posterity a few blocks from the best American rock.

The embryo of Tom Petty & The Heartbreakers was Mudcrutch, which already own the Petty, the excellent guitarist Mike Campbell and keyboardist Benmont Tencha. Petty reached a contract with Shelter Records in LA and in 1976 released his first album. Previously he had recruited the bassist Ron Blai ry the battery Stan Lynch. "Tom Petty & The Heartbreakers' is brilliant, there are riffs reminiscent of the Byrds (courtesy of the blessed rickenbackers), it sounds dirty style of the Stones and contains definitive temazos as "American Girl," "fooled Again" (I Do not Like It) or "Breakdown". In the era of punk and new wave was a success in England. Why? It was simple, straightforward, pure rock confessed that his love of the British invasion bands of 60 and the American garage rock. Entered the canon of cool at a crucial time where it is passionately defended the return to the roots, the naturalization of a genre that had come into swamp (symphonic, heavy ...).

The second attempt was not as successful, but showed a group that was going in the right direction. "You're Gonna Get It" (1978) hiding in their guts two pearls as "I Need To Know" and "Listen To Her Heart "And they stepped up as a band powerful, energetic, visceral and with a great nose for aroma with a classic themes (such foolproof equation that combines great melodies with lyrics simple but significant).

The third attempt was at the center of the target. Like Bruce Springsteen with "Born To Run", Tom Petty reached maturity as a composer in "Damn The Torpedoes" (1979). At full gestation of the album Tom Petty entered into a legal battle against the record company and eventually emerging triumphant from bankruptcy. His conviction and contained anger became evident in final compositions ( "Refugee", "" Even The Losers, "" Here Comes My Girl "and the beautiful" Louisiana Rain "). The crystalline production of Jimmy Iovine contributed their bit. Suddenly, Petty was already a solid reality. Hopefully all the mainstream rock was as good as it stood proudly in the grooves of "Damn The Torpedoes". The post-Vietnam America and post Wargate rendered fell at the feet of Petty and co. It was a tremendous hit that it became a superstar.

That Tom Petty has a rebel heart was evident again with the departure of "Hard Promises" (1981). The company put a high price to pull the disc taking advantage of the successful precedent and the blond southerner he sat as a punch in the mouth of the stomach. Petty turns every time it feels like the victim of an injustice here and pushed until they dropped the price. In the realm of the strictly musical, it should be noted that "Hard Promises" was not as good as "Damn The Torpedoes", but it was consistent and treasured as a marvel is the catchy "The Waiting".

This is the era in which the mother died of Petty, something that affected much of the author of "American Girl". And also it's time for collaboration with Stevie Nicks. The blond southern wrote "Stop Draggin 'My Heart Around", included in "Bella Donna", and that issue became a big hit. At that time also appeared bassist Howie Epstein on the scene. Tom Petty is what Birla Del Shannon. He held the vacancy left by Ron Blair and connect seamlessly to the Heartbreakers.

"Long After Dark" (1982) marked a step backwards. There is no doubt that there is a downturn. Of course I hid outstanding songs ( "You Got Lucky", "Change Of Heart"), but the consistency of previous deliveries faded. In fact, the deficiency was the main feature of an album that has fallen (to justice) into oblivion.

After a hiatus of three years, left "Southern Accents" (1985). Tours, drugs and shattered a hand on the way. Yes, because Tom Petty is pulverized estrellándola a hand against a wall in an access of anger. The claim was Petty get a double album, but ultimately concluded that the thing would not work. Lacked sufficient quality of the material for such a business. Dave Stewart was the producer and his stylistic horizons broadened. There are winks country, soul and psychedelic. To the hypnotic "Do not Come Around Here No More" was removed from his sleeve a very clever clip in the wave of the universe of Lewis Carroll.

After this book, Tom Petty & The Heartbreakers were immersed in a long tour with Bob Dylan. And the next step in the study was "Let Me Up (I've Had Enough)" (1987), which saw the light after it came as a direct side: "Pack Up The Plantation: Live!" (1986). "Let Me Up (I've Had Enough)" does not stop working. Continue along the path of the irregularity. There are scores that stand out ( "Jammin 'Me, written by Petty with Campbell and Dylan, or" It's All Work Out ") within a list of songs without the inspiration of yesteryear.

After you burn the house and assumed that this divertissement The Traveling Willburys (this really is a superbanda and the rest is nonsense), which posted an interesting couple of albums, Tom Petty will set up solo with the help of Jeff Lynne. "Full Moon Fever" (1989) is a success. Here Tom Petty regained the state of grace. He left for temazos and it shows. "Free Fallin '," "I Will not Back Down," "yer So Bad" or "Runnin' Down A Dream" are incontestable. "Full Moon Fever" is the typical album that resists the most enjoyable time with the authority vested by virtue of being a classic.

Then, Petty tried to keep the spell experienced alongside Jeff Lynne adding the ingredient of the Heartbreakers. "Into The Great Wide Open" (1991) is a repetition of the formula, but without the backing of the (major) songs of the immediate precedent. However, left to the memory compositions like "Learning To Fly," "Kings Highway" or the song that gives the album title (with one video clip in which Johnny Depp holds a starring role).

Remember that there are between half for its quality of Petty's contribution to "Back From Rio" (1990) of Roger McGuinn. He wrote with former Byrds and the trenchant deliciosa "King Of The Hill."

Then spent three years to get out a new work by Petty. With the production of Rick Rubin this time, raised the southern delivered another superb work. "Wildflowers" (1994). The change is evident. Rubin works in a different way to Lynne. This album flows more naturally. "You Do not Know How It Feels," "You Wreck Me," "It's Good To Be King," "Only A Broken Heart" and the "Wildflowers" are good samples of what we can do Tom Petty when he visited the muses.

That moment was crucial in the development of the adventures of Tom Petty & The Heartbreakers. Did little to "Mary Jane's Last Dance", included in the relevant "Greatest Hits" (1993) had been a great success thanks largely to that was a great song and his fascinating video clip in which he was leaving, by the way, Kim Basinger. Precisely this was the last song in which Stan Lynch. Ferron Steve grabbed the sticks following the departure of Lynch (in the meantime Dave Grohl also played drums with Petty and the CIA).

Another reason to pay tribute to Tom Petty & The Heartbreakers is participating in the seminal sessions that bore fruit to the "American Recordings" by Johnny Cash - his presence is essential in "Unchained" (1996) -. Cash made a pair of covers of Petty: the famous "Southern Accents" and "I Will not Back Down." Almost nothing. This kind in the end it finished playing with their idols (Dylan, Cash, McGuinness, Harrison ...) and any such unions have been quite juicy.

After the appreciable soundtrack "She's The One" (1996), put into service its particular "Blood On The Tracks." "Echo" (1999) is his album of divorce. "Room At The Top," "Accused Of Love" and "This One's For Me" itself glisten with a light on a disc that followed the footsteps of "Wildflowers."

The next adventure record of Tom Petty & The Heartbreakers is "The Last DJ" (2002). A howitzer against the establishment. A dart against the music business. The disc is uneven, but it has gems like "The Last DJ" and the subtle "You And Me."

Problems with drug bill went to Howie Epstein. His tragic death in 2003 stood again in the Heartbreakers, Ron Blair (by the way in forming the Heartbreakers should be added as a permanent member to the versatile Scott Thurston).

The last episode of musical Petty so far has been a return to the past. The blond southerner he is back to ride alone with the help of Jeff Lynne. "Highway Companion" (2006) is stronger than "The Last DJ". And as with all his records there are issues that satisfy the most discriminating palate ( "Saving Grace"; "flirting With Time", "Down South", "Damaged By Love" ...).

From an artist with so few ups and downs can only be expected to continue posting good records. He may not look the freshness of his debut or the quality of "Damn The Torpedoes" and "Full Moon Fever," but it certainly keeps writing melodies that you stick to your head as if they were chewing gum stuck to a shoe. Someone who exemplifies all the thing that is very difficult before it is not easy, we may fail.

PS Just Published released documentary "Runnin 'Down A Dream" (2007). This film by Peter Bogdanovich is a story for 30 years by Tom Petty & The Heartbreakers as a band. And the truth is that it is essential for fans. The future of Petty and co are detailed with historical images. Tip came from a concert and a CD of rarities. It is undoubtedly a jewel.