Tom Petty

Точно, есть Learning To Fly, но нет Don't Come Around No More и Built To Last. Хорошая, качественная аудиодорожка, стерео (что приятно, так как многие видеомагнитофоны стерео не играют, даже если это фирменная кассета).

2 Neil Gardener:
Я как раз имел в виду не видео, а аудио.

Хотя, вообще, я как раз собираюсь заняться ревизией существующих бутлегов (видео), лицензионных концертников и клипов -- этого как раз не хватает в дискографии у меня на сайте...
В общем, разберусь с делами, надеюсь, наведу порядок :)).

Знаете что, петтиманы ? А не пора ли нам встретиться в реальной жизни и всё это обсудить ?

2 Neil Gardener . А вы на tompetty.com тусуетесь ?

>А вы на tompetty.com тусуетесь?<

Так скажем, я туда заглядываю, но не регистрировалась. Издесь бы не регестрировалась, да без этого сообщения не отправляются. :-)

2 Dave

Я поняла, что ты имел в виду. Аудио вариантов с "Take the Highway" было множество, под разными названиями и с разным количеством песен - Runnin' Down A Dream, Travelling Heart, Live In The USA, Into The Great Wide Open...

Некоторые, помимо песен с Окландовского концерта, включали пару-другую песен, записанных из зала и на других концертах.

Если ты собираешься создать список бутлегов на сайте, будь готов ко большим сложностям и всяким недоразумениям. :-) Многие концерты, особенно записанные с пульта и транслировавшиеся по радио в Америке, блуждают на разных бутлегах, с разными названиями и разным количеством песен. Не запутаться в этом сложно, разве что иметь все эти диски на руках. У меня всех нет, разумеется, собирала информацию от всех, с кем переписывалась.

2 stvol:
> Знаете что, петтиманы ? А не пора ли нам встретиться в реальной жизни и всё это обсудить ?
Ды мы бы с радостью, только немного нас тут, да, и глубоко не факт, что все из одного города ;)).

>Если ты собираешься создать список бутлегов на сайте, будь готов ко большим
>сложностям и всяким недоразумениям. :-) Многие концерты, особенно записанные с
>пульта и транслировавшиеся по радио в Америке, блуждают на разных бутлегах, с
>разными названиями и разным количеством песен. Не запутаться в этом сложно,
>разве что иметь все эти диски на руках. У меня всех нет, разумеется, собирала
>информацию от всех, с кем переписывалась.

Я буду выкладывать то что знаю, а вы меня будете дружно поправлять, ладно? :))) Там и форум есть.
Не уверен, что получится воссоздать полную картину, но хотя бы примерный путеводитель по бутлегам вполне может получиться :)).

Еще немного о Conversations... -- не претендуя на новизну, скорее для коллекции:

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By DAVE ITZKOFF and DAVID KELLY
Published: December 4, 2005

Фото: Richard E. Aaron/Rockpix.com./From "Conversations With Tom Petty" Tom Petty in 1977.

CONVERSATIONS WITH TOM PETTY. By Paul Zollo. (Omnibus Press, $24.95.) Admit it: You, too, have had the fantasy where Tom Petty becomes your best drinking buddy. Over a few rounds of Pabst Blue Ribbon, you tell him that "Damn the Torpedoes" is a classic document of American rock; he confesses to you that the Traveling Wilburys were a better idea in theory than in execution. But don't hate Paul Zollo, an editor at American Songwriter, for fulfilling the dream first and confirming what you've suspected all along: that Petty is an undeniably fascinating guy to talk to. Sure, there is some dead air in these interviews, but it's abundantly offset by Petty's indelible stories of his Florida upbringing by a father who liked to poke alligators in the eye for fun, and the time the supposedly laid-back Petty became so frustrated with a recording session that he punched a wall, shattered his fist and spent eight months retraining himself to use his left hand. And the chapter devoted to Petty's memories of a bassist who eventually died from a heroin overdose may be the most chilling deglamorization of the rock 'n' roll lifestyle since "Sid and Nancy."

Petty To Receive Century Award From Armstrong
December 02, 2005

Tom Petty will receive the Century Award from Green Day vocalist/guitarist Billie Joe Armstrong at next week's 2005 Billboard Music Awards. As previously reported, the event will be held Tuesday (Dec. 6) at Las Vegas' MGM Grand Garden Arena and will be broadcast live on Fox.

The inaugural Century Award was presented by Petty to George Harrison in 1992 and was named for the imminent 100th anniversary of Billboard in 1994. Other past recipients have included Buddy Guy, Billy Joel, Joni Mitchell, Carlos Santana, Chet Atkins, James Taylor, Emmylou Harris, Randy Newman, John Mellencamp, Annie Lennox, Sting and Stevie Wonder.

As previously reported, Petty's third solo album, "Highway Companion," is slated for release this spring. Although there has been speculation that he is leaving Warner Bros. Records, his home since 1994, at deadline he is still signed to the label.

"It has a lot to say about time and the passage of time," Petty recently told Billboard of the Jeff Lynne-produced set. "It's not so much love songs, it's not going to be what anybody expects from me, I'm sure of that. But it's good music, it's really good music."

http://www.billboard.com/bbcom/news/article_display.jsp?vnu_content_id=1001613360

Я попыталась найти местечко, чтобы поместить файлы для скачивания. Хоть и глючил все время Народ.Ру, а пару вещей я туда выложила. Вот только не знаю, будут ли они там скачиваться. Если кто хочет попробовать, вот ссылка:

http://narod.yandex.ru/filemanager/lf.xhtml?random_nocache=0711444391c3c00948d

Если запросят логин и пароль, они следующие: login - neilgar, password - tpsong. Далее идете в "Управление файлами и HTML-редактор". Не знаю только, может ли сразу несколько человек быть на сайте, он, вероятно, предполагается личный. :-)

Лежат там концертные версии You're Gonna Get It (1978), Runaway Trains (1987) и Girl On LSD (1995) (если, конечно, у кого-то их нет).

Questions and Answers: Tom Petty
By Melinda Newman Dec 2, 2005

<--- Tom Petty performs in concert, at the Sound Advice Amphitheatre , in West Palm Beach, Florida, on June 8, 2005. (UPI Photo/Michael Bush)

Tom Petty just laughs and shakes his head when he looks at the 26-year-old smirking back at him from the cover of Tom Petty & the Heartbreakers` 1976 self-titled debut.

They 'were just boys,' he says. 'It was just too much fun.'

And, thankfully, he adds, it still is.

Since then, Petty has racked up worldwide sales of more than 50 million albums, with the Heartbreakers and as a solo artist. He has won four Grammy Awards; been part of the Traveling Wilburys with his heroes George Harrison, Bob Dylan and Roy Orbison; and journeyed on too many sold-out tours to count.

And for all this, we have Elvis to thank. As an 11-year-old growing up in Gainesville, Fla., Petty briefly met the King in an encounter that changed his life.

'Everything became pretty clear at that moment,' Petty says. Being a rock star 'looked like a great job.'

He subsequently traded his beloved Wham-O slingshot for a box of Presley singles and never looked back.

Petty formed his first band, the Sundowners, by the time he was 14. He landed a record deal with a subsequent group, Mudcrutch, in the early 1970s.

After that group disbanded, he and fellow Mudcrutchers Benmont Tench (keyboards) and Mike Campbell (guitar) formed the Heartbreakers, along with Stan Lynch (drums) and Ron Blair (bass).

From the start, the group offered an appealing blend of lean rock`n`roll laden with influences from `50s rockers and `60s British Invasion groups - all wrapped up in three-minute nuggets.

'You get in there, you get the job done and you get the hell out,' Petty says of his songwriting style.

In an interview in his home studio in the Los Angeles beachfront community of Malibu, Petty is a low-key, gracious host. Accompanied by a steady stream of cigarettes and coffee, he recounts his career with humor, grace and a few flashes of regret.

At 55, he is young enough to still rock`n`roll, but old enough to know he is one of the lucky ones. At times, he seems still unable to believe that fate, hard work and magic have brought him to this point.

Q: You met Elvis on the set of 'Follow That Dream' when you were 11. It sounds like he changed your life.

A: He certainly did. [laughs] You weren`t prepared to have your life changed in a minute. It really had that sort of impact. It wasn`t like meeting Jesus, but it was close.

Q: Your first band, the Sundowners, started playing gigs when you were 14. What was it like the first time you played in front of an audience?

A: It was an incredible high, and it still is. My mom was flabbergasted at the money I was making. I mean, honestly, when I think back on it, there were probably times in my teenage years when I was making as much as my dad. That was probably real insulting.

Q: In the Paul Zollo book, 'Conversations With Tom Petty,' you tell a story about how Mudcrutch played the Gainesville club Dub`s six nights a week, five sets a night. Your dad snuck in to see you, but did not tell you until two days later.

A: Yeah. He was like that. He had a front about this was the wrong thing to do, but he would be seduced by the music. When he saw us do it, he was sort of proud, and it would melt his exterior a little bit. To throw down and come right up front would have been too much for him. He had to be cool, so he snuck in and watched.

Q: With that experience under your belt, you headed to Los Angeles and got a record deal right away. Did you feel like the streets were lined with gold?

A: In those days, you could go down Sunset Boulevard, and they were right up front _ MGM, RCA. Capitol was down the road, and A&M. I remember going into MGM Records. They wanted to make a deal for a single. The same day we went to London Records, they wanted to make an album.

Q: After one single, you left Mudcrutch and started a solo album. But ultimately, the Heartbreakers formed. How did that happen?

A: Benmont was trying to get a record deal, and he had gotten some studio time. He really handpicked the Heartbreakers. They were all Gainesville guys who had moved out to L.A., so I was invited to play the harmonica. I went by the Village Recorder in Santa Monica, and I was like, 'What a band!' And being the cunning businessman that I am, I said, 'You know, backing up Benmont`s fine, but there`s no reason you couldn`t have me in the band and I have a record deal, so you could circumvent the whole try-to-make-it thing and go in with me,' and we were off.

Q: The band`s self-titled debut comes out in 1976 and does nothing in the United States, but album track 'Anything That`s Rock `n` Roll' takes off in the United Kingdom, so you headed over there.

A: We went as a support act for Nils Lofgren. We got on the covers of the music weeklies and NME, and we did 'Top of the Pops' on the TV. We were beyond thrilled. By the time we left England, we were a headlining band, and then we flew home and we got off the plane, and you`re nothing again.

Q: You came back to the States and were playing for sometimes tiny crowds, as few as four or five people in Boston. Was that disheartening?

A: We thought it was wonderful that we were getting to go around America and play. We had enough buzz to play the Whisky a Go Go, and we started playing [there] as an opening band for Blondie, who were also unknown, and, really, by the end of that week it just exploded. There were lines around the block.

Q: When 'Damn the Torpedoes' hit, it catapulted you to another level of exposure. Did you want the fame?

A: Sure. I think everybody who does this wants the fame no matter what they say. I would have been very disappointed if I wasn`t famous after all that work.

Q: 'Long After Dark,' which came out in 1982, coincided with the birth of MTV. How did the video channel change things for you?

A: In those days MTV was so hungry for product, you could have three or four videos an album. Suddenly, we had a lot of stuff on TV, and then your recognition factor goes up on the street. Instead of being on once a year, you`re on all day long. People are seeing you all the time, so we tried to use it to our advantage, and it was so much fun.

By the time we`d done 'Mary Jane`s Last Dance,' I remember thinking, 'Can we line up stiffs in the video? Can we open on a line of corpses? Yeah! Sure we can.'

Q: That segues perfectly into 1985`s 'Southern Accents.' It is impossible to think of 'Don`t Come Around Here No More' without thinking of the video and 'Alice in Wonderland.' What was the band`s response to the song?

A: Mike didn`t like it, I think. The label hated it, [it] was like, 'What the hell is this?' [laughs] It was one of the only times that I went, 'OK, we`re going to make a single.' So it was a real satisfying thing to see it work. The video played a huge part in making it work, and it is a damn good video.

Q: What was the reaction to your cutting up Alice like a cake?

A: [MTV] actually made me edit out a scene of my face when we were cutting her up. They said it was just too lascivious. It was just a shot of me grinning, and they were like, 'Well, you can do it, but you can`t enjoy it that much.'

Q: There may be some kids in Idaho who as a result of seeing that shot ...

A: May see people as cakes.

Q: In the song 'Southern Accents,' you sing about your mom, who died in 1981. You did not go to her funeral because you thought it would cause too much commotion in Gainesville. That seems like a horrible price to pay for fame.

A: We knew it would cause a horrible commotion. My brother actually suggested that it probably wouldn`t be a good idea, because even to this day, you know, my family, I go there, and they just get cuckoo. What we didn`t want was for it to turn into an autograph fest and the Instamatics come out when it wasn`t about that. I don`t like funerals anyway. I don`t think I missed anything by not going. I made my own peace with my mother.

Q: It is staggering how many people you have lost, from your mom and dad to people you have worked with like Roy Orbison, Del Shannon, Michael Kamen, George Harrison and Howie Epstein. Do you think that affects your writing?

A: Well, it could. I think it probably affects the way you live, you know. It makes you realize you really don`t want to miss a day. George devastated me. I didn`t think George could die. It so ripped my heart out that I still can`t think about it. I remember when Roy Orbison died, I thought at the time if anybody had been prepared to go, it was him, because he was in such a good place mentally and spiritually. But then you see people who aren`t ready to go. Howie, he wasn`t ready to go. That makes you just say a) I`m lucky to be here, and b) I better appreciate being here.

The biggest one, the one that bothers me the most, is my mother. She could have had everything that she`d ever dreamt of and she didn`t get to do it, and that one seems the worst to me because you just didn`t get the payoff, you know.

Q: Thankfully, Bob Dylan survived his health crisis. In 1986, the Heartbreakers began a stint as his backing band. What do you remember about that time?

A: I knew we came away from that a better band than we went into it. In the rehearsals, Bob had a really extensive library of songs in his head: pop songs, folk songs, sea chanteys. We opened in Tel Aviv with 'Go Down Moses.' We really got a confident feeling that 'we can pull off whatever we`ve got to pull off here.'

Q: While you were on break from touring with Dylan, an arsonist torched your house with you, your wife and one of your daughters in it in 1987. How did that affect your outlook?

A: I think I came out of that not wanting to touch anything that was remotely angry. I think people who have been involved in some sort of violent act come out of it the same way, you know. I`ve seen it, where I can`t watch that movie or I can`t go there because I`ve seen the real thing and it`s just not funny. So, when someone tries to kill you, you kind of have to reevaluate everything, like, 'What the hell did I do?' Then you think, 'I didn`t do anything, I just became a mark for someone.'

Q: It seems that as a result of the fire, you did some of your lightest work.

A: Absolutely. I came so close to being dead, and I was just so happy that me and my family and everybody lived through that. I think I was a little giddy, just really happy.

Q: Shortly thereafter, you and Jeff Lynne started working on your first solo record, 'Full Moon Fever.' Is it true that you turned it in and MCA hated it?

A: It`s the only time in my life that a record`s been rejected. And I was stunned. And I was so high on the record, and I tried to think, 'What did I do wrong?' They said they didn`t hear any hits, and there turned out to be, like, four or five hits on the record, some of the biggest ones I ever had.

Q: So while you were in limbo with MCA over 'Full Moon Fever,' you went and worked on the Traveling Wilburys` first album, which came out in 1988. Were those two Wilbury albums as much fun to make as they seemed to be?

A: They absolutely were. That was a really good, good place for me to be at that time in my life. I really kind of felt like friends took me in.

The nicest thing about the Wilburys for all of us was that not any one of us had to carry the load. I think it freed us all a great deal. George had wanted a band for a long time; he hated being a solo artist. It was George`s dream. And I`m just glad it got to come true for him. We were proud being Wilburys and it was a lot of fun, but the greatest thing to me was there were some really long-lasting friendships made, and that`s a kind of gift that you just don`t get all the time.

Q: 'Full Moon Fever' finally came out in 1989. Among the hits was 'I Won`t Back Down.' If people did not already see you as a crusader, they sure did after a line like 'You can stand me up at the gates of hell/But I won`t back down.'

A: Embarrassing.

Q: Really?

A: It was a little embarrassing. I thought, 'Should I put this out?' It`s so damn literal, there`s nowhere to hide in this song. Jeff and Mike liked it. It was George Harrison that put it over the top. He played guitar and sang on it, and he took me aside and said, 'This is really good, I really like this song.' And then I thought, 'Well, if all of them like it, then I`m going to put it out.'

God, I could just be here all day talking about what it`s done, the stories people tell me, how it`s been applied to so many lives. That makes you realize that maybe sometimes it`s right to say it and not to worry too much about metaphor.

Q: You keep your record and ticket prices down. You do not accept corporate sponsorship or let your songs be in commercials. Does it seem odd that some people consider you heroic when you are just doing what you think is right?

A: It`s not heroic. Like you said, I`m just doing what seems right. I`ve never consciously done it. I`m certainly not a Robin Hood, I`m not that way. I just do what seems like the logical thing to do.

Like with the tickets, you know, it`s been brought to our attention again and again and again: 'You could be making twice the money you`re making.' We turn it down, I don`t think with an eye toward being Robin Hood, I just think with an eye of, I want this trip to go on. I don`t want to come through, burn everybody for $200 a ticket and then they can`t afford to come see me again. Plus, I just don`t think it`s right. I don`t think we need that much money.

Q: Why don`t you let your songs be used in commercials?

A: Because I didn`t write them to be orange juice commercials. Sometimes I feel like maybe it`s a dumb move because I don`t know if anyone cares, but I care immensely. I don`t like it. I think it made [rock music] common and irrelevant. I think I`d get hives if I turned [the TV] on and saw my music playing behind the Gap. That would probably put me over the top.

Q: You and the Heartbreakers came back together for 'Into the Great Wide Open.' The optimism continued from the solo and Wilbury work. It seemed like you had gone from being really angry to ...

A: More observant, maybe. 'Into the Great Wide Open' was the end of the `80s and into the `90s, and I was trying to deal, in a loose way, with some of that. The Gulf War had started. I think that played some small [part] in the record. In 'Learning to Fly,' stuff like 'the sea may burn,' I`m sure that came from the oil fires. I wanted that song to be a kind of redemptive song, only in the vaguest way, certainly not literally.

Q: Do you see a day where you do not make music anymore?

A: My wife will tell you I`m not any happier anywhere than when I`m in the studio. I`m over the moon about it. It keeps me young, it keeps me feeling like I have some purpose. There`s some reason this stuff is coming through me. So I don`t intend to quit.

Q: Next year marks the 30th anniversary of the first Tom Petty & the Heartbreakers album. Are you surprised your run has lasted this long?

A: I specifically remember thinking if we had a five-year run, we`d look back on this and think that was a good run. Then it got to, 'If we get 10 years out of this, it would be really something,' so 30 years, incredible. I never thought we would do it this long. But you go back to `76, there weren`t a lot of 50-year-old rock singers. Chuck Berry and Bo Diddley were the only people that I was aware of who had gotten old in rock`n`roll; everyone else had died or faded out. I just feel really pleased to be here.

http://music.monstersandcritics.com/features/article_1066071.php/Questions_and_Answers_...

2Neil Gardener:

>2 Dave
>Я поняла, что ты имел в виду. Аудио вариантов
>с "Take the Highway" было множество, под разными
>названиями и с разным количеством песен - Runnin'
>Down A Dream, Travelling Heart, Live In The USA,
>Into The Great Wide Open...
>Некоторые, помимо песен с Окландовского концерта,
>включали пару-другую песен, записанных из зала
>и на других концертах.
>Если ты собираешься создать список бутлегов на
>сайте, будь готов ко большим сложностям и всяким
>недоразумениям. :-) Многие концерты, особенно
>записанные с пульта и транслировавшиеся по радио
>в Америке, блуждают на разных бутлегах, с разными
>названиями и разным количеством песен. Не запутаться
>в этом сложно, разве что иметь все эти диски на
>руках. У меня всех нет, разумеется, собирала информацию
>от всех, с кем переписывалась.

У меня , к сожалению, домашний комп пока не работает, в нем лежит файл, где я подробно разбирала многие бутлеги, довольно толковая таблица получилась. В том числе как раз по бутлегам концерта 93 года во Флориде и 91 года. Про некоторые бутлеги яписала в моей яховской рассылке. Так что тема сложная, но потихонку можно ее поднять. Просто надо полдумать с чего начать.

http://edition.cnn.com/video/player/player.html...5/12/03/quan.sndcheck.tom.petty.cnn&wm=9
Видео интервью каналу CNN

Погуляли!


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12.04 08:57 am
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Нью-йоркский бронежилетный магнат Дэвид Брукс потратил 11 млн. долларов на вечеринку по случаю бат-мицвы своей дочери. На праздник были приглашены Том Петти, группа Aerosmith и рэппер 50 Cent.
Брукс забронировал ресторан “Комната радуги” на 65-м этаже Рокфеллер-центра в Манхэттене. Его дочку Элизабет, чья бат-мицва (еврейский праздник в честь достижения девочкой 12-летнего возраста) отмечалась, должно быть, ошеломили некоторые из увеселений на вечеринке.
Большая часть развлечений была рассчитана скорее на 150 взрослых гостей Брукса, чем на 150 гостей-сверстников его дочери, считает английская газета The Daily Telegraph. Участники групп Eagles и Fleetwood Mac, саксофонист Кенни Джи иг-рали до трех часов ночи. В один прекрасный момент сам Брукс, облаченный в костюм из черной кожи с металлической фурнитурой, присоединился на сцене к Aerosmith. Рок-музыканты позволили племяннику Брукса, подростку, аккомпанировать им на барабанах. Это обошлось устроителю вечеринки в 2 млн. долларов за 45 минут.
Виновница торжества Элизабет из приглашенных исполнителей, возможно, лучше всего знает рэппера 50 Cent, фильм с участием которого “Стань богатым или умри” идет сейчас в кинотеатрах. Отрабатывая свой гонорар в 500 тысяч долларов, рэппер переделал одно из своих творений, спев девочке: “Go shorty, it’s your bat mitzvah, we gonna party like it’s your bat mitzvah” (“Давай, коротышка, сегодня твоя бат-мицва, мы будем веселиться в честь твоей бат-мицвы”).
Впрочем, если дети и почувствовали какое-то разочарование, их наверняка утешили мешки с подарками на сумму 1000 долларов, набитые цифровыми фотоаппаратами и плеерами iPod.
Счет за вечеринку – мелочь для Брукса, главы компании DHB Industries, производящей бронежилеты. В прошлом году он заработал около 70 млн. долларов.

2Neil Gardener
Меня волнует такая фраза: "But then you see people who aren't ready to go." То есть, по мнению Тома Петти, Рой Орбисон был готов уйти, а Джордж Харрисон нет? Или ему самому слишком был нужен Джордж, чтобы принять его смерть? Грустная тема...

Мне кажется, что Том это больше про себя сказал. Это действительно сложная тема. Как бы ты не был готов, к чьему-то уходу, он всегда потрясение.НАм сложно судить, поскольку мы не знаем многих моментов в их общении.

Various Artists
«Elizabethtown»
Перед вами музыка к новому фильму Камерона Кроу, известного по своим лентам «Ванильное небо» и «Джерри Магуайр». Кроу – бывший музыкальный журналист, сотрудничавший с «Роллинг Стоуном», который отлично разбирается в современной поп-музыке. Как режиссер, он известен ответственным подходом к звуковому сопровождению фильмов и виртуозно владеет искусством вовремя вплести в киноповествование незабываемый трек.

Это умение не подвело его и на этот раз – саундтрек альбома сплошь состоит из плотно пригнанных друг к другу хитов, на свой лад воспроизводящих драматургию фильма.

В дело пошли как радио-хиты всем известных суперзвед-ветеранов, так и треки начинающих музыкантов и затерявшиеся сокровища, которые меломаны собирают по капле с запыленных пластинок и малотиражных CD. К последним, несомненно, относятся «I.O. (This Time Around)», мечтательный фортепианный трек Хелен Стеллар и бодрящий «Don't I Hold You».

В «тяжелом весе» на этот раз задействован Том Петти, чьи песни «Square One» и«It'll All Work Out» оптимально подходят к сценам дорожной погони – классика американского рока как-никак. Также в пластинку вошло «Ружье моего отца» Элтона Джона, песни молодых перспективных музыкантов Райана Адамса и Патти Гриффин, и вещица группы My Morning Jacket, которую называют среди самых ярких новичков этого года.

1. 60B (Etown Theme) - Nancy Wilson
2. It'll All Work Out - Tom Petty and the Heartbreakers
3. My Father's Gun - Elton John
4. io (This Time Around) - Helen Stellar
5. Come Pick Me Up - Ryan Adams
6. Where to Begin - My Morning Jacket
7. Long Ride Home - Patty Griffin
8. Sugar Blue - Jeff Finlin
9. Don't I Hold You - Wheat
10. Shut Us Down - Lindsey Buckingham
11. Let It Out (Let it All Hang Out) - The Hombres
12. Hard Times - eastmountainsouth
13. Jesus Was a Crossmaker - The Hollies
14. Square One - Tom Petty
15. Same in Any Language

Награду Века всё-таки вручат не в феврале, а в следующий вторник :)). В предыдущей новости на эту тему явно присутствовало журналамерство :)))).

Tom Petty anticipating Billboard award

LOS ANGELES, Dec. 5 (UPI) -- Tom Petty says he's pleased and honored to be receiving this year's prestigious Billboard Century Award for career achievement.

"It always means something when people give you a slap on the back," says Petty, who will accept the honor from Green Day's Billie Joe Armstrong at the annual Billboard Music Awards Tuesday in Las Vegas. The show will be broadcast at 8 p.m. EST from Las Vegas.

"I actually presented this award to George Harrison back when he got it a long time ago, and I didn't dream at the time they would ever give it to me. But I figure if they're giving it to me, I may as well enjoy it."

Besides Harrison, previous Century Award winners have included Buddy Guy, Billy Joel, Joni Mitchell, Carlos Santana, Chet Atkins, James Taylor, Emmylou Harris, Randy Newman, John Mellencamp, Annie Lennox, Sting and Stevie Wonder.

Petty is currently finishing his third solo album, "Highway Companion." He's also the subject of a new book, "Conversations With Tom Petty," and is working on a documentary to commemorate the 30th anniversary of his band,the Heartrbeakers', first album in 2006.

Источник: United Press International.

Только не в следующий :), уже в этот вторник.Т.Е. сегодня.