Tom Petty

http://www.vh1.com/player/tom_petty_audio/audioTemplate.jhtml...ioClipbin&spd=wL&clip_id=4
Тут весь альбом в реал аудио. Но грузится плохо. Так-что только для очень нетерпеливых.
Я это послушала. Пока без комментариев.

Тут несколько песен.
http://www.knobbin.com/music/blue_sunday.mp3
http://www.knobbin.com/music/have_love_will_travel.mp3
http://www.knobbin.com/music/lost_children.mp3
http://www.knobbin.com/music/you_and_me.mp3
http://www.knobbin.com/music/man_who_loves_women.mp3

На ОллМьюзикГайде ругают. Говорят - первый провал Тома Петти за всю его долгую карьеру.

Пускай ругают. Я очень критиков нежно люблю.

Бывают и хорошие, грамотные критики.

Бывают...
Только мне сейчас на их мнение абсолютно наплевать. Я это слышала. И я имею собственное мнение. И для меня оно самое главное. Я это слышала и буду слушать.
Кстати, мнения критиков разделились.

Ну, "родные" критики - они же ещё и тексты оценивают, и вообще всё вместе в сочетании. Может быть, там где-то прореха.

В альбоме Тр прошелся по поводу всего шоу-бизнеса. Любит он его. Нежно.
А сколько было случаев, когда критики ругали классные вещи. ВОобщем слушать самим надо. :)

Спасибо. Пойду скачивать, то чего еще нет.

Вышел "лицензионный диск". Лучше бы он не выходил... Туда еще 9 песен с Greatest hits кинули... Зачем?
Теперь задача купить родной, который в 2 видах : с Dvd и без.

Альбом, к сожалению, очень заурядный, хотя и запоминающийся. По-видимому, это то, что хотят слышать поклонники, но едва ли он заинтересует человека стороннего или случайного. Вместо творчества под влиянием здесь на лицо очевидные цитаты из кумиров, а само построение альбома по принципу куплет-припев сильно напоминает попытки Дилана времен середины шестидесятых заделаться попсовым и продаваемым композитором. У Дилана не вышло: помешал талант. Выйдет ли у Петти, посмотрим. На данном же этапе альбом порекомендовать не могу.
Ну, а российские пираты были и остаются российскими пиратами.

San Francisco Chronicle

"Tom Petty is mad as hell and he is not going to take it
anymore.

He calls his new album, THE LAST DJ, a "loose concept album’
where Petty blasts corporate greed in the Clear Channel era of the
music business on sharp, pointed songs like "Dreamville," "Money
Becomes King" or the title track with the ringing chorus ‘there goes
THE LAST DJ who plays what he wants to play and who says what he wants
to say.’

‘I'm fed up with the world,’ Petty said. ‘I'm not really
attacking the music business. That would be like shooting fish in a
barrel. It would be too easy a target. I use them more as a metaphor
for what's going on everywhere, in all the businesses, in all our
lives. There's just this missing element of truth. Perhaps there's a
little bit of a moral dilemma. That might be more of what I'm trying
to say in general. We've hit a point where I'm not sure we care about
each other. I miss that.’

Petty, 48 [Tom is 51], has never been much of a firebrand in his
quarter-century of making rock 'n' roll records. But as corporate
consolidation in both the concert business and the radio industry
reaches an all-time high and the quality of contemporary music
descends to an all-time low, Petty is moved to address the issues.

‘We're in a day and age where pop singers are created on game
shows on television,’ he said. ‘Damn, if I don't speak up about that
then I am remiss. If I am going to be chastised for doing it, then so
be it. But there's nothing I've said in this record that isn't 100
percent true. I'm not making any claims that aren't true. And if
you're thinking I'm talking about you, then that says more than I
could ever say.’

The title track, a Heartbreakers instant classic, was the most
added track on radio its first week out, but the song is certain to
stir controversy in the tepid and tame landscape of today's corporate
radio world. Some stations have already refused to play the track.

‘I'm a huge fan of radio,’ he said. ‘I don't like what I hear in
pop music these days. I'm not just talking about rock radio. I'm
talking about all the radio. That song, when I heard it was banned, I
thought, this is a fictional song. It's not “Citizen Kane.” It's not
based on anyone. It's a fictional song about a guy who is fired
because he doesn't want to play the songs he's told to play. Where he
used to have a choice to be a tastemaker himself, he's even told not
to talk too much on the radio. He goes to Mexico and starts something
there, where he has the freedom to do it. If they're afraid of that
story, what's wrong? What are they afraid of?’

‘I used to feel like I knew DJs on the radio,’ he continued,
‘that they were personalities. That even when I hated them, I knew
them and I felt comfortable hearing them talk. Some of them I felt
were even people of taste who actually chose the records, who went
through what was there and thought this was the best. Of course,
there's always been playlists, but there was a lot more freedom. It's
becoming a corporate thing, where they call up people and play them 10
seconds of a song over the phone and if they know it, it goes on the
air. But that's not the way for the music to grow. People can only
choose from what they're offered and if all they're offered is boy
bands, that's what they have to choose from.’

Petty,

Интервью Тр об альбоме. В конце он несколько слов говорит о концерте посвященном Джорджу
Tom Petty is mad as hell and he’s not going to take it any more. He has cast his eyes into the great wide open and is appalled by what he sees. There are pop tarts on the TV. There are millionaires chugging champagne inside the Golden Circle area of


rock venues. And, according to the full-time Heartbreaker and one-time Wilbury, the era’s shallow sounds have driven imagination and autonomy from the music.

Petty’s analysis of the situation is written into The Last D.J. His latest album resounds with the protest music that was popular in the era that the singer holds so dear: the late 1960s. Built on a string of message songs, the disc laments the loss of individuality and skewers the dynamic of concept over content, ultimately finding its arch enemy in the greed that causes such a predicament. Like Elvis Costello’s “Radio Radio,” it’s out to bite the hand that feeds it. Throughout the album, the still-feisty Heartbreakers give the necessary jolt to Petty’s barbs. When the singer sat down with VH1 to deliver his state of the music address, he made a point of explaining that art is everything, and greenbacks should be secondary. Along the way he addressed the Beatles on Ed Sullivan, the misuse of the term “rock,” and his pending tribute to pal George Harrison.

VH1: The Last D.J. criticizes the music industry, but on the closing “Can’t Stop the Sun,” you sing, “There’ll be more just like me/ Who won’t give in.” Could you have written this album without a sense of optimism?

Tom Petty: It’s ultimately a very optimistic album about hope and faith. People who say it’s about the music business haven’t listened to the whole album. The title track laments the dying art form of radio. “Money Becomes King” is about the concert business and artists that sell out. “Joe” is about a CEO, but it could be about any business, really. The Last D.J. is about morals. It’s about at what point do you care about the human more than money. I used the music industry as a metaphor because I knew it very well, and it was easy to write about. But making a record just about the music industry would be so dull. They’ve always been a joke and they always will be. The Last D.J. is a fable. Maybe it just hits too close to the bone for some people. But it is fiction.

VH1: You blast Clear Channel’s radio monopoly and the Golden Circle concert seating on “Money Becomes King.” Both have been around for a while. Why write about them now?

Petty: I thought the Golden Circle represented how we are these days. We all want to appear rich, even if we’re not. That’s the problem with America. People want every dollar. They don’t care about you or me or the product they’re selling. They don’t give a damn about art or music. They just want to fill the program. I care about music intensely. I’m at a position now, where if I play the music industry game, I have to give up caring about music. So I tried to write it like I saw it. If you’re upset with it, you’re part of the problem.

(ПРОДОЛЖЕНИЕ)
VH1: In “Joe” an executive character says of girl singers, “You put ‘em onstage and you have ‘em undress.” Is the image-making of pop singers like Britney and Christina more intense today than ever?

Petty: That’s all there is today. Music doesn’t come into it. There is no truth in pop music. It’s much easier to get a girl to undress and put her up there. That’s what I was trying to bring out in that character. He didn’t really care about whether it was good or bad. He just wants to sell it. I’m surprised the audience doesn’t expect and demand more, but they’re so anesthetized by the media that they don’t know that they’re not getting what they paid for. They’re missing a great element of truth.

VH1: When was the last time there was good pop music on the charts?

Petty: It’s a matter of taste. For me, I’d say 1968 or ’69. Maybe ’70. Not much of any significance has happened since then. This is an emergency crisis we’re in. The entertainment media is affecting everything on the planet in a very negative way. I’m only interested in rock ‘n’ roll. Rock ‘n’ roll is a music that represents truth. Your TV channel has taken the word “rock” and knocked the “roll” off the end. You made rock this umbrella term for everything. That’s wrong. Shakira isn’t rock. These country artists with fur coats aren’t rock - or country. I offered a video to VH1 of my band playing in the studio and they don’t want to air it because it had musicians playing in it. They want some babe walking on the beach or whatever. I got turned onto this music by watching the Beatles and the Rolling Stones actually on TV playing their guitars. It completely took me over. When you can’t see musicians playing any more, I’m not interested any more. [Watch Clip]

VH1: What was the impact of seeing the Beatles on The Ed Sullivan Show like?

Petty: It was like the world was black and white and then in the morning it was color. Everything changed in one evening. It was such a great event. In those days you didn’t have videos. You saw music once a week on Ed Sullivan, so everybody tuned in. It was like an underground thing, because Mom and Dad didn’t watch it. It was something of us and for us. That was the beauty of it. The Beatles were young people just like us, and they were independent. They were the first show business people that actually told the truth when they were spoken to. We really admired that. Now, people in rock groups are the people you got into a rock band to get away from. They’re sell-outs that want to be in People magazine and sell their songs to Mercedes-Benz. You deserve better. [Watch Clip]

VH1: What was it like when you were listening to radio?

Petty: The biggest difference was that all of the pop music was played on one station. Now there’s a specific kind of music on each station. But we had a much broader musical education. They would play literally everything that was pop. If you had the rules that you had today, nobody would make a “McArthur Park” or a “Strawberry Fields.” Nobody would dare try that. These days you’ve got to fit a very exact formula. These days, probably no one knows how the No. 1 song goes. Back then everybody could whistle the top 10 songs. There were still people involved in radio that chose the music they were going to play themselves. You came to know the personalities on the radio. Some of them you hated and some of them you really liked. But it was much more fun than it is now. Now you have people that advertise the fact that they don’t have any talking on their station, as if that was a plus. I think that’s kind of boring. [Watch Clip]

VH1: If you were a young kid today, would you not be able get into the music?

Petty: I wouldn’t be interested in it at all. Young people are being offered crap and drivel. It’s not about anything with any element of truth or danger or excitement or mystery. It’s five cats in sweaters doing dance steps.

VH1: But paradoxically the audience at your concerts is getting younger.

Petty: We’ve always had a healthy dose of teenagers in the audience. I think it’s probably because I don’t cater to them! I don’t pander to them. They may detect that this is an honest trip. They want to see it, because they’re tired of being burned.

VH1: Does this form of musical protest can have a positive effect?

Petty: Well, I’m going to go out trying. If no one speaks up, there won’t be any change. All I wanna do is raise the question because I love this music. I devoted my life to it. I’ve really given my life to this and I love it. I don’t want it to become a lumbering caricature of itself. It’s such a beautiful and liberating thing. The people need it, and it’s being denied them. I don’t have the answers, but I want to see more people care about what’s happening. We’re in a really weird time that’s just downright dangerous in some ways, so I think that we all better step up to the plate.

VH1: You’re playing the upcoming George Harrison tribute concert. What are you going to do?

Petty: Everybody is doing George songs. My understanding of it is that this is music that George would want to hear. Actually, he probably wouldn’t want to hear his songs, but that’s what we’re going to do. I think there’s going to be some Indian music and some ukulele music and the Voices of Bulgaria. These are things that he really loved. I’ve had two conversations with Eric Clapton that were very brief so far and Eric had written down some suggestions for me. I’m going to look at them and see which one comes out best. He asked me to sing “Isn’t It a Pity,” “Taxman” or “If I Needed Someone.” They’d also like to do a Wilburys number. So maybe we’ll do that. The song that George always played when he was hanging around my house is a kind of obscure one from the second Wilburys album called “If You Belonged to Me.” He used to play that on the ukulele a lot. I think I’m gonna play that. That reminds me of George.

Вышел "лицензионный диск". Лучше бы он не выходил... Туда еще 9 песен с Greatest hits кинули... Зачем?

это еще ничего !!!
только что купил диск нелицензионный (просто пиратский за 80 руб - Москва)

на что купился:
диск хорошего качества (тонкий слой пластмассы - алл. слой сверкает как зеркало)
буклет на хорошей бумаге с фото и текстами песен.
нет лишних песен - 12 треков

послушал - вместо track #12 - опять идет the last dj

песня хорошая не спорю - но
она уже шла первым треком. там должна быть can't stop the sun заявленная на обороте диска.

вот так

Точно!
А я уж было решил, что так все задумано - с чего начинается тем и заканчивается.
Но оформление, действительно хорошее.
Сам альбом содержит чуть ли не половину вещей которые смело можно было бы туда не включать. Но лично я, не жалею, что купил диск

Хочу пиратскую копию диска, с перепутаными песнями. Так, для коллекции :) Надо будет поискать этот шедевр.
2Walrus А какие песни не понравились?

там где я брал он был единственный.
со своим раритетом я решил не расставаться. думаю walrus-у не понравились треки 4-8 и одна из последних. я от альбома в восторге - в первый день прослушал его раз 6.

AlexV Спасибо, за ответ. Но я думаю, что смогу найти этот "раритет" :)
Кстати, хочу сказать ОГРОМНОЕ спасибо Андрею, за 15 концертных бутлегов Тома! :))))