Tom Petty

Alex Red , я вам письмо написал .

Award for Sales of 10 Million Units of "Tom Petty and The Heartbreakers: Greatest Hits" January 29, 2004 - Universal Records Santa Monica, CA

AIDS Benefit and Concert 2004
07/02/2004

Set list
Not Fade Away
You Wreck Me
What Are You Doin’ in My Life
Honey Bee
Mary Jane’s Last Dance
Done Somebody Wrong
Handle With Care
Melinda
Angel Dream
Sweet Baby’s Arms
Something Big
Learning To Fly
Don’t Bring Me Down
Making Some Noice
Refugee
Runnin Down a Dream
--
Free Fallin
American Girl

Sweet Little Queen XIII***
Ваше Величество! Трансляция ожидается или нет?

Пока нет :(((

Отчет о концерте с официального сайта
Here is the offical set list from an annual benefit that Tom and the Hearthbreakers played last week. They helped raise more than $500,000 for the Laguna Art Museum and AIDS Services Foundation Orange County.

AWAY
YOU WRECK MENOT FADE
WHAT ARE YOU DOIN’ IN MY LIFE
HONEY BEE
MARY JANE
DONE SOMEBODY WRONG
I WON’T BACK DOWN
HANDLE WITH CARE
MELINDA
ANGEL DREAM
SWEET BABYS ARMS
DON’T BRING ME DOWN
MAKIN’ SOME NOISE
REFUGEE
RUNNIN’ DOWN A DREAM

Encore:
I’M CRYIN’


We also found this great story on the benefit in the LA Times with quotes from Dana.

A good cause that's personal



By Ann Conway, LA Times Staff Writer

It was as far from a rock 'n' roll venue as you could get — a palatial room at the posh St. Regis Monarch Beach Resort & Spa in Dana Point. Nine hundred ballroom chairs were lined up, theater style. And a stage worthy of a Las Vegas showroom was bathed in a rainbow of spots, ready for the concert by Tom Petty and the Heartbreakers that would raise funds for the AIDS Services Foundation Orange County and the Laguna Art Museum.

Never in the history of either organization had an event created such a stir. Guests had come from as far away as Portugal and London.

Never mind the celebrity no-shows, including Cher, Bob Dylan, Merv Griffin, Sharon Stone and Barbra Streisand — all touted on the invitation as guests at Art for AIDS III. "They agreed to come, but things come up," explained a foundation spokeswoman. "Pay celebrities and you have control. As volunteers, unfortunately, they do cancel out at the last minute."

Besides, Carrie Fisher, Jackson Browne, Stephen Stills, artist Billy Al Bengston and "Queer Eye for the Straight Guy" co-star Kyan Douglas were on hand for the Feb. 7 event. So was "dermatologist to the stars" Arnold Klein, who not only helped found Art for AIDS three years ago but whose idea it was to ask Petty, one of his stellar patients, to perform a concert in memory of Stephen Costick.

It would be one of the most meaningful concerts of his life, Petty said. Costick, who died from complications of AIDS, was his brother-in-law. "This one involves my family, and I'm glad to be able to do it. It's not a lot of trouble for a good cause," he said. "And it will help my wife work through her loss."

"He was my brother and my best friend," said Dana Petty, sitting with her Rock & Roll Hall of Famer at the $2,500-per-ticket pre-concert dinner in the resort's Motif restaurant. "He lived with the disease for a long time. It was horrible, and I'd buried all of that. Tonight is going to bring back a lot of memories."

Browne, whose well-cut suit got a rave from Douglas — turned out they were both wearing rags from the same Italian designer — said he was honored to support the foundation and the Laguna Beach artistic community. "It's important to help the people who deal with the problem day in, day out," he said.

Stills too felt privileged to attend. "Every one of us knows someone who has AIDS. We need to do everything we can," he said. He was personally invited by Dr. Klein, "who is treating eczema on some of my valuable fingers," he confided.

Attending a ballroom rock concert posed a sartorial challenge for the crowd, whose fashion silhouettes ranged from tight jeans to flowing dresses. Douglas chose to pair his fitted black suit with a five o'clock shadow. A trend? Indeed, he said. "I like it groomed. My neck and cheeks are shaved."

На фото жТом Петти, Дана Петти и приемный сын Тома -Дилан. (Остальных - не знаю )

Outkast, Alicia Keys, Kid Rock, Tom Petty, Jeff Lynne, Bruce Springsteen, Keith Richards, and Dave Matthews are Among the Special Guests Confirmed To Celebrate This Years Inductees at The '2004 Rock And Roll Hall Of Fame Ceremony'
Wednesday February 18, 6:14 pm ET VH1 Brings the Rock, Soul and Funk of The '2004 Rock And Roll Hall Of Fame Ceremony' Into Your Homes With Exclusive Coverage of 19th Annual Induction Event Premiering on Sunday, March 21 at 8:00 PM and 10:00 PM*
This Year's Inductees Include Jackson Browne, The Dells, George Harrison, Prince, Bob Seger, Traffic and ZZ Top
http://biz.yahoo.com/prnews/040218/nyw170_1.html
Уж не Джорджа ли будут вводить в зал Славы Том и Джефф.

2/18/4 PETTY WITH THE RIAA DIAMOND AWARD
Tom is shown with manager Tony Dimitriades receiving the RIAA Diamond award from Universal Music Enterprises President Bruce Resnikoff and Sr VP Rich Gallo. The RIAA Diamond award for 10 million units sold of the Greatest Hits album).

Heartbreakers stick to what they like: rousing classic rock

By Bill Ellis

The Commercial Appeal

On Tom Petty's newest album, "Echo," songs like Swingin' and Rhino Skin
are tenacious anthems of the human spirit, the kind of composition at
which Petty happens to excel. His band for more than two decades, the
Heartbreakers, is living proof.

Crafted from a classic rock mold, the Heartbreakers - guitarist Mike
Campbell, keyboardist Benmont Tench and bassist Howie Epstein (longtime drummer Stan Lynch left in the mid-'90s) - have stood the test of time, guiding as much as backing their Gainesville, Fla., leader with a sense of rock and roll purpose that never succumbed to disco, grunge or any other trend you care to name since the group's inception (with first
bassist Ron Blair) in 1975.

"We all love this band," says Campbell, 49, by phone after a Minneapolis
sound check. "We do other things but we always come back to the group.
It always feels like, yeah, this is the best thing going on. Most bands
don't last more than two years, and after this long it becomes
subliminal . . . it's instinct at this point."

So when Petty and the Heartbreakers recap songs from most every record
on their current two-hour show, it's not a blatant greatest hits tour.
These guys cash in nightly on what comes naturally: the joy of playing
together. Campbell even insists that "we're just approaching our
potential" and it's easy to believe him given the pop craft of "Echo,"
one of Petty's finest albums in a career that's had many, from the early
masterworks "Damn the Torpedoes" and "Hard Promises" to the more recent (and rustic) brilliance of "Wildflowers."

The trick Petty and the Heartbreakers miraculously pull off is to make
music that has always seemed timeless, in both Petty's
shoot-from-the-hip sentiments and in the band's tasteful arrangements.

Formed in Florida, the Heartbreakers could have been another Southern
rock band. Fortunately, their unshakable love of '60s British pop and
rock - the Beatles, the Rolling Stones, the Kinks - paid off.


Tom Petty, of Ganesville, Fla., has been the
frontman for the Heartbreakers since the
band's inception in 1975. Far from being long
in the tooth, the Heartbreakers, according to
guitarist Mike Campbell, are "just
approaching our potential."


"We didn't follow the path of local groups that tried to emulate the
Allman Brothers and Lynyrd Skynyrd," says Campbell. "We naturally
resisted that because it wasn't what we liked the most. In fact, when we
first came out, people thought we were an English band."

Still, a certain Southernness creeps into the Heartbreakers. Campbell
admits that bluegrass is an unlikely if heavy influence (listen closer
to the band's harmonies next time).

So is Sun Records.

Campbell cites many guitar heroes - Keith Richards, George Harrison,
Jerry Garcia - but it all started with Elvis Presley's sidekick.

"The first guitar player would be Scotty Moore," says Campbell without
hesitation. "My dad had Elvis and Johnny Cash. Those were the only
records he played."

Not surprisingly, Petty and the Heartbreakers have worked at various
times with several Sun legends. They were on Roy Orbison's final studio
album, "Mystery Girl," and, of course, Petty was a bandmate with Orbison
in the Traveling Wilburys.

They also showed up on Carl Perkins's final album, "Go Cat Go!," a
session that came about when Perkins paid a studio visit to Johnny Cash,
who at the time was making his acclaimed 1996 record, "Unchained," with
the Heartbreakers.

Campbell has fond memories of both musicians.

On Perkins: "It was like being in the presence of God, basically. He
would sit there with an electric guitar without an amp and start
playing; it would sound so good with just his hand on the guitar. We
were hypnotized by his presence."

Campbell was equally star-struck by Cash. Even though the guitarist has
chalked up hundreds of sessions - including The Boys of Summer, the huge hit he co-wrote with Don Henley - Campbell insists that the best time
he's had outside of any Petty albums was playing behind Cash.

"The Johnny Cash record was probably where I was most moved," says
Campbell. "To be in the studio with him like that was pretty spiritual."

If Cash were asked, he might say the same. The Heartbreakers bring out
those kinds of performances, after all.

Tom and Jeff Lynne will induct George Harrison into the Rock And Roll Hall Of Fame on March 15, 2004, in New York City. George was inducted as a member of the Beatles in 1988 and now he will be honored for his solo work.

Watch for Tom and Jeff to play something from George's catalogue when the show airs on VH1 March 21, 2004. Tom has been part of the Hall Of Fame ceremonies twice before; in 1997 he inducted Buffalo Springfield and in 2002 Tom Petty and the Heartbreakers were inducted by Jakob Dylan.

Other presenters and honorees this year are Bruce Springsteen, inducting Jackson Browne, Alicia Keys and OutKast inducting Prince, Dave Matthews inducting Traffic, Kid Rock inducting Bob Seger, and Keith Richards inducting ZZ Top.

Эх, почему у нас VH1 не показывает...

Потому что у нас показывают европейский, а точнее британский VH1. А в Англии на этом канале совершенно другие приоритеты. Я был подписан на него несколько лет, но кроме нескольких передач типа живых выступлений некоторых групп (40 мин.) там ничего интересного не было. А вот американский канал совершено другое дело. С удовольствием его смотрел, работая в Штатах. Там он как-бы антипод был MTV. Столько классных передач и концертов показывали - закачаешься!

Ага. Я в курсе про эти различия.

Сегодня получил с Амазона видеокассету Pack Up The Plantation. От аудио диска отличается однако. Но какой КАйф!

Чудный концерт!!!! Это первый концерт ТР, который я видела на видео. Качество конечно у меня не ахти, но действительно море удовольствия!Breackdown - шикарен!
Don't come around - тоже.И пиджак у него с покладкой в виде Дикси мне нравится.
Еще я очень люблю Waiting сначала аккустическая, а потом вспыхивает свет и вступают все.
Southern Accents- хорошо передана атмосфера песни.
Вообщем -много любимых кусочков.
Что касается альбома, то в него вошли запис не только тура 85 года. Дуэты со Стиви - это 83, Don't Bring Me Down -это еще раньше. Остальное -не помню точно наизусть.
Кстати, Игорь спрашивала, дошла ли до вас его бандероль?

P.S. Насколько я помню LP и Cd тоже отличаются. Винил -двойной. CD сократили чуток. Возможно позже были более полные издания, я не в курсе.
Вот это CD
PACK UP THE PLANTATION - LIVE
So You Want To Be A Rock'n'Roll Star
Needles And Pins
The Waiting
Breakdown
American Girl
It Ain't Nothing To Me
Insider
Rocking Around (With You)
Refugee
Southern Accents
Rebel
Don't Bring Me Down
Shout
Stories We Could Tell

А это LP:
So You Want To Be A Rock & Roll Star
Needles And Pins
The Waiting
Breakdown
American Girl
It Ain't Nothin' To Me
Insider
Rockin' Around (With You)
Refugee
I Need To Know
Southern Accents
Rebels
Don't Bring Me Down
You Got Lucky
Shout
Stories We Could Tell

Нет, пока от Игоря бандероль не дошла. Странно это!

Tom Petty Goes Digital

Tom Petty is the latest artist to open up his catalogue for digital download.

Petty's attitude is that by going digital he is taking his catalogue to where the younger fans are. The decision has had an effect on his album sales as well sales of his Greatest Hits CD has started to go back up again.

Tom Petty's Greatest Hits is already one of the biggest selling albums of all-time in America. It has been certified Diamond for sales over 10 million in that market.

From March 2, Petty's Universal and Warner catalogue will be available digitally for the first time. In a statement, Bruce Resnikoff, President, Universal says "Having an artist of the stature of Tom Petty committing their catalog to this digital distribution business that is just getting off the ground says a great deal about his foresight. Along with UMe, he is embracing a new digital generation and taking a leading role in putting the music fan first."

Petty released 11 albums through Universal. Hits from that era include 'I Won't Back Down', 'Refugee', 'Don't Do Me Like That' and 'The Waiting'.

Renowned Heartbreakers Drummer Stan Lynch Becomes Top Songwriter & Producer
By Jayne Moore

Stan Lynch is a highly respected musician, songwriter and producer, who has worked and collaborated with several of the most influential rock artists of the past two decades. Probably best known for having been the longtime drummer and founding member of Tom Petty & The Heartbreakers, Lynch has also toured the world with Bob Dylan, and written and produced songs for Don Henley, the Eagles, the Mavericks and many others.
In a recent interview, Lynch recalled some of his most memorable experiences, including his 2002 induction into the Rock and Roll Hall of Fame, and discussed his recent publishing contract with Sony/ATV Tree Music Publishing in Nashville.

As a teenager growing up near Gainesville, Fla., Lynch determined that he would find a way to make a living with music. “As a kid I had very little opportunity. I was a marginal student. I wasn’t going to college. My parents didn’t have money.”

“I played guitar and piano, and I always thought I was going to be a guitar player,” said Lynch. “The drums were sort of a happy accident. I didn’t really think that they would be my ticket out of the ghetto. Choosing to be a musician back then was not like choosing a job, but an entire lifestyle. My father looked at me as if I were going to wear a dress and dance in the circus.”

Lynch joined the Heartbreakers in 1974, when he was recruited by Petty’s piano player Benmont Tench. Although most of the band hailed from Gainesville, they didn’t officially become the Heartbreakers until they came together in Los Angeles. “It was just kind of an organic, nebulous way we all got back together again in California,” he said.

During the twenty years that Lynch played with the Heartbreakers, he said he only contributed to the songs, but never co-wrote or collaborated with Petty. “It was his music and his vision,” said Lynch. “It was called Tom Petty and the Heartbreakers for a reason.”

By the early ‘90s, Lynch had begun to evolve away from the Heartbreakers. “When I grew up, drummers were explosive, like buckets of bolts rolling downhill,” he recalled. “The drums for me were not really a discipline but more of an expression. After a while, drums became relegated to sort of just the timekeeper. It was a different job, and not a job I wanted to have. I began to think I was getting in the way more than anything, and it was time for me to step aside and let everyone get on with their lives and get what they needed. I was making the wrong noise. There’s a graceful time to walk away from anything.”

However, Lynch said the experience gained from his time with the Heartbreakers was priceless. “Tom is a really prolific songwriter and working around his sensibilities for so many years was a great learning curve. Seeing his process and how his songs morphed over the years was really a seminal experience for me, as was the couple of years I spent playing drums for Bob Dylan, who I went around the world with a couple of times. If you think you’re ever going to try to be songwriter, go work with guys like that. Even if you’re just going to shine Bob’s shoes you’d learn something.”

“I got to play on really great songs and that was part of the experience of being a drummer. What I learned is that it’s harder to play on crummy songs,” said Lynch, who now, as a producer finds it necessary for musicians and songwriters to understand one another’s craft. “Musicians sometimes think they’re just playing their instrument, when what they’re really doing is playing a song. It sometimes takes awhile for them to discover that. It took me about five years. Writers are a different breed. I’ve sat on both sides of the glass now and it’s really been helpful. I feel sorry for songwriters who haven’t been in a band because they’re very demanding and they don’t understand how to communicate to musicians what they really want. And I feel sorry for some musicians who don’t try to write, because they don’t realize how precious a piece of work they’re playing on. There might not be another great one coming along, so be careful.”

In the early ‘80s Lynch met writer/producer Danny Kortchmar. “He was a really great writer and musician, almost like a prodigy guitar player,” Lynch said of Kortchmar, who started writing in the ‘70s with Jackson Browne and performed on albums such as Carole King’s Tapestry. “He was a part of this thing called “The Section” in Los Angeles and they played on all the great singer-songwriter records. I met (Kortchmar) when Don Henley was making his first solo album. He produced and co-wrote most of the stuff with Don and he brought me in. That’s how I started writing with Don.”

Lynch said he finds something really special about songwriters like Henley who have worn many different hats in the music business. “Don’s a drummer, but he’s a fabulous writer and he understands that a song has to work on many different levels. He once said to me that a song has to work from the waist down and from the neck up. He’s very calculating and visceral about his approach to songwriting and I learned a lot from him, whereas Petty was more stoic. He never shared his thought processes.”
The first song Lynch remembers actually making it to the radio was a song co-written with Henley called “The Last Worthless Evening.” “Don came in and had part of the song and we just put it together from there. I knew it was getting pretty popular when my parents told me they’d heard it playing in the grocery store,” he laughed.

Henley’s willingness to share his wisdom is no small matter to Lynch. “Don’s really been a long confederate of mine,” he said. “There’s no way I could thank him enough. In the ‘80s he encouraged me to write. He told me, ‘you’re a funny guy; you ought to write this stuff down.’ That’s how casually he ushered me into my next life.”

To help refine his songwriting skills, Lynch said Henley and Kortchmar gave him a title, a legal pad and a track on a cassette and told him to write some words to a song that became “Driving With Your Eyes Closed”. “I came in with the pad full of ideas and the first thing Don did was correct all my punctuation and spelling with a red pen. He said, ‘I can’t look at this crap, I can’t read a thing on here.’ These guys were so straight up with me, like only brothers could be. They got me reading better books and helped me step up to the plate professionally. They told me that I could really be something.”

As soon as Lynch was officially out of the Heartbreakers, he was invited to work with Henley and Kortchmar, who welcomed him to the next chapter of his life. “Those kind of people are invaluable,” said Lynch. “Every writer has somebody who opens a door for them and there’s no question in my mind that these guys did that for me.”

Henley asked Lynch to help write some of the songs for his solo album, Building the Perfect Beast and Lynch became even more involved in the following End of the Innocence album. In addition, Lynch co-wrote “Learn To Be Still” for the Eagles’ Hell Freezes Over album and co-wrote and produced many of the songs on Henley’s most recent album, Inside Job. “(Henley and Kortchmar) were true friends and they still are,” said Lynch. “I talk to them most every week.”

During his first trip to Nashville in the early ‘90s, Lynch was introduced to Raul Malo of the Mavericks, with whom he wrote “I Should Have Been True,” a song intended as a homage to the late Roy Orbison. “Raul is a great singer and we got together and started talking about (Orbison) and we decided to just go there,” he said. Lynch also attributes Don Cook’s production abilities to the song’s unique sound. “That was a very exciting experience.”
Lynch said he loves the camaraderie of collaborating on songs. “I’m not really very self-motivated,” he said, “ and collaborating also doubles as my social life. I love working with soulful people. Whatever my partner needs, I’m right there for them. I try to look at songwriting as my hobby. The writing has never really felt like work. I’ve taken the pressure off myself and it’s really beautiful.”

In addition to songwriting, Lynch has found that he enjoys the production end of the music business. “It gives you a level of control to produce the songs you write. There’s also a real trust issue there. If somebody lets you produce their songs, you have to protect them. I would love to do it more and more. I think the job of a producer is to make sure nobody drops the ball. It’s a really big responsibility.”

In 1997, Lynch produced a handful of songs on the CD All the King’s Men, a tribute to Elvis Presley on the 20th anniversary of his death. In addition to Scotty Moore and D.J. Fontana of Presley’s original Blue Moon Boys, an impressive lineup of performers signed on to the project. “I got to work with Keith Richard, Levon Helm and the guys from The Band. It was a crazy room to be in,” Lynch recalled. “It was really memorable.”

Working in Nashville has been a positive experience for Lynch, who just signed a publishing deal with Sony/ATV Tree. “They’ve got me feeling my way through a roster of writers,” he said, “and the writers I’ve teamed up with so far, like Steve Bogard and Tom Douglas are really some soulful, beautiful people. These guys have a lot of heart. They have really helped show me the ropes in Nashville.”

Arthur Buenahora, Senior Director of Creative Services & Production at Sony/ATV Tree, said he felt Lynch was a perfect fit for Nashville. “Stan’s a great songwriter and a great producer,” said Buenahora, who admitted to being a fan of Petty and the Heartbreakers. “I’d like for Stan to team up with other writers and see what fits.”

There are no particular artists in mind yet for Lynch’s songs, said Buenahora. “With someone like Stan, we’re waiting for the right opportunity to come along and we’re looking for production opportunities for him as well. I’m very confident that we’ll find the right situation for him.”

Lynch said the nice thing about a publishing deal is that the record company handles the business end of the process, allowing for more time to be creative. “I’m going to write the best songs I can. I don’t want to play the politics. I want my work to speak for itself and that’s where Arthur comes in. He’s my representative. If he feels my work should go to certain people, then I’m going to let him be my discriminator. I don’t understand the politics of how songs get placed. I’m just learning the game. I want to surround myself with the best writers and singers that I can.”

“Arthur’s been a huge champion for my cause. He stepped up the plate and asked me to work. I need Arthur and hopefully he needs me. I think there’s some symbiosis going on here. I’ll be the bohemian with the old beat up guitar on my back saying ‘I think I’ve got what you need,’ and he’ll be the guy with the suit and the pen who knows where to go with it. That’s what I want from Nashville. That’s my dream.”

The shift in the styles of music coming out of Nashville is a motivating factor for Lynch. “The music in Nashville now is more like rock and roll. The Rolling Stones’ ‘Honky Tonk Woman’ would have been a hit country song today. It wouldn’t even get played on rock stations. I grew up listening to the music from the ‘60s and ‘70s, and made it my life, so I know what that kind of music is all about.”

Lynch is also a fan of many Nashville artists. “Vince Gill just blows me away. He strikes me as somebody who’s got a lot of integrity. Unfortunately, I don’t think he needs my help. Then there’s Willie Nelson. I’d love to know even a tenth of what he knows on the guitar. He’s a movable feast. Alan Jackson seems so natural. He has a real effortless way about him and that’s not easy.”

For aspiring songwriters, Lynch offered some philosophical advice. “The first thing should do is ask yourself if this is something you really want to do,” he said. “Do you love this? Is this your life’s work? There is no short form to this, no class you can take, no ring to kiss. If you love it, you can do it for the rest of your life. Will you make a living at it? There’s no way to tell. If you have a passion for what you do, you probably will do okay. Make the best music you know how, and when you get to the level where you need to be, you’ll get heard. Also, surround yourself with people who are better than you are. Get in a room with somebody so good, you’re blown away by it. Keep your mouth shut and your ears open and just learn.”

“Tom (Petty) used to say, ‘take care of the music and maybe someday the music will take care of us,’” said Lynch. “I was about 18 when he said that and I thought it was so profound.” Petty’s statement certainly proved to be true. In 2002, Tom Petty & the Heartbreakers were inducted into the Rock and Roll Hall of Fame.

For someone who has been an elite member of the music world for nearly three decades, Lynch said he still has one unrequited desire. “I’d like to run a record company for a year,” he said. “I would let all the gatecrashers in. I’d create a dynasty of insanity. I’d like to build careers all the way through to the greatest hits album. I’m tired of the flavor of the week and all the pretty little people. The world is just too glossy. Bring me the greasiest, craziest people out there. I want to hear some bands who can make some noise on their own. I can create a noise for you for a half a million dollars, but why? If they can’t make a noise of their own, they don’t need to be here. I want legends. I want to hear bands that stop me in my tracks. I would love to be the gatekeeper.”

Despite his success in Nashville, Lynch continues to make his home in his native Florida. I grew up in a small town in Florida and there’s something nurturing about being in a place where everyone knows everyone. I find as I get older, I appreciate that more. When I go to Nashville, I’m so excited to be there. I never want songwriting to be a job for me. I won’t let that that happen. It’s too much of a sacred trust to me. It’s a huge blessing to be able to make music. I look at
http://www.songwriteruniverse.com/lynch.htm