Tag Archives: Tom Petty

365 Days of Album Recommendations – Oct 5

Tom Petty and The Heartbreakers – Long After Dark


Find me a guitar player that says he/she doesn’t like the Bigsby line on “You Got Lucky” and I’ll show you a liar.

Find me a guitar player who hasn’t at one time or another played the barre chord riff from “Change of Heart” and I’ll show you someone who don’t know what fun is.

Find me someone—anyone—who doesn’t love at least one song on this album, and I’ll pray for them.

365 Days of Album Recommendations – Oct 4

Tom Petty and The Heartbreakers – Tom Petty and The Heartbreakers


Where it all began. Hard to believe “Breakdown” was their FIRST single ever. What an announcement of intention.


365 Days of Album Recommendations – Oct 3

Tom Petty and The Heartbreakers – Southern Accents


I acknowledge this is a problematic album in many ways; it was difficult to record/complete, there was tension within the band, Petty broke his hand, there were the controversies around the song “Rebels,” and so on …

But all that said, I think this is just a magisterial accomplishment; a thing of total aesthetic beauty.

Plus, it contains one of my absolute favorite Petty tracks, “Spike”:

Oh, we got another one, just like the other ones
Another bad ass, another troublemaker
I’m scared, ain’t you boys scared?
I wonder if he’s gonna show us what bad is?
Boys, we got a man with a dog collar on
You think we oughta’ throw ol’ Spike a bone?

Hey Spike what do you like?
Hey Spike what do you like?

Here’s another misfit, another Jimmy Dean
Bet he’s got a motorbike,
What do ya’ll think?
Bet if we be good we’ll get a ride on it
If he ain’t too mad about the future
Maybe we oughta help him see
The future ain’t what it used to be

Hey Spike, you’re scarin’ my wife
Hey, Spike what do you like?
Please Spike, tell us ’bout life?

It’s tempting to make comparisons when talking about this album, and there’s an argument for doing so; situated as it is so perfectly along a timeline of timeless Americana, but it’s better experienced on its own terms, as something only Petty and The Heartbreakers could create. If it must be compared, literature may be the better analog, in that Petty’s south is sort of a rock n’ roll Yoknapatawpha County—something imagined so intensely that its fictions become stronger than truth, and in so doing, they throw new light on the actual truth.

Mainly, it’s every bit the fully realized masterpiece they seemingly set out to make, and while, per Petty’s own admissions, much of the original “concept” fell by the wayside over the course of bringing the album too light, I think what emerged was a gift to us all. As was Petty himself.

365 Days of Album Recommendations – Oct 2 (Special Tom Petty Edition)

Tom Petty and The Heartbreakers – Damn The Torpedoes


From virtually as far back as I can remember, I wanted to be a lyricist. I was obsessed with song lyrics.

I remember a long car drive with my parents. I believe it was from Wichita, Kansas, to East Lansing, Michigan. Over 900 miles. I was in the back seat by myself, with a battery-powered one of these:

Tape Recorder

and a cassette copy of “Damn the Torpedoes,” which had just been released.

I sat in the back of the car, and I played “Refugee” over and over and over. I’d play it forward a little bit, for just one line of the song, then I’d hit the rewind button to go back again. I wouldn’t even hit stop first, even though I knew you were supposed to. The cassette would make that horrible backwards music sound every time, and it was horrible, but it helped me find the right spot to get back to. Then I’d play it forward again, writing furiously as the song played, trying to get the line down just exactly right:

We got somethin’, we both know it, we don’t talk too much about it

I’d go line by line, battling  with Petty’s drawl, the layers of sound, his peculiar phrasing, trying to work out words that were new to me when placed in these orders and rhythms:

Somewhere, somehow, somebody must have kicked you around some
Tell me why you want to lay there and revel in your abandon

Revel in your abandon! I wasn’t even in my teen years yet; I’d never heard words like that, sung like that, with meaning and import like that. The lyrics held mysteries within them, drama, pathos, stories I was still too young to understand, but could already feel. Like all great pop songs, what was implied or left unsaid was sometimes bigger than the actual words:

Somewhere, somehow, somebody must have kicked you around some
Who knows maybe you were kidnapped
Tied up taken away and held for ransom

This was dangerous poetry, and I was obsessed.

Over and over, mile after mile, line after line, page after page, I worked through that song, trying to get it just right. There was no internet back then. If the lyrics didn’t come with the record, you were left to your own devices. That was fine by me. I wanted to learn it myself, directly.

Honey, it don’t really matter to me
Everybody’s had to fight to be free

Much later in life, I would hear the story of how Hunter S. Thompson retyped The Great Gatsby so he could understand and feel what it was like to write a book like that. I understood what he meant, and why he did it. I had written “Refugee” a thousand times.


Update: Tom Petty has passed on. Deep bows.

“Right now it seems real to you, but it’s
One of those things you gotta feel to be true”


%d bloggers like this: