Tom Petty and the Heartbreakers #5: Long After Dark

 

Release Date: November 2, 1982

Members: Tom Petty (vocals, guitar); Mike Campbell (guitars); Benmont Tench (piano, organ); Howie Epstein (bass); Stan Lynch (drums)

Produced by Jimmy Iovine and Tom Petty

Side One: A One Story Town; You Got Lucky; Deliver Me; Change of Heart; Finding Out

Side Two: We Stand a Chance; Straight Into Darkness; The Same Old You; Between Two Worlds; A Wasted Life

With their fifth record, Tom Petty and the Heartbreakers leaned further into a modern rock sound, a few of the tracks even sound truly New Wave with synthesizers and distorted guitars. 

"A One Story Town" is boilerplate small town blues rock, no doubt informed by Petty's hometown in Florida. "You Got Lucky" is moodier and benefits from the excellent musicianship and production. "Deliver Me" builds on a smooth melody, suitable for a campfire singalong, "Change of Heart" was a minor hit and illustrates Petty's gift for taking a simple notion and making it sound epic. "Finding Out" is unremarkable except for Mike Campbell's heavy guitar. 

"We Stand a Chance" is a hidden gem, sounding very much like The Cars. "Straight Into Darkness" is downbeat, but forceful. On the "The Same Old You" Petty allows the band to let loose a little. "Between Two Worlds" returns to familiar rock staples of life on the road, once again carried along by Campbell's distinct guitar leads. "Wasted Life" ends the record on an uneasy note.

Long After Dark is a middling album at best, still sounding vibrant but resting upon some recycled ideas. Floating between despair and hope, the songs point to a band trying to make the next big step, but not quite there yet. 

Tom Petty and the Heartbreakers #4: Hard Promises

 

Release Date: May 5, 1981

Members: Tom Petty (vocals, guitar); Mike Campbell (guitars); Benmont Tench (piano, organ); Ron Blair (bass); Stan Lynch (drums)

Produced by Jimmy Iovine; Tom Petty

Side One: The Waiting; A Woman in Love (It's Not Me); Nightwatchman; Something Big; King's Road

Side Two: Letting You Go; A Thing About You; Insider; The Criminal Kind; You Can Still Change Your Mind

Hard Promises built off the momentum of Damn the Torpedoes, staying the course with a collection of more FM hits solidifying Tom Petty and the Heartbreakers as a major force in rock during the 1980s. 

The cover is a photo of Petty browsing in a record store, alluding to a dispute with the record company over pricing, Petty insisted the record stay at the standard $8.98 rate. The album cover may reference the dispute, but also a charming reminder Petty himself was a fan of records. 

"The Waiting" remains a rock classic, irresistibly catchy with its killer hooks. It's also a testament to Petty's songwriting, taking a universal situation and providing a bit of comfort. "A Woman in Love" is a moodier track, "Nightwatchman" also rocks along distilling a Springsteen song down to its bare essence. "Something Big" works nicely as a middle track on the album, a story song with an edge, no doubt sordid tales of the music industry. "Kings Road" could be a sequel to "Century City" in a fish out of water take that was Petty's specialty. 

Petty also excelled at writing sunny rock songs with hints of late summer melancholy, "Letting You Go" being a great example. "A Thing About You" is charming in its lack of pretention. Stevie Nicks joined Petty on vocals on "Insider", another highlight of the record. "The Criminal Kind" is a neo-noir tale that roots itself in the blues. "You Can Still Change Your Mind" plays homage to dreamy California pop in a change of pace, ending the album on a soothing note.

Hard Promises is of a piece with Damn the Torpedoes, but more serious in tone. The band's reverential approach to making rock records allowed them to tap into writing those rare songs that hit a universal note, while avoiding falling into being a mere retro band. Petty's precision songwriting and the pristine musicianship of the band suggested a longevity that would elude their peers.  

Tom Petty and the Heartbreakers #3: Damn the Torpedoes

Release Date: October 19, 1979

Members: Tom Petty (vocals, guitar); Mike Campbell (guitars); Benmont Tench (piano, organ); Ron Blair (bass); Stan Lynch (drums)

Produced by Jimmy Iovine

Side One: Refugee; Here Comes My Girl; Even the Losers; Shadow of a Doubt (A Complex Kid); Century City

Side Two: Don't Do Me Like That; You Tell Me; What Are You Doin in My Life?; Louisiana Rain

Damn the Torpedoes launched Tom Petty and the Heartbreakers to superstardom after their promising first two albums. The album yielded four hit singles: "Refugee", "Here Comes My Girl," "Even the Losers," and "Don't Do Me Like That." 

"Refugee" channeled primal rock and roll with its supple statement of defiance, lyrically vague enough to make it relatable to many. All cylinders were firing from the jump: Petty's iconic vocal, the melodic guitars, and Tench's keyboard smoothing out the edges. "Here Come My Girl" channels angst, desperation, and salvation. Petty's "talkin" delivery brings an edge and passion to an otherwise conventional love song. "Even the Losers" is more pop perfection, Petty knows his audience. "Shadow if a Doubt (A Complex kid)" is about another mystery girl, with another great vocal from Petty, a voice relatable with great details to make the song unique. "Century City" evokes the chaos and splendor of California life. 

"Don't Do Me Like That" opens with one of the iconic intros in rock history. Even though it was overplayed on FM classic rock radio, the beats and the riffs remain catchy as hell. Imagine a sunny day in the late 70s, this song just might send you there. "You Tell Me" is more conniving and hints at a darker relationship, and let the band go into something approaching a jam. "What Are You Doin' In My Life" taps into the country rock influence on the band. The closer "Louisiana Rain" could easily be a country song, but Petty and the Heartbreakers transform it into an epic rock song.

There's a progression on Damn the Torpedoes, charting Petty's growth as a songwriter. Petty's contemporary Bruce Springsteen reimagined rock as a mythological landscape to write his tortured ruminations on modern America. Yet Petty made it all look so easy, channeling early rock into a fresh sound, creating something singular in the era of Punk and New Wave. 

The Albums of 1966: The Psychedelic Sounds of the 13th Floor Elevators

Release Date: October 17, 1966

Produced by Lelan Rogers

Side One: You're Gonna Miss Me; Roller Coaster; Splash 1 (Now I'm Home); Reverberation (Doubt); Don't Fall Down

Side Two: Fire Engine; Thru the Rhythm; You Don't Know; Kingdom of Heaven (Is Within You); Monkey Island; Tried to Hide

Led by Texas rocker Roky Erickson, the 13th Floor Elevators created some mad alchemy on their debut record. Their distinct sound blended the blues with many other influences, crafting a surreal sonic landscape. "You're Gonne Miss Me" sounds like some lost unhinged Yardbirds track, Erickson's croaky vocals and the heavy guitars. The "electric jug" gives the record an otherworldly sound, especially on the frenzied jam of "Roller Coaster." "Splash 1" is a haunting folk rock with mystical undertones. "Reverberation" describes a cosmic trip, "Don't Fall Down" offers some advice when on the skyway locomotive.

"Fire Engine" is all bacchanalia set to sirens, "Through the Rhythm" builds to a glorious cacophony. "You Don't Know" turns a Kinks song inside out. "Kingdom of Heaven" offers a tripped-out sermon, "Monkey Island" is all surreal imagery and slashing guitars. "Tried to Hide" encapsulates the tension between chaos and coherence running through the record.

The 13th Floor Elevators achieved something times on their all too few records, a unique sound occupying a space between the rebelliousness of early rock and roll and the experimentation of the era that followed. 

The Albums of 1965: Otis Blue: Otis Redding Sings Soul

Release Date: September 15, 1965

Produced by Jim Stewart, Steve Cropper

Side One: Ole Man Trouble; Respect; Change Gonna Come; Down in the Valley; I've Been Loving You Too Long

Side Two: Shake; My Girl; Wonderful World; Rock Me Baby; Satisfaction; You Don't Miss Your Water

Otis Blue: Otis Redding Sings Soul has become recognized as one of the great soul albums of the 1960s. Backed by the Stax Records house band Booker T and the MG's, the album features outstanding covers, including songs by Sam Cooke, who was tragically killed the year before.

"Ole Man Trouble" opens the album with an invocation inner peace. Aretha Franklin made "Respect" an immortal classic, but Redding's version offers a more frenetic plea. "Change Gonna Come" was the first of the Cooke covers, mournful and gospel infused, uneasy and stirring in delivery. "Down in the Valley" is uplifting, about willing one self to survive. "I've Been Loving You Too Long" is a remarkable vocal by Redding to close side one.

"Shake"offers a more muscular sound, a cover "My Girl" by The Temptations has a more adventurous production. "Wonderful World" is a more intense version of the Cooke's classic hit, "Rock Me Baby" is a soulful rocker. "I Can't Get Satisfaction" builds brilliantly upon the Stones classic. The closer, "You Don't Miss Your Water" ends the album on an uneasy note.

A record that breathes life that will provide endless inspiration on repeated listens, Otis Blue is an immortal classic. 

The Albums of 1965: The Byrds: Mr. Tambourine Man

Release Date: June 21, 1965

Members: Roger McGuinn (vocals, guitar); Gene Clark (guitar); David Crosby (guitar); Chris Hillman (bass); Michael Clarke (drums)

Produced by Terry Melcher

Side One: Mr. Tambourine Man; I'll Feel a Whole Lot Better; Spanish Harlem Incident; You Won't Have to Cry; Here Without You; The Bells of Rhymney

Side Two: All I Really Want to Do; I Knew I'd Want You; It's No Use; Don't Doubt Yourself, Babe; Chimes of Freedom; We'll Meet Again

The Byrds debut album introduced a West Coast sound heavily influenced by Bob Dylan and The Beatles. The precise harmonies and smooth riffs by The Byrds brought new dimensions to Dylan's music, as four covers were included on the record.

A truncated version of "Mr. Tambourine Man" became a #1 hit on the U.S. and British charts, often credited with inventing the sound of folk rock. Jangly guitars and a sublime vocal by McGuinn transformed Dylan's folk song into a spaced-out anthem, a pivotal moment in the evolution of '60s pop. The album's producer Terry Melcher hired session musicians, the legendary "wrecking crew," to record it, but were only used for that track.

"I'll Feel a Whole Lot Better" featured catchy riffs and a lyric evoking the impatience of youth, further amplified by the fervent vocals. "Spanish Harlem Incident" was from Another Side of Bob Dylan, a somewhat less successful attempt to incorporate Dylan's wordplay, but still a worthwhile effort. "You Won't Have to Cry" is a dead-on Beatles pastiche, even a tad heavier. "Here Without You" is once again in the Beatles style, a foreshadowing of Help! that would be released later that summer. "The Bells of Rhymney" was credited to Pete Seeger, a remembrance of the 1926 General Strike in Great Britain. The wavy distortion of the guitars allows the historical narrative of the song to come into focus like a developing photograph.

Dylan's playful "All I Really Want to Do" is performed as a desperate plea. "I Knew I'd Want You" is a standard mid-60s ballad, while "It's No Use" is more in the style of The Kinks. A version of Jackie De Shannon's "Don't Doubt Yourself, Babe" is played with hints of country and blues. The arrangement of "Chimes of Freedom" is another outstanding reimagining of a Dylan song, a dense meditation, rich with symbolism, on the state of America and the meaning of freedom. McGuinn's impassioned vocals seamlessly navigate the dense lyrics. A flowery "We'll Meet Again" ends the album, a reference to Stanley Kubrick's Dr. Strangelove. 

Approaching its 60th birthday, with Mr. Tambourine Man The Byrds proved themselves as worthy interpreters of Dylan and the British Invasion, while developing their own signature sound. 

The Big Heist: Mo75 Vol. 1, 2, & 3 (2018)

 Release Date: September 29, 2018

Members: Matt Farley; Tom Scalzo; Chris Peterson; Doug Brennan

Vol. 1: The Longest Day; When the Beat Gets Settled; Loring Ave.; Lookout; Crossroads; Blue Creek; We're About to Have One Heck of a Night; Devil on My Side; Bucket Seats; It's a Shame I Let You Down; Campfire Connection; MO75

Vol. 2: All Set; Vitamin Vicky; Wild Child; In the Cathedral; Kitty Cookie; Skin of My Teeth; Rested and Tanned; I Didn't Come Here Not to fight; Brave Deeds; Your Turn to Deal; Used to Hear it All the Time; Chopping the Bop; Mr. Maldoon; Empire of Ash; Gonna Have to Find Me Another Girl; Dandelion Moonglow; Tied to a Tree; Bravest Deed

Vol. 3: Proof of Party; I Am the King of Late Night; Late Night Fight by the Rock; Natural Wizard; Magic Song; I Won't Go; Predecessors; Already Gone; Ready to Split; This is the Sweet Spot; Left Them in the Dust; Just Pretend That I'm Asleep; Run Myself Ragged to Forget Her; They're Already Nostalgic; You Don't Get Me to Kick Around Anymore; Here Comes the Sweetness; A Thousand Tries

Matt Farley has written over 25,000 songs and records under various pseudonyms, all part of Farley's Motern Media, which includes a long running podcast and an entire cinematic universe. Known for writing songs of all sorts from celebrity tributes to toilet humor to geographically themed albums, he'll even write a song about you, just give him a call!

The Big Heist took their name from the Chevy Chase comedy Funny Farm, debuted with no less than a triple album. The songs revolve around the concept of a group of young people (late teens/early 20s) gathering in the woods for parties over a summer. The time period is undefined, but evokes the 1980s. There's an evergreen quality to the themes and sound, the styles cover a sprawling canvas of post-Beatles rock. Thematically, American Graffiti, Dazed and Confused, and the canon of Cameron Crowe all come to mind.

Volume One opens with the angst ridden "The Longest Day" with the narrator of the albums sensing the summer ending, a cinematic overture of sorts. "When the Beat Gets Settled" is catchy rock and roll bravado. "Loring Ave" channels power pop, expressing a defiance and a longing, in a memorable refrain, "I can see I'm nonexistent/Just don't call me inconsistent." Of all the tracks, "Loring Ave" serves as a mission statement for the entire record, emotionally and thematically. 

"Lookout" is a contemplative number, evocative of Van Morrison. "Crossroads" sounds like a hazy remnant of '70s distortion. "Blue Creek" builds a harmonic energy not unlike a Beach Boys record. The jaunty and melodic "We're About to Have One Heck of a Night"  anticipates good times. "Devil On My Side" is a revival of British Invasion blues. "Bucket Seats" is about capturing a fleeting moment, "It's a Shame I Let You Down" is an after the relationship ended lament with the narrator gaining self-awareness. "Campfire Connection" reflects on a cryptic late night conversation. The first volume closes with "Mo75," a bittersweet tribute to the old party spot. 

Vol.. 2 opens with "All Set" who looks forward to a "night for the ages." "Vitamin Vicky" is a slight character sketch, "Wild Child" sounds like a flickering symbol from an old school FM channel. "In the Cathedral" evokes classic Bruce Springsteen with its nod towards spiritual growth, then the jaunty "Kitty Cookie" like a deep track from an early Billy Joel album. "Skin of My Teeth" imagines a missed rendezvous, then the country influenced "Rested and Tanned." "I Didn't Come Here Not to Fight" strikes an uneasy tone, then the jukebox ready "Brave Deeds" offers wavy melodies. 

The twangy "Your Turn to Deal" and the haze of "Used to Hear it All the Time" are suited for a long July afternoon. "Chopping the Bop" segues into rockabilly. "Mr. Maldoon" tackles emotional lows, "Empire of Ash" reflects on after the party ended. "Gonna Have to Find Me Another Girl" is wistful. "Dandelion Moonglow" gestures towards arena rock. "Tied to a Tree" is quirky and bass driven, and the reflective "Bravest Deed" reconciles with harsh realities. 

Vol. 3 begins with the exuberant "Proof of Party." "I Am the King of Late Night" revels in one last volley of glory. "Late Night Fight by the Rock" is all braggadocio and distorted guitars. "Natural Wizard" is like a Greek Chorus on the entire proceedings. "Magic Song" channels post-Pet Sounds Beach Boys, "I Won't Go" is all exhausted defiance. "Predecessors" is a melancholy confessional, a realization youth is fleeting and slipping away. "Already Gone" is more in the 90s Grunge mode, lamenting the swift passage of time. "Ready to Split" is pure Americana, a reimagination of the Cheers theme.

"This is the Sweet Spot" continues the existential musing motif. "Left Them in the Dust" channels a vague memory, "Just Pretend That I'm Asleep" recalls endless car rides deep into the night. "Run Myself Ragged to Forget About Her" continues the narrative from the previous song with hints of Rockabilly. "Possible Phenomenon" deals with time and misspent youth, anthemic in design. 

"They're Already Nostalgic" has the narrator observing a couple in total contentment. The Nixonian "You Don't Get to Kick Me Around Anymore" finds solace in the backbeats. "Here Comes the Sweetness" is catchy and cryptic, signaling emotional growth. The final track, "A Thousand Tries" finally flips the perspective to the present, out narrator reflects on the late night parties at the Mo75, the point when the past appears as a phantom. 

An Americana epic traverses through these three records. The first volume runs on adrenaline, the second becomes more expansive and atmospheric, and the final volume blends tempered defiance with reflective acceptance.