The Albums of 1984: Van Halen: 1984

Release Date: January 9, 1984

Personnel: David Lee Roth (vocals); Eddie Van Halen (guitars, keyboards, vocals); Michael Anthony (bass, synth); Alex Van Halen (percussion)

Produced by Ted Templeman

List of Tracks: 1984; Jump; Panama; Top Jimmy; Drop Dead Legs; Hot for Teacher; I'll Wait; Girl Gone Bad; House of Pain

Van Halen had a major cultural presence in 1984 with non-stop airplay on radio and MTV. Their new album titled 1984 yielded a massive hit with "Jump." It was the last record with the original lineup. Synths are used liberally on the record that's full of good time vibes and supreme musicianship. 

The instrumental opening "1984" serves as an overture, heavy on synth and sounding futuristic, serving as a lead in to "Jump." A vast understatement to call it an 80s staple, "Jump" was simply everywhere, the sound of FM mainstream rock for the decade. Roth's distinct vocal, "I get up and nothing gets me down.", I picture the song blasting from thousands of beat-up old mustangs on the way to school. Alex Van Halen's thundering percussion, the overlapping and melodic synths, and Eddie Van Halen's signature guitar riffs. "Jump" is almost a mini-suite allowing every band member to stand out. 

The muscular "Panama" blended fast cars and sex appeal, the epitome of macho 1980s. "Hot for Teacher" was another juggernaut, everything about the song channels High School ennui and hijinks. Roth's spoken interludes are comical as a bored student who suddenly notices his attractive teacher. You can imagine Roth in the back of the classroom giving the teacher static. It also dabbles with some taboo subject matter, but it's played for laughs. They knew their audience well.  

Listening to "I'll Wait" I think of driving home on a Friday night from a basketball game or movie, it came on the rock channel, turning up the volume was involuntary. The synthy rock combined with Roth's menacing vocal channeled an unexpressed angst, in the song's case the inability to connect with a woman who hypnotizes him. But on a Friday night, the specifics of the song are arbitrary. The mood of the song conjures images of dark roads and lonely highway signs; it's both the weariness and excitement of a late Friday night - and the sheer sensation of movement even though the song is about listlessness. 

'Top Jimmy" satirizes celebrity culture, even semi self-referential. 'Drop Dead Legs" is another one for high school dudes caught in a fantasy, the sound evokes Led Zeppelin up to a point. "Girl Gone Bad" leans into a darker sound bordering on theatrical. "House of Pain" continues the darker theme as if ending the record with an unfinished thought.

At 33 minutes, 1984 produced four massive singles which all got non-stop airplay for years to come. 1984 is one of the first cassettes I remember playing all the time as a kid, usually the first three tracks and "Hot for Teacher." 'I'll Wait" became a favorite later. The record made Van Halen one of the most popular bands in the world, possibly their peak. The imminent departure of David Lee Roth would forever change the dynamic. 

Mudcrutch #2: 2

Release Date: May 20, 2016

Personnel: Tom Petty (vocals, bass); Mike Campbell (guitars); Benmont Tench (piano, organ); Tom Leadon (guitar, vocals); Randall Marsh (drums) 

Produced by Tom Petty; Mike Campbell; Ryan Ulyate

List of Tracks: Trailer; Dreams of Flying; Beautiful Blue; I Forgive It All; The Other Side of the Mountain; Hope; Welcome to Hell; Save Your Water; Victim of Circumstance; Hungry No More

2 would be the final album Tom Petty recorded before he passed away in 2017. After an eight-year hiatus, Mudcrutch returned with another well-made record. 

'Trailer" features Petty's signature Americana sound, pleasant and evocative of summertime. "Dreams of Flying" might be a distant cousin of "Freefallin." At six minutes "Beautiful Blue" is sprawling and easy going. Mudcrutch's drummer Randall Marsh contributed "Beautiful World", a power pop track evoking the mid-70s. "I Forgive it All" is gentle acoustic by Petty. Tom Leadon wrote a country rock track, "The Other Side of the Mountain." 

"Hope" offers more retro sounds highlighted by Benmont Tench's keyboard and Mike Campbell's heavy riffs. Tench wrote and performed the vocal on "Welcome to Hell" in a pleasing rocker landing somewhere between Jerry Lee Lewis and early Rolling Stones. Petty returns to one of his main influences, The Byrds on "Save Your Water." Mike Campbell took over lead vocals on his contribution "Victim of Circumstance", another foray into roots rock. The album ends with the elegiac 'Hungry No More." 

The second Mudcrutch record is like a visit from an old friend, a good record to throw on anytime of the year. Petty's seasoned vocals and the no frills approach of the band all come together nicely. 

Tom Petty and the Heartbreakers #13: Hypnotic Eye

Release Date: July 29, 2014

Personnel: Tom Petty (vocals, guitar); Mike Campbell (guitars); Benmont Tench (piano, organ); Scott Thurston (guitar); Steve Ferrone (drums); Ron Blair (bass)

Produced by Tom Petty; Mike Campbell, Ryan Ulhate

List of Tracks: American Dream Plan B; Fault Lines; Red River; Full Grown Boy; All You Can Carry; Power Drunk; Forgotten Man; Sins of My Youth; U Get Me High; Burnt Out Town; Shadow People

Hypnotic Eye would be the final Heartbreakers album. The tracks play like an overview of the band's career, revisiting familiar themes and sounds.

"American Dream Plan B" deals with dashed expectations in an America that's no longer full of possibilities, Campbell's deep chords and Petty's withered voice create an edge. "Fault Lines" has a jazzy intro and builds towards a rocking psychedelia. "Red River" explores offbeat Americana, "Full Grown Boy" seems a distant cousin to "The Man Who Loved Women." 

"All You Can Carry" reckons with the past, a heavy rocker. "Power Drunk" is a bluesy tune about a menacing figure, "Forgotten Man" takes a lamenting tone, "Sins of My Youth" takes a more reflective tone. "U Get Me High" is a steady rocker, "Burnt Out Town," delivers more blues. "Shadow People" was one of Petty's more ambitious tracks at this stage, although written before 2016, it does predict a menacing political atmosphere for America's future. 

Hypnotic Eye's main appeal lies in listening to these seasoned musicians play together. The riffs are familiar and we know the territory. 

Tom Petty and the Heartbreakers #12: Mojo

Release Date: June 15, 2010

Personnel: Tom Petty (vocals, guitar); Mike Campbell (guitars); Benmont Tench (piano, organ); Scott Thurston (guitar); Steve Ferrone (drums); Ron Blair (bass)

Produced by Tom Petty; Mike Campbell; Ryan Ulyate

List of Tracks: Jefferson Jericho Blues; First Flash of Freedom; Running Man's Bible; The Trip to Pirate's Cove; Candy; No Reason to Cry; I Should Have Known It; U.S. 41; Takin' My Time; Let Yourself Go; Don't Pull Me Over; Lover's Touch; High in the Morning; Something Good Coming; Good Enough

Mojo turned out to be the penultimate Tom Petty and the Heartbreakers album, a record defined by maturity and creative freedom. With music transitioning into the streaming era, there was less pressure to produce hits for the radio. Petty opted for longer, blues-based jams, unafraid to play rock and roll in broad strokes and the results were a record that sounded timeless and alive.

"Jefferson Jericho Blues" sounds not unlike a track from Bob Dylan's Modern Times, evocative of old Americana. It's the sort of song it takes four decades to conjure. "First Flash of Freedom" extends to nearly seven minutes and goes for a more modern rock sound, allowing the Heartbreakers to show off their chops. 'Running Man's Bible" has echoes of swamp rock. "The Trip to Pirate's Cove" tells of a weary road trip, fleeting love, and small-time crime, Petty's weathered vocal and the mellow production make for a lived-in atmosphere. 

"Candy" gestures towards rootsy rock and roll, while "No Reason to Cry" is a quiet ballad. "I Should've Known It" is straight up blues and mission statement for the record, "U.S." 41" is more in the tradition of delta blues, "Takin' My Time" continues the retro blues motif. "Let Yourself Go" revels in jukebox poetry with killer riffs by Mike Campbell. "Don't Pull Me Over" sounds a bit wearier, "Lover's Touch" muses on desire. "High in the Morning" offers fatherly advice, "Something Good Coming" sounds like an outtake from Wildflowers. "Good Enough" ends the album with an epic blues statement. 

Detractors might dismiss Mojo as monotonous in sound and theme, but there's much to admire. The band sounds confident, Campbell's guitar work rivals Petty as the focal point. Track for track it's consistently solid, blues-based rock recorded at a time of resurgent interest in how to define American music. With their status in rock and roll history unshakeable, the band felt free to indulge in their passion for classic rock and blues. 

Mudcrutch #1: Mudcrutch

Release Date: April 29, 2008

Personnel: Tom Petty (vocals, bass); Mike Campbell (guitars); Benmont Tench (piano, organ); Tom Leadon (guitar, vocals); Randall Marsh (drums) 

Produced by Tom Petty; Mike Campbell; Ryan Ulyate

List of Tracks: Shady Grove; Scare Easy; Orphan of the Storm; Six Days on the Road; Crystal River; Oh Maria; This is a Good Street; The Wrong Thing to Do; Queen of the Go-Go Girls; June Apple; Lover of the Bayou; Topanga Cowgirl; Bootleg Flyer; House of Stone

Mudcrutch was an earlier incarnation of the Heartbreakers back when Petty and his bandmates entered the music scene. While the core of the Heartbreakers remained intact with Petty, Campbell, and Tench all playing on the record, original members from the 1970s Tom Leadon and Randall Marsh also joined them. The tenor of the record leaned more into country rock, a genre having a resurgence in the late 2000s as the Americana genre. 

The album opens with the traditional "Shady Grove" sounding like alt-country bands of the era. "Scare Easy" is a strong track, channeling early Petty songs but sounding more seasoned in sound and vocal style. "Orphan of the Storm" segue ways into country rock, channeling Gram Parsons. Next is a reworked version of the country classic "Six Days on the Road." 

At nine minutes, "Crystal River" is the centerpiece of the record, a spacey jam with Campbell's guitar taking over. "Oh Maria" is another mellow interlude, much in the vein of Wildflowers. Benmont Tench contributed 'This is a Good Street", a bluesy rocker. Petty's "The Wrong Thing to Do" lifts a lyric from a Dylan song done also in the style of late period Bob. 

Tom Leadon wrote and performed "Quenn of the Go-Go Girls", an homage to the Flying Burrito Brothers. "June Apple" is an instrumental, pure Americana. "Lover of the Bayou" covers a deep cut from the Byrds, as Petty once again revisits some foundational influences. 

"Topanga Cowgirl" jauntily indulges in Western imagery, then "Bootleg Flyer", now that sounds like a Heartbreakers song straight out of 1978!  "House of Stone" returns to country rock to end the record on a spirited note.

Mudcrutch got Petty back in touch with his past, many of the songs tap into his influences and allowed him to reconnect with his old lineup. A mostly solid collection of tunes. While Petty remains the frontman, stepping aside to highlight other members was a nice change of pace. 

Tom Petty #3: Highway Companion

Release Date: July 26, 2006

Personnel: Tom Petty (vocals, guitar); Mike Campbell (guitars); Jeff Lynne (bass, guitars, keyboards)

Produced by Tom Petty, Mike Campbell, and Jeff Lynne

List of Tracks: Saving Grace; Square One; Flirting with Time; Down South; Jack; Turn This Car Around; Big Weekend; Night Driver; Damaged by Love; This Old Town; Ankle Deep; The Golden Rose

Highway Companion would be the third and final Tom Petty solo record. While generally not regarded to be at the level of Full Moon Fever or Wildflowers, the record leans into Petty's pop sensibilities making for a listen that goes down easily. 

"Saving Grace" is from the perspective of a weary traveler mystified by post-9/11 America. Mike Campbell's guitar add a hint of unease. "Square One" is a tender acoustic ballad on surviving the long haul. "Flirting With Time" has fun with a catchy chorus, like a jaunty outtake from the Traveling Wilbury sessions. "Down South" muses on southern childhood memories and family ghosts, once again Petty sounds centered. "Jack" offers some muted swamp rock, "Turn This Car Around" evokes Wildflowers with its steady energy and lo-fi qualities echoing '90s Petty.

"Big Weekend" plays as easy going country rock. "Night Driver" is exactly what the title promises, weary driving under a star filled sky. "Damaged by Love" is adjacent in theme to "Freefallin" but more downbeat. "This Old Town" follows a character stuck in a boring town, once again a haunted echo of "Here Comes My Girl." "Ankle Deep" gets a bit derivative, "The Golden Rose" touches on mythical themes of love and time passing.

Highway Companion also failed to produce hits like Petty's two previous solo efforts, perhaps adding to the dismissive attitude of critics. But for a lazy summer afternoon record one could do much worse, perhaps that's what Tom intended. 

 

Tom Petty and the Heartbreakers #11: The Last DJ

Release Date: October 8, 2002

Personnel: Tom Petty (vocals, guitar); Mike Campbell (guitars); Benmont Tench (piano, organ); Scott Thurston (guitar); Steve Ferrone (drums); Ron Blair (bass)

Produced by Tom Petty; Mike Campbell; George Drakoulias

List of Tracks: The Last DJ; Money Becomes King; Dreamville; Joe; When a Kid Goes Bad; Like a Diamond; Lost Children; Blue Sunday; You and Me; The Man Who Loves Women; Have Love Will Travel; Can't Stop the Sun

The Last DJ proved to be one of Petty's most impassioned albums, a broadside against the increasing corporatization of America as the millennium passed. For erstwhile young fans of classic rock in the post-9/11 era like me, the album carried real weight. 

The demise of terrestrial radio and Top 40 culture accelerated rapidly during the 2000s and the opening track takes aim at the homogenization of mass media. The radio DJ was a part of the mythos of post-war culture, playing rock and roll and acting as intermediary between artist and audience. By the 2000s radio DJs were assigned management approved playlists. After 9/11, Clear Channel Communication infamously circulated a list of banned songs in an ominous move of stinking of censorship. Petty finds an outlaw hope in the song, imagining a renegade DJ starting a channel in Mexico. Despite the exuberance, the nostalgia feels more fantastical than real.

Most of the record echoes with the theme. "Money Became King" follows a rock star who once had integrity but caved to corporate interests, a kind of darker companion to "Into the Great Wide Open." "Dreamville" switches gears, recalling a childhood memory with hints of psychedelia. "Joe" imagines a callous record company CEO exploiting artists for profit in a sharp character study. "When a Kid Goes Bad" is a steady rocker that breaks into a jam. "Like a Diamond" lands with a lighter touch, pleasantly mellow. Another tale of protecting artistic purity, "Lost Children" features more excellent guitar work from Mike Campbell. 

The albums second half turns inward. "Blue Sunday" drifts into acoustic territory, with hints of country rock and heat-soaked dashboards. "You and Me" evokes '60s folk rock simplicity, "The Man Who Loves Women" is a cheerful ditty. "Have Love Will Travel" is classic Petty, drawing on American archetypes of resilience and the open road. "Can't Stop the Sun" closes out the record with a gesture towards epic rock, providing scale to the album's final moments.  

The Last DJ remains a strong - and at times fiercely impassioned effort- by Petty and the Heartbreakers. The album's critiques of corporate America still carry punch and relevance. The more introspective second half may not hit as hard, but the album solidified Petty as an elder statesman of rock, a role he would inhabit for the rest of his career.