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.