Looking Forward: Time to Move On

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There won't ever come a day when I don't look back to Tom Petty for guidance and wisdom through strange days.

He was my first "favorite." My first identifiable idea of what rock n roll cool looked and sounded like; my first brag over the other kids I knew who thought Duran Duran was the shit; my first introduction to the strange forbidden fruits that all great rock songs promise; my first concert. Seriously: The July 1985 stop of the True Confessions tour at RFK Stadium in Washington, DC, with Bob Dylan, the Grateful Dead and Tom Petty and the Heartbreakers was my first concert. Ever. I was in the 8th grade. My mom took me. I'll never feel that wonderful, free and new again.

When he died, the sadness lingered with me in a way that I didn't think was possible--how was I  mourning with such a fevered, angry sadness for someone I never knew?

I still can't listen to Tom Petty without feeling something, no matter the song. I suppose that's the artists' ultimate wish--to make the listener quake, and to resonate, like an echo, a same sad echo, on and on. To keep being heard. And felt.

Petty's genius lies in his unique way of looking at the world--he saw the strange in the everyday and told stories that made sense, even when nothing did. His imagery and the language of his poetry were rarefied and steeped in the everyday experience. And the lens he saw the world through made great sense when he turned the view finder back to us to look through. A writer's true gift of the world is to let the reader (listener) see things the way they do. Petty let us listen in on his expansive view on the world, and the melody in that vision is a unique poetic oeuvre that has forever colored my own world.

"Time To Move On," from the enduring and ever newly experienceable album Wildflowers, was resonant, perhaps timeless itself, as soon as it was recorded. "Time To Move On " is an elegiac prayer to belief in the good that comes from moving on.  It's a beautiful song that lends comfort in its firm and steadfast belief that something better is always ahead. "...it's time to move on, it's time to get going, what lies ahead, I have no way of knowing, while under my feet, grass is growing, it's time to move on, it's time to get going..." It's a reminder, told in Petty's deceptively simple verse, that the world is wide, and never defined by one simple moment. Great comfort in days such as we are living now..."time to move on."

Live at the Shoreline Amphitheater, 1994 

Burn/Fire-Have Love Will Travel

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We'd like to welcome a new writer--Gregory W. Smith--to our ranks.  Here's his first post!!

For the theme of Fire/Burn, I’m choosing Tom Petty’s The Last DJ generally, and “Have Love Will Travel” specifically. I know neither of these have flames or burning in the title, but bear with me.

Let me set the stage, the year is 2002 and music is not what it used to be.  Satellite paid radio is on the rise and am/fm radio is being replaced by AOR, instead of the latest and greatest from the artists we have all known and loved for years.  American Idol is just finding its sea legs, where judges tell you who is the latest and greatest, instead of homegrown or even nationally known DJ’s.  The music business is in shambles at worst, or a cheesy popularity contest at best.  Along comes Tom and the boys to release a scathing attack on the music industry in album form.  The same Tom Petty that went to war over album prices in the eighties and never, ever took a corporate sponsor to go on tour.  Tom Petty and the Heartbreakers, the last great American rock band IMHO.

The album starts off with the title track, a love note to Los Angeles DJ Jim Ladd.  I don’t know much about this guy, but Tom thought the world of him apparently.  “Money Becomes King” follows at  number two, with “Joe” coming in at track four.  These three tracks all take aim at the music industry, but in three different ways.  “Money” is a shot of that feeling we’ve all had, when our hometown music god or goddess hits the big time.  You can still see in your mind’s eye, the large constellation they were in your small universe.  “Joe” takes aim at those notorious producers that seduce and use all the dreamers with stars in their eyes, just trying to score a record deal.  Once again, not about fire, but I think the world of those tracks.

The track that I first thought of at the mention of Burn/Fire is “Have Love, Will Travel” (track 11 on the album.)  Let me preface, that since his passing, this is the song of his I have most turned to most. It speaks to me now in ways it never did before.  His lines stand out it this song and stirs up imagery of what I have always viewed music to be.  Two lines or stanzas stand out most to me.

How about a cheer for all those bad girls

And all those boys that play that rock n roll  
They love it like you love Jesus
It does the same thing to their souls
 

That is the first one.  Music is by its nature spiritual.  It moves people to dance, to sing, to feel that you are no longer alone in the world, much like the Pentecostal denomination does for its parishioners.  A concert, whether it rock, rap, country, or polka dotted dinosaurs that play tambourines, is nothing but revival church writ large.  It stirs everyone deep down in their souls, at least it always has for my friends and I.

The next stanza is:

Maggie’s still trying to rope a tornado

Joe’s in the backyard trying to keep things simple

And the lonely dj’s digging a ditch,

Trying to keep the flames from the temple

And now you know why I chose this track.  The imagery in that one stanza gets me every single time.  I don’t what tornado Maggie’s chasing, but her hope is still there that she will rope it.  The simplicity of Joe, a man that appreciates the simple things in life, makes him loveable in his own. And then there’s that DJ.  He’s already tried creating a  line to keep the flames away and he’s down to his last line of defense, digging that forsaken ditch.  The flames are approaching, rising, burning the very air he breathes into his lungs, and still he won’t relent, won’t give up, won’t wave that white flag or won’t back down, if you will.  The temple is sacrosanct, the temple is all, the temple must survive at all costs.  And what is in the temple pray tell?  Why music of course.  The one thing that will never let us down.  The one thing that is there through the smiles and the tears.  The one fragile thing that protects our souls from the evil, vindictive, insane world.

LISTEN: Listen to Her Heart

Purchase Listen to Her Heart

I'm still grieving over the death of Tom Petty, so, though I've written about him many times, there's got to be a place in our blog for a mention of the Heartbreaker's "Listen to Her Heart."

From 1978's You're Gonna Get It!, "Listen to Her Heart", more so than any other early Heartbreaker's track, helped contribute to the new wave label that clung to the band for so long. And for good reason: the chiming, chorus-drenched guitar, working in a groove over tub drums and the tranced out vocal lines all do sound...modern.  It's a great tune, driving and unique, an FM radio rocker from the AM era, a stadium-style anthem that bounced as hard as it grooved. I've always loved the fade out on the song, where Campbell's guitar lead and the Tench's piano line compete in a crescendoing melody, winding up, then fading out entirely, in that sad way that a great song is one that you wish wasn't so short, though it's compact brevity is part of what makes it so great to begin with. A staple gun shot of a track.

Apparently, Petty wrote the song in response to Ike Turner hitting on Petty's wife. I'd never heard that, but between Wikipedia and re-runs of VH1's Behind the Music, you can learn a hell of a lot...

Shadows: Shadow of a Doubt (Complex Kid)

Purchase: Shadow of a Doubt (Complex Kid), by Tom Petty and the Heartbreakers

Writing this, I have to say, I feel a bit like a shadow myself. Of myself? I don't know...

I haven't posted all summer: making a permanent household move between three countries (out of Turkey, back to the US, and then on to parts further), I haven't done much writing. Or listening. Or reading, or anything else for that matter. What precipitated this shadowy existence, this strange, disconnected half-life?

I gave up my computer and phone.

I know. I know. Don't ask--I'm not sure how I survived. You can find a lot of data on the benefits of giving up electronic devices, and yes, physically, mentally, et al, it does feel pretty good to go e-free. But, alas, the world turns at a new pace, sometimes speeding up by the day, and it's not really feasible to go entirely free of the web. It's kind of impossible, to be honest. But, then, if you have a smart phone, and try to do anything productive at all you already know that.

And, while I can acknowledge the benefits of unplugging, even though it felt as if someone pulled the plug on me (I'm talking that proverbial big 'plug') it feels good to be back..And honestly, I never want to leave the grid again.

On to our song topic: shadows. When I read Kafka's email to the writers announcing our theme, it is usually a fun, low-stakes game of free association. Often, I would never write about, nor publicly admit to, the first song that comes to mind. We all have guilty pleasure songs, and we all know phrases and snippets of tunes we would be mortified to share and worse, probably hate. Sound patterns, beats, phrases have a way of digging grooves into our subconscious and rising, specter-like, when we least want. Thus, the  often agonizing phenomenon of waking up with a song stuck in your head. Is it ever a good song? One that you are happy to hear?  (While writing this, I admit, the refrain of Taylor Dane's "Tell it to My Heart" is running on repeat in my head...). I'm not writing about Taylor Dane today, so just cool it...But, when I saw we were doing shadows as a theme, the jukebox in my head switched on and Tom Petty's "Shadow of a Doubt" immediately started playing. Writing about my first choice is a rarity. This is a happy one.

From The Heartbreaker's 1979 classic Damn the Torpedoes, "Shadow of a Doubt" has the true designation as a forgotten gem.  But, that's a forgivable sin, because of the brilliance of this album. If Petty had never recorded again after Torpedoes, he'd still be popular. Torpedoes includes the mega-hits "Refugee", "Don't Do Me Like That", "Even The Losers" and of course the crowning jewel, "Here Comes My Girl". With that many great songs, of course there will be a few overlooked tracks, even with something that was released in the heyday of the 'album' age, whatever that means...(editor's note: it means, music used to be celebrated by artists releasing a thing called an album, which was a collection of songs that more or less fit on two sides of a disc (vinyl, cassette or CD) and if you wanted to buy a single song, you had to go to something called a record store, and depending on the year, pick up a 45 rpm piece of vinyl (or cassingle or again, CD), though you usually picked up both the full the LP and the 45. It was a strange time, when human beings had to leave their house to purchase music and took great enjoyment in perusing stacks, or rows, of music in one of the above-mentioned forms. Alas.) So, "Shadow of a Doubt" was as twangy bit of radio pop, with an earnest intro, and chuggy verse and a soaring course. With an almost new-wave (ish) polish and vox, "Shadow" is a  set piece in an incredibly strong selection of Petty's most polished and expertly produced (thank you Jimmy Iovine) and genre-spanning music yet at that point in the Heartbreakers then short career. Torpedoes was their third, and by far, best album to date, a critical success and a full-on radio hit smash. It was kept from the # 1 spot on Billboard only by Pink Floyd's The Wall, which really, who could beat that album, on any level?

I discovered Petty in retrograde fashion: Around 1984, I was in 6th grade, and just starting to realize how important good music was. I was steeped in "classic" rock and developing a fine pedigree, in no small part due to what will always be to me great radio: DC 101, one of the longest running FM signals in the DC Metro area, was a rock n roll powerhouse and in no small measure responsible for much of my musical education. By the time Springsteen's Born in the USA, a truly seminal moment in my life, hit the airwaves, I considered myself a convert, eager to learn as much as I could. Luckily, without an allowance or a nearby record store, I had the radio to rely on. In the 1980s, the classification "classic rock" was a relatively new format designation, seeing as much of what I was listening to--Zeppelin, the Beatles, the Stones--had barely hit the 20 year mark. Add the Dylan tapes I'd inherited from an ex-hippie neighbor into that mix, already the grandfather of rock, and Tom Petty was sure to follow. Discovering music back then was both a joyful experience as well as one of simply connecting the dots. I loved listening to rock radio back when I was a kid--it was more of an experience, a passage, than it is now. Radio was more uniform, : classic rock was classic rock; there wasn't a need for cross-over to draw more audience. At least that's the way it seemed. But age and nostalgia bring on a brighter sense of things, a fonder, more pure memory than the reality. I know for me that listening to the radio was kind of like going to school, only I liked the learning, and no one made me sit in my seat and be quiet.

Speaking of nostalgia, Tom Petty and the Heartbreakers are on tour this summer, celebrating 40 years. I've heard the shows are fantastic. I haven't been able to catch one, as I believe the ticket prices are commensurate with the band's age and experience. And what I mean by that is: holy crap! tickets are expensive! I've never stopped listening to Tom Petty and his brilliant Heartbreakers. They are a radio staple and if you have XM/Sirius, you know that TP has his own channel, so a good tune is never far away. But, if you haven't done a deep dive into the back catalogue, check out "Shadow of a Doubt", and the rest of Damn The Torpedoes and revisit some of that once in a lifetime radio rock 'n roll. The kind that doesn't get made anymore...

The Hammond Organ: Refugee

Tom Petty and the Heartbreakers: Refugee

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I didn’t really think I would be posting this song. Here it is, the end of the week. Surely someone would have mentioned Benmont Tench by now. But, they left it for me, so here goes.

Benmont Tench may be the best known Hammond organ player active in the music business today. I considered adding to this post work that he has done with Elvis Costello and Jackson Browne, just to name a couple, but I decided to keep it simple. Tench was a founding member of Tom Petty’s Heartbreakers, and the group doesn’t sound the same without him. Usually, he works as part of the ensemble, and he is a master of blending in and contributing to the overall sound. But Refugee features the organ a bit more than Tench’s other work, so I thought it was a good choice. The Hammond organ can make just as big a difference in the background as it does as the featured instrument, and you can here it both ways here.