His Own Way Of Working (Tom Petty)

By 2007 Tom Petty had been a successful recording artist for 30 years. He & his band of brothers, the Heartbreakers, released their attention-grabbing debut in 1976. Big records followed, a world tour as Bob Dylan’s backing band was a measure of their progress & the estimation in which they were held. Solo LPs added to his collection of gold & platinum records as did his turn as Charlie T Wilbury Jr in a group of superstars & friends. They were the backing band for Johnny Cash’s resurgence on his American recordings. In 2007 he was the subject of  an all-but 4 hour long film directed by Peter Bogdanovich. His steadfast commitment to anything that’s Rock & Roll, his resolve when faced with music business shenanigans & the consistent quality of his output meant that he was now ranked alongside the artists of the 1960’s who had inspired him to make music.


Tom was in the enviable position of being able to carry his audience down whatever path he chose. What he did was get his old band together. An album bearing their name was released 34 years after they had first entered a studio. Naturally, a cover of a Byrds song was a highlight of this collection.




Image result for mudcrutchMudcrutch (really ?) had been the best band in Gainesville, Florida (pop:64,510 in 1970). They sold their possessions to finance a move to Los Angeles & signed a deal with Shelter Records, home of producer Denny Cordell whose UK success with the Move, Procol Harum & Joe Cocker had continued with Leon Russell when he crossed the Atlantic. So far so Hollywood but a single failed to connect & sessions for an album were not working out. The label felt that the talent was the singer/songwriter &, while the band were running down a shared dream, drummer Randall Marsh & guitarist Tom Leadon were dropped from the roster. Tom made his smartest decision ever to keep Mike Campbell & Benmont Tench, virtuosi on guitar & piano. The pair were fellow travellers until Tom’s premature death in 2017. The rest is their story.


From the opening bars of Side 1, Track 1 of the first record it was obvious to anyone with ears that TP & the Heartbreakers had listened closely to the Byrds. “American Girl” was an urgent update on the Rickenbacker jangle. Here in the UK we were early adopters of this fresh take on classic American Rock. “Lover of the Bayou” opens “Untitled” (1970), the double LP that shows the later incarnation of the Byrds at their best. ‘Crutch (sorry, but Mud is already taken) began as a covers band & I’m sure that “Lover…” was included in their early sets. Their mature take on the song is sturdy, modern & most acceptable, maybe not as loose & swampy as the original. In 2011 “Rolling Stone” rated Mike Campbell as the 79th best guitarist while in 2003 Clarence White of the Byrds was ranked at #41 so I guess the difference is 38 !




Image result for del shannon beatlesPetty’s obsession with music began with a brief encounter with Elvis when he was 10 years old. The deal was sealed 3 years later when the Beatles arrived in the US. Del Shannon had his hits in the time between. “Runaway” (1961) with it’s strong vocal, instantly memorable chorus & a musitron ( a homemade electronic  keyboard) instrumental break, sounded great back then & still does now. For a while Del resisted & embraced the tsunami of the British Invasion. He recorded songs by the Beatles & the Stones, the Fabs’ posh mates Peter & Gordon had a hit with his “I Go to Pieces” & “Keep Searchin'” (1964) was an absolute belter. His excursions into Psych-Pop were less commercially successful. “Home & Away” an LP recorded with Stones’ manager Andrew Loog Oldham & intended to be the “British answer to “Pet Sounds”” was made in 1967 but not properly released until 2006. Audiences still wanted to hear the hits so Del made a living as a golden oldie.


Image result for tom petty del shannonTom Petty was listening back in the day, he wrote about it in a song. In 1981 he & his Heartbreakers joined Del in the studio to produce “Drop Down & Get Me” & they made a very good record. The update is respectful, there are 3 well-chosen covers (including Jagger/Richards’ “Out of Time”), the arrangements are kept simple, the focus on Del’s voice, still strong, the falsetto still in working order. The band & Jeff Lynne, were working with Del again when Roy Orbison, another master of dramatic 60’s Pop & a Travelling Wilbury, unfortunately passed away. Shannon was a logical replacement but was then a troubled man who took his own life in February 1990. Del Shannon was very good, there’s more to say about him…later.



Image result for roger mcguinn american girlIn 1977 Roger McGuinn off of the Byrds met Tom Petty & recorded “American Girl”. It seemed to be the right move. In 1974 I had seen Roger perform a long set, something solo, something Byrds & it was a true pleasure to be there. When he hooked up with Rolling Thunder, Bob Dylan’s Rock & Roll Circus he met Mick Ronson who produced the LP “Cardiff Rose” for him. “Thunderbyrd” (1977) was a set of laid-back Folk-Rock released at a time when audiences were expecting & enjoying a new energy in our music. Columbia, who McGuinn had been with since “Mr Tambourine Man” did not renew his contract & it would be 14 years before there was another solo LP from him.


Related image“Back from Rio” (1991) found TP & the band playing & co-writing on several tracks.”King of the Hill” (see above) is the standout, the 12-string Rickenbacker sound that all the right people love for all the right reasons. Tom has no production credit but I’m sure that the song sounds exactly as he wants it. There’s a telling scene in the documentary where Petty harangues clueless A&R men who are trying to foist inferior songs on to Roger, “a great man who has achieved great things”. His respect for Rock’s legacy & for the necessity of doing it right in the studio is non-negotiable. His disregard for the men from the label is apparent too. It’s only Rock & Roll but he likes it. So do I.



Exile On New Street (Sex Pistols)

Carl has been a friend of mine for over 40 years since he would hang around my flat while playing truant from school. We have shared many adventures & he has featured in the stories I have told here on the blog. Now, for the first time, he has a story of his own to tell & it’s a good one. Over to you Carl.


The alarm went off at 7:30 a.m. I had a wash, dressed in my work uniform, quick cup of tea & jogged slowly down the hill to catch the bus. So far so “Groundhog Day”. The 20th of October 1976 was a day that changed my life but first I had to get to work  then through work. It was a Wednesday & tonight was training night…a long day. I was an apprentice hairdresser. I had quit on my miserable secondary school in May, before sitting any exams now I was learning how to cut women’s hair. You’ve seen Warren Beatty in “Shampoo”…nothing like that !


The salon (really !) was in Birmingham’s city centre near to “Pizza Corner”, one of the country’s first pizzerias. I was there getting the lunches, ordered the food, went upstairs to the gents for a piss & a smoke. The toilet was empty except for a couple of guys who were shocked to be discovered preparing to shoot-up ! I don’t know who jumped the highest with surprise. Now music was my thing, still is. I recognised Johnny Thunders & Walter Lure, half of The Heartbreakers, Johnny a former New York Doll. My fledging Early Punk Rock threads were a dead giveaway, they knew that I knew who they were. I played it cool, had a jimmy, passed on the smoke & left them to their doings…an intense 2 minutes. That evening we caught the band at Rebecca’s nightclub (Severn St, off John Bright St…you know it). Whatever they were on did the trick. they were fucking great !


Right…training night could not end quickly enough because tonight I was going to see the Sex Pistols.  This was before “The Filth & the Fury” headlines were gobbed over the front pages of the tabloids, when the Pistols were the best unrecorded band in Britain. There had been a small flyer on the door of Bogarts since Monday   I met my friend Gary & we went straight there. Bogarts was a biker Hard Rock/Metal bar, a windowless upstairs room that felt like a basement. It wasn’t so bad, they might play Todd Rundgren’s Utopia but never Rick Wakeman. It mostly just, you know, rocked. We got to the club at about 8.45  but there was no sign of the band.


No drum kit, no bass head & speaker unit, nor the Fender Twin Reverb amp which I had checked in the N.M.E. Where was Steve Jones’ white Gibson Les Paul with the 3 gold-plated pick-ups  “allegedly” nicked off  Mick Ronson at Bowie’s Ziggy Breaks Up The Band gig at the Hammersmith Odeon. Straight from under the noses of the Spiders’ road crew, in the afternoon pre-gig hubbub. What a rotter ! The prevailing thought was “they’re never gonna arrive now. are they ?” when, at almost 10 o’clock, their crew, two roadies & another couple (McLaren & Vivienne maybe ?) traipsed through the pub to the postage stamp stage in front of the DJ booth with guitars & amps. Their “management” must have thought that it was nightclub hours, this weren’t no Speakeasy this was the provinces & closing time was quickly coming round. The Quinton biker locals helped with the load-in, pushing through the crowded “dancefloor”. “Mind  ya backs ! Hot Soup! Coming through”, polite lads. The Sex Pistols are here but it’s got to be 2 songs tops & finito, innit ? Oh no, for the next 45 minutes this was the best place to be.


At around 10.15 “Anarchy in the UK” came to scythe us down, hitting a spot untouched since the Who’s “Won’t Get Fooled Again”. This original line-up, no Sid Vicious yet, assembled by Malcolm McLaren over the past 12 months were, relatively speaking, musically astute. Glen Matlock was & still is a proper musician with an understanding of song structure & all that boring stuff. He was an asset in those early days, a fine bassist, he & Paul Cook were as tight as…insert your own tight thing analogy HERE! Steve Jones & the pasty boy singer, Johnny Rotten, had the drive & confidence of people who knew they were on to something good, something better than the rest. They played “I Wanna Be Me”, a motherfucker version of “Substitute”, “No Feelings”, “No Fun”, the old Monkees’ hit “Stepping Stone, an hilarious “17” (a.k.a. “I’m a Lazy Sod”), “Pretty Vacant”, “Satellite” & “Liar”. A set list to be committed to memory, cherished like the names of your team that won the European Cup…that big !


We were buzzing & bouncing on the journey home. I was 16 years old & music was everything. There had been musical heroes before the Pistols but these boys, short, sharp & shocking, not much older than me, were surely the way forward. The band I was in played Bad Company, Status Quo covers, it got us gigs. That would have to stop for a start.



Things escalated quickly after that. A very funny TV interview put the Sex Pistols on the front page & caused a moral panic. The shits hit the fans by banning them from many venues & it was December 1977 before I saw S.P.O.T.S (Sex Pistols On Tour Secretly) at 2 gigs at the Lafayette nightclub in Wolverhampton.These nights were a different kind of tension. Kids all over the country had safety pins stuck in their shirts.They all wanted to see the most notorious band in the land. Matlock had been replaced by Sid Vicious who was turned down in the mix. It was an unviable option to let him be heard above 2 (It’s important, I play bass). He was Johnny’s mate & McLaren chose style over substance. “Anarchy in the UK” is the best debut single ever but the Great Rock & Roll Swindle was on. Sex Pistols’ gigs were skirmishes in Malcolm’s campaign of outrage rather than a chance to hear the best band in the world.


It’s my own hindsight that moans about the part-time Punks, the gobbing, the violence (I got enough of that on the terraces thanks). In 1977 I did a lot of crazy things, saw & heard some great music & it all revolved around Punk. The chaos was part of the creativity. There was nothing better than seeing the Sex Pistols play live. God save ’em, they were our boys.