![]() ![]() Hard to gainsay the class solidarity of a rich rock star who sues his record company to keep his list price down to $8.98. Thus he establishes himself as the perfect rock and roller for those who want good-very good, because Petty really knows his stuff-rock and roll that can be forgotten as soon as the record or the concert is over, rock and roll that won't disturb your sleep, your conscience, or your precious bodily rhythms. But whether Petty has any need to rock out beyond the sheer doing of it-whether he has anything to say-remains shrouded in banality. ![]() fan should specify) are rocking as powerfully as he's writing. This is a breakthrough for Petty because for the first time the Heartbreakers (his Heartbreakers, this L.A.M.F. But you need a lot of hooks to get away with being full of shit, and Tom doesn't come up with them. There are even times when Tom's drawl has the impact of a soulful moan rather than a brainless whine. Tuneful, straight-ahead rock and roll dominates the disc, and "I Need to Know," which kicks off side two, is as peachy-tough as power pop gets. Thank God you don't have to look at a record, or read its interviews. Onstage, he acts like he wants to be Ted Nugent when he grows up, pulling out the cornball arena-rock moves as if they had something to do with the kind of music he makes after all, one thing that made the Byrds and their contemporaries great was that they just got up there and played. might sound strange/Might seem dumb," Tom warns at the outset, and unfortunately he only gets it right the second time: despite his Southern roots and '60s pop-rock proclivities, he comes on like a real made-in-L.A. And like they say at the end of other cartoons, that's all, folks. The songs are cute, the riffs executed with more dynamism than usual, and the singing attractively phlegmy. Tom Petty and the Heartbreakers Īddicts of updated nostalgia and rock and roll readymades should find this a sly and authentic commentary on the evolving dilemma of Harold Teen. ![]()
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