Posts Tagged ‘Roy Orbison’

DVD Review: “Rock and Roll Hall of Fame Live”

R&R BoxThere seem to be two camps of people when it comes to the Rock and Roll Hall of Fame: those who feel that rock and roll deserves a permanent place to showcase the important effect it’s has had on popular culture, and those who believe that the intention of rock music was rebellion against the mainstream; that a stuffy old shrine goes against everything the music stands for, and screw you if you don’t agree with them. I belong to the former group, partly because I’m from Cleveland, Ohio and got caught up in the hysteria of bringing the Rock Hall to the north coast, and also because I feel that there needs to be a place where people can look at rock and roll as an art and examine its history. I’ve been to the museum, and could have stayed for days marveling at Hendrix’s guitar and fragments of Keith Moon’s drum kit.

This year marks the 25th Anniversary of the Rock and Roll Hall of Fame and there’s a star-studded concert in Madison Square Garden to celebrate the occasion. In conjunction with the anniversary, Time-Life has released a nine-DVD collection called Rock and Roll Hall of Fame Live. It includes eight discs of Hall of Fame inductions and a DVD featuring some of the performances from the 1995 Rock and Roll Hall of Fame concert that took place in Cleveland. Since the very first induction back in 1986, we’ve seen and heard about the induction ceremonies (usually in New York) that are a gathering of music legends. They get up on stage and perform their biggest hits; give speeches that are sometimes emotional, sometimes raucous, sometimes spiteful, and at the end of the night all of the inductees and presenters come together for one kick assjam session. With this DVD collection, it appeared as if music aficionados — you know, you and I, the people who made these rock stars legends — were finally going to be included in these events, and not just through the chopped-up versions we’ve seen on VH1.

Well, not quite. (more…)

Popdose Flashback: Tom Petty, “Full Moon Fever”

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full-moon-feverWhile on a routine errand to buy a baseball mitt, Tom Petty pulled up to a stoplight and glanced over at the car waiting next to him. The other driver was uber producer Jeff Lynne. It was 1987 and Petty had been listening to George Harrison’s triumphant Cloud Nine, which Lynne had produced. So impressed was he by the sound and the songwriting of Harrison’s record that Petty had the former ELO frontman pull over in order to compliment him. Then he uttered the words that would change Petty’s life and kickstart the second phase of his career: “How’d you like to work on some songs together?”

At the time, Petty was in rebuilding mode. He and his storied band, the Heartbreakers, had just completed a world tour behind their album, Let Me Up (I’ve Had Enough). The Florida native was worn out from the constant battles with MCA, his record company, the tension within the band (in particular between Petty and drummer Stan Lynch), and just the grind of being on the road for most of the ’80s. Making matters worse, just before the tour an arsonist had burned Petty’s home to the ground. Literally, he was at a crossroads. The chance meeting with Lynne led to Petty co-writing Roy Orbison’s comeback single, “You Got It,” as well as the formation of the Traveling Wilburys, a laid back supergroup that included Petty, Harrison, Orbison, Lynne, and Petty’s old touring mate, Bob Dylan. Soon thereafter Petty and Lynne commenced on the landmark record, Full Moon Fever, Petty’s first solo recording without the Heartbreakers. (more…)

Being Tom Petty

As a musician, singer, and songwriter, I am often surprised by the similarities between myself and Tom Petty. We’ve both been supremely blessed with the love of good women, the musical input and support of first-rate musicians, and the unceasing ability to stick to our guns – against almost insurmountable odds. Yep, ol’ Tom Petty and I have an awful lot in common, I like to think. He, of course, lives in a palatial estate in sunny California and, well, I just saved a bunch of money on my car insurance by switching to Geico.

See, as much as I like to think that the head Heartbreaker and I are cut from the same cloth, share the same undying dedication to rock & roll (no matter how uncool that may be at the time), and walk with the same tenuous swagger that comes from having seen it all and done it all, the truth is that when they made Tom Petty, they broke the mold. And burned the cloth.

How I came to know of Tom Petty is a story I’ve told friends and will now tell you:

When I was a kid, I was already neck-deep in my love for rock & roll. As my twelfth birthday approached, I began dropping a series of not-so-subtle hints that I wanted the new Pretenders album as a gift. Over and over, I mentioned the Pretenders. When they appeared on television, I made sure to turn up the volume and yell, “Oh cool, the Pretenders!” within earshot of my parents. The last thing I wanted was for them to buy me the wrong album.

Finally, my birthday arrives and I rip into the album-shaped present that sits before me. I throw the wrapping paper on the floor and gaze at the – wait a second, this isn’t the Pretenders album. It’s Tom Petty & The Heartbreakers Damn the Torpedoes. Not wanting to hurt my parents’ feelings, I feign excitement and, once my birthday dinner is over, carry the album to my room with all the enthusiasm of a pack of Fruit of The Loom briefs.

From the moment I touched needle to wax, though, I was in love. (more…)

Listening Booth: Bruce Springsteen, “Working On a Dream”

Bruce Springsteen - Working On a DreamBona fides: I’m a Jersey boy, and a fan. I’ve got more than 50 Springsteen concerts under my belt. I’ve even met him once or twice, and no, I never call him The Boss. Now on with the show.

Someone on Twitter (follow us @popdose) recently wrote that Bruce Springsteen’s Oscar snub by the Motion Picture Academy was his punishment for “Outlaw Pete.” Maybe. I do know that the failure of the Academy to include Springsteen’s title song from The Wrestler in the Best Song category is one of the most egregious oversights I’ve ever seen in my years of following the Oscars. Are the Academy voters allowed to write in their choices?

I do understand the sentiment about “Outlaw Pete,” though. The song’s placement as the leadoff track on Working on a Dream (Columbia) is one of he most curious decisions in rock history. First of all, the thing is more than eight minutes long. Second, the story doesn’t make much sense. I suppose, based on his acknowledged respect for the iconic western films of John Ford, Springsteen was trying to create a widescreen western epic of his own. What he ended up with is more akin to the spaghetti variety.

I tell you this as someone who has listened to the track over and over in an attempt to understand its significance. I’ve done this because the balance of the album contains some of the best work that Springsteen has done in years. The E Street Band is in great form, despite the very noticeable lack of input from Clarence Clemons (wouldn’t a sax solo have been preferable to the whistling verse on the title track?), and producer Brendan O’Brien, working with Springsteen for the fourth time, has tamed most of his impulses toward the murky sound that nearly destroyed Magic for me. (more…)