Tom Petty and the Heartbreakers: Runnin' Down a Dream

0:00:06 > 0:00:11This programme contains some strong language

0:00:14 > 0:00:17(audience cheering)

0:00:37 > 0:00:42(cheering continues)

0:01:00 > 0:01:04(cheering intensifies)

0:01:21 > 0:01:24(drumsticks tapping)

0:01:24 > 0:01:28("You Wreck Me" intro playing)

0:01:36 > 0:01:39# Tonight we ride

0:01:39 > 0:01:41# Right or wrong

0:01:42 > 0:01:45# Tonight we sail

0:01:45 > 0:01:49# On a radio song

0:01:49 > 0:01:51# Rescue me

0:01:51 > 0:01:54# Should I go down

0:01:54 > 0:01:57# If I stay too long

0:01:57 > 0:01:59# In trouble town

0:01:59 > 0:02:03Audience: # Oh...

0:02:03 > 0:02:04Audience: # yeah...

0:02:05 > 0:02:08# You wreck me, baby

0:02:08 > 0:02:11# Yeah, you break me in two

0:02:11 > 0:02:14# But you move me, honey

0:02:14 > 0:02:17# Yes, you do... #

0:02:17 > 0:02:19Eddie Vedder: the first time you hear a new Tom Petty song,

0:02:19 > 0:02:22it sounds like, you know, a classic song.

0:02:22 > 0:02:26# Well, if I don't win

0:02:26 > 0:02:27# Well, I'm gonna break even... #

0:02:27 > 0:02:28Dave Grohl: Well, I've always

0:02:28 > 0:02:32sort of considered them an institution, you know.

0:02:32 > 0:02:36They're one of those bands that just have to be.

0:02:36 > 0:02:37They just have to be.

0:02:37 > 0:02:41# If I stay too long

0:02:41 > 0:02:42Audience: # Oh... #

0:02:42 > 0:02:44Audience: # Yeah... #

0:02:44 > 0:02:45Stevie Nicks: I think I started

0:02:45 > 0:02:47to become aware of Tom Petty around 1977.

0:02:47 > 0:02:501978-- big fan of Tom Petty.

0:02:50 > 0:02:51If Tom Petty and the Heartbreakers had said,

0:02:51 > 0:02:54"Leave Fleetwood Mac and come and join us,"

0:02:54 > 0:02:55I would probably have joined

0:02:55 > 0:02:56Tom Petty and the Heartbreakers.

0:02:56 > 0:02:59(guitar instrumental break)

0:03:02 > 0:03:05Rick Rubin: It's like a lost art, what they do-- great players,

0:03:05 > 0:03:07great band interaction,

0:03:07 > 0:03:10great songwriting, and it shows

0:03:10 > 0:03:12when you go to see their concert, and, you know,

0:03:12 > 0:03:14it'll be two and a half hours,

0:03:14 > 0:03:15and you could sing along with every song.

0:03:15 > 0:03:19It's... it's mind-numbing how many great songs they have.

0:03:19 > 0:03:21Jackson Browne: it's really the essence

0:03:22 > 0:03:23of rock and roll, which is about

0:03:24 > 0:03:25freedom and rebellion.

0:03:25 > 0:03:26It's about doing what you want to do

0:03:26 > 0:03:28and pursuing your dreams,

0:03:28 > 0:03:30and, and, oh, you know,

0:03:30 > 0:03:32it's about all the most important stuff.

0:03:32 > 0:03:33It's about speaking the truth.

0:03:34 > 0:03:37Jimmy Iovine: he is a world-class songwriter,

0:03:37 > 0:03:38one of the great songwriters

0:03:38 > 0:03:40in the rock era.

0:03:43 > 0:03:46George Harrison: it's just the sound that he makes and the attitude he has.

0:03:46 > 0:03:49You know, his records are so good and unusual,

0:03:49 > 0:03:51usually, like, from a lyrical point of view.

0:03:51 > 0:03:54Jeff Lynne: It's quite amazing that the Heartbreakers

0:03:54 > 0:03:55have just kept going,

0:03:55 > 0:03:57and the fact that they're getting

0:03:57 > 0:03:58bigger and bigger as well

0:03:58 > 0:04:01is quite a remarkable thing after 30 years.

0:04:01 > 0:04:03It's just, I don't think anybody else

0:04:03 > 0:04:06has ever been in that position.

0:04:08 > 0:04:10Johnny Depp: it was smart, you know,

0:04:11 > 0:04:12even if you didn't know it at the time.

0:04:12 > 0:04:16It was... It was smart... music.

0:04:16 > 0:04:19He sort of defies

0:04:19 > 0:04:21any kind of category, really.

0:04:21 > 0:04:23It's just Tom Petty.

0:04:23 > 0:04:27# I'll be the boy

0:04:27 > 0:04:30# In the corduroy pants

0:04:30 > 0:04:33# You'll be the girl

0:04:33 > 0:04:36# At the high school dance

0:04:36 > 0:04:39# You'll run with me

0:04:39 > 0:04:42# Wherever I go

0:04:42 > 0:04:44# And just play down

0:04:44 > 0:04:47# Whatever you know

0:04:47 > 0:04:50Audience: # Oh...

0:04:50 > 0:04:53Audience: # Yeah...

0:04:53 > 0:04:56# You wreck me, baby

0:04:56 > 0:04:58# Yeah, you break me in two

0:04:58 > 0:05:02# But you move me, honey

0:05:02 > 0:05:04# Yes, you do. #

0:05:15 > 0:05:19(applause and cheering)

0:05:44 > 0:05:47# Headed back down south... #

0:05:47 > 0:05:51I was born in Gainesville, Florida, USA.

0:05:51 > 0:05:54It was a little town in the '50s.

0:05:54 > 0:05:55So I was born in 1950.

0:05:55 > 0:05:58There was a very southern contingent there.

0:05:58 > 0:06:01There's kind of a... a farming element,

0:06:02 > 0:06:04and then there's the university,

0:06:04 > 0:06:06so you had this mix of people.

0:06:06 > 0:06:09You could run across just about any kind of person there.

0:06:09 > 0:06:12And I remember it fondly, growing up.

0:06:12 > 0:06:16It was just big enough that, you know, it had

0:06:16 > 0:06:19two movie theaters, which was great.

0:06:19 > 0:06:21You know, I liked westerns.

0:06:21 > 0:06:24I was just obsessed with westerns.

0:06:24 > 0:06:27# I wish I was an apple...#

0:06:27 > 0:06:28That's a good one.

0:06:28 > 0:06:30# Hangin' in a tree

0:06:30 > 0:06:33# And every time my sweetheart passed

0:06:33 > 0:06:34# She'd take a bite of me. #

0:06:35 > 0:06:38Petty: I always liked the idea of the guitar,

0:06:38 > 0:06:41because cowboys played the guitar.

0:06:41 > 0:06:44Elvis Presley: # Keep a-movin, a-move along

0:06:44 > 0:06:46# Keep a-movin, a-move along

0:06:46 > 0:06:49Petty: I must have been ten or 11 years old.

0:06:49 > 0:06:51My aunt came over and said,

0:06:51 > 0:06:54"Elvis Presley is making a movie,

0:06:54 > 0:06:57"and your uncle's working on the picture,

0:06:57 > 0:07:01"and I... I thought maybe you'd like to go down one day

0:07:01 > 0:07:03and watch the filming, see Elvis."

0:07:03 > 0:07:05Elvis: # I gotta follow that dream... #

0:07:05 > 0:07:08Petty: The streets were just packed with hundreds of people.

0:07:08 > 0:07:10Elvis appeared like,

0:07:10 > 0:07:12you know, a vision.

0:07:12 > 0:07:14He didn't look like anything I'd ever seen.

0:07:14 > 0:07:16You know, I'm just... dumbstruck.

0:07:16 > 0:07:18And my uncle said to him, "Elvis,

0:07:18 > 0:07:21this is my family, this is my nephew, da-da-da,"

0:07:21 > 0:07:26and Elvis kind of went, "yeah," you know,

0:07:26 > 0:07:27and moved on, you know.

0:07:27 > 0:07:29I went home a changed man.

0:07:29 > 0:07:31Elvis: # When your heart gets restless... #

0:07:31 > 0:07:33Petty: When I hit the street the next day,

0:07:33 > 0:07:36I was trying to find some Elvis Presley records.

0:07:36 > 0:07:39Elvis: # You ain't nothin' but a hound dog... #

0:07:39 > 0:07:41Petty: The music just hypnotized me.

0:07:41 > 0:07:43And I played these records

0:07:43 > 0:07:46to the point my parents began to worry

0:07:46 > 0:07:50that something was wrong with me.

0:07:50 > 0:07:52Hey, you guys, there's that

0:07:52 > 0:07:54rock and roll cowboy I told you about.

0:07:54 > 0:07:57("Teddy Bear" intro playing)

0:07:57 > 0:07:59# Oh, baby, let me... #

0:07:59 > 0:08:01Petty: On a visual level, I thought rock and roll

0:08:01 > 0:08:05was twice as cool because these guys played guitars.

0:08:05 > 0:08:06The hook was in really deep.

0:08:06 > 0:08:09I'm in about the fifth grade,

0:08:09 > 0:08:12and I'm playing 1950s records,

0:08:12 > 0:08:14and it's all I want to talk about.

0:08:14 > 0:08:17Even the other kids thought it was weird.

0:08:17 > 0:08:21I didn't have the faintest dream of being a musician

0:08:21 > 0:08:23or anything like that.

0:08:23 > 0:08:25I just loved to listen to it.

0:08:25 > 0:08:27Ladies and gentlemen, the Beatles!

0:08:27 > 0:08:28Let's bring 'em out.

0:08:28 > 0:08:29(deafening cheering)

0:08:29 > 0:08:31Petty: and when I was 13,

0:08:31 > 0:08:35the Beatles came, and in those few minutes

0:08:35 > 0:08:38when they hit The Ed Sullivan show,

0:08:38 > 0:08:41it all became clear, you know.

0:08:41 > 0:08:44This... This is what I'm going to do.

0:08:44 > 0:08:45This is how you do it.

0:08:45 > 0:08:49# Close your eyes and I'll kiss you

0:08:49 > 0:08:52# Tomorrow, I'll miss you

0:08:52 > 0:08:55# Remember, I'll always be true... #

0:08:55 > 0:08:57Petty: Within 24 hours,

0:08:57 > 0:08:58everything had changed.

0:08:58 > 0:09:01# All my lovin'

0:09:01 > 0:09:04# I will send to you... #

0:09:04 > 0:09:07(The Kinks' "You Really Got Me" playing)

0:09:07 > 0:09:10# Girl, you really got me goin'

0:09:10 > 0:09:13# You got me so I don't know what I'm doin'

0:09:13 > 0:09:18Petty: The more hardcore of us started to grow our hair long

0:09:18 > 0:09:19Instantly--

0:09:19 > 0:09:20I want a guitar.

0:09:20 > 0:09:22My dad,

0:09:22 > 0:09:25one of the nicer things he did for me

0:09:25 > 0:09:30was he threw down 35 bucks, bought me an electric guitar,

0:09:30 > 0:09:33because I just wouldn't shut up about it.

0:09:33 > 0:09:36# I don't want you washin' my clothes

0:09:36 > 0:09:38# I don't want you

0:09:38 > 0:09:40# To keep my home

0:09:40 > 0:09:44# I don't want 'cause I'm sad and blue

0:09:44 > 0:09:48# I just want to make love to you, baby... #

0:09:48 > 0:09:52He was more obsessed with rock and roll

0:09:52 > 0:09:54than anyone I had ever met.

0:09:54 > 0:09:55He wasn't into

0:09:55 > 0:09:58a lot of other things except maybe girls, you know.

0:09:58 > 0:09:59I wanted a group.

0:09:59 > 0:10:02I set about scouring the neighbourhoods

0:10:02 > 0:10:04for anybody that owned instruments,

0:10:04 > 0:10:05that could play instruments,

0:10:05 > 0:10:07and we just struck gold.

0:10:07 > 0:10:09I will never forget it.

0:10:09 > 0:10:10We went to my house.

0:10:10 > 0:10:13We all plugged into the same amplifier,

0:10:13 > 0:10:15found something we all knew.

0:10:15 > 0:10:20Wham, the heavens split.

0:10:20 > 0:10:23Like, this sound was incredible.

0:10:23 > 0:10:25It was the biggest rush of my life.

0:10:25 > 0:10:29Wow, you know, we're doing it, you know.

0:10:29 > 0:10:31We're making this music.

0:10:31 > 0:10:34# If that private eye can't see

0:10:34 > 0:10:37# He better not take the ring from me... #

0:10:37 > 0:10:41Tom Petty: We went to the dance, really nervous,

0:10:41 > 0:10:43but we all got blue shirts,

0:10:43 > 0:10:45and we started to play.

0:10:45 > 0:10:48We were a huge success.

0:10:48 > 0:10:49Everybody dug it.

0:10:49 > 0:10:51We played our three songs, and, uh...

0:10:51 > 0:10:54everybody yelled for more.

0:10:54 > 0:10:56So we played them again.

0:10:56 > 0:10:59# Bo Diddley bought an ol' alley cat... #

0:10:59 > 0:11:00Then we started working.

0:11:00 > 0:11:02The Epics were playing the hits of the day.

0:11:02 > 0:11:03Leadon: The group practiced

0:11:03 > 0:11:05at least five days a week.

0:11:05 > 0:11:08That first time we got paid,

0:11:08 > 0:11:10my mom really thought I had stolen the money

0:11:10 > 0:11:14and was, like, really concerned

0:11:14 > 0:11:17that I'd taken up a life of crime.

0:11:19 > 0:11:23We thought the Epics was too corny a name,

0:11:23 > 0:11:25so we picked this really terrible one--

0:11:25 > 0:11:27Mudcrutch.

0:11:27 > 0:11:30(laughing)

0:11:35 > 0:11:38# I live on the west side

0:11:38 > 0:11:42# By the county reservoir

0:11:42 > 0:11:46# She lives down on Depot Street

0:11:46 > 0:11:48# Behind the city hall

0:11:48 > 0:11:52# Behind the city hall... #

0:11:52 > 0:11:54Leadon: "Mudcrutch." We all liked it

0:11:54 > 0:11:56'cause it kind of sounded dirty and decrepit.

0:11:56 > 0:11:59It sounded like something that adults

0:11:59 > 0:12:00and straight people wouldn't understand

0:12:00 > 0:12:02or wouldn't approve of, you know.

0:12:02 > 0:12:03We, we liked that.

0:12:03 > 0:12:04Petty: we had realised that

0:12:05 > 0:12:07if we wanted to truly make a living doing this,

0:12:07 > 0:12:09we were gonna have to develop

0:12:09 > 0:12:13songwriting, so we wanted to play original music.

0:12:13 > 0:12:16I was playing the bass, Tom was playing the guitar.

0:12:16 > 0:12:20and Jim Lenahan, who was singing lead.

0:12:20 > 0:12:22We were looking for another guitarist and a drummer.

0:12:22 > 0:12:25Lenahan: We had put an ad in Lippo Music,

0:12:25 > 0:12:27the local music store that was the hub

0:12:27 > 0:12:29of the music scene in Gainesville.

0:12:29 > 0:12:32We went out to audition the drummer at his house.

0:12:32 > 0:12:34Randall Marsh: I said, "Well, I live at this farm.

0:12:34 > 0:12:35It's a perfect place to play."

0:12:35 > 0:12:37So they came over, and we all

0:12:37 > 0:12:39set up and played, and we took a break.

0:12:39 > 0:12:43And they said, "well, you know, it sounds pretty cool,

0:12:43 > 0:12:45"But, you know, what we really need is,

0:12:45 > 0:12:47we'd like to have two guitar players."

0:12:47 > 0:12:51And I said, "well, my friend is in the back room here,

0:12:51 > 0:12:53and he plays guitar."

0:12:53 > 0:12:55And I heard him yell,

0:12:55 > 0:12:57"Mike, can you play rhythm guitar?"

0:13:00 > 0:13:03And this voice comes back, "oh, I think so."

0:13:03 > 0:13:07And into the room walks Mike Campbell.

0:13:09 > 0:13:12He's wearing cut-off jeans

0:13:12 > 0:13:13which I've never seen him wear since.

0:13:13 > 0:13:16That's when I first met Tom. He was playing bass.

0:13:16 > 0:13:20Petty: And he's carrying this 80 Japanese guitar,

0:13:20 > 0:13:23and at that point, we all kind of looked at the ground,

0:13:23 > 0:13:25like, "Oh, no.

0:13:25 > 0:13:28This guy's bound to be terrible."

0:13:28 > 0:13:32And Mike kicks off "Johnny B Goode,"

0:13:32 > 0:13:35and we aren't looking at the drummer anymore.

0:13:36 > 0:13:38So the song ended, and I just said,

0:13:38 > 0:13:39"Hey, you're in our band."

0:13:39 > 0:13:41And he's like, "Oh, I don't know."

0:13:41 > 0:13:43I said, "I know. You're in the band."

0:13:43 > 0:13:46And we were fast friends right away.

0:13:46 > 0:13:55# When your baby leaves you all alone

0:13:55 > 0:14:03# And nobody calls you on the phone... #

0:14:03 > 0:14:05Petty: There's this snag that Mike

0:14:05 > 0:14:07is going to college,

0:14:07 > 0:14:10enrolled at the University of Florida,

0:14:10 > 0:14:14and I said, you know, "you don't want to do that."

0:14:14 > 0:14:17He's like, "oh, I don't know," you know.

0:14:18 > 0:14:21And I can't believe now that I had that much gumption,

0:14:21 > 0:14:23but I talked him into quitting school.

0:14:23 > 0:14:26But I said, "let's get the band together,

0:14:26 > 0:14:29"and we'll make a record, and that'll be your job.

0:14:29 > 0:14:31"You're going to make tons of money,

0:14:31 > 0:14:33"More money than you'll ever make

0:14:33 > 0:14:35going to the University of Florida."

0:14:35 > 0:14:39Then his next complaint was, "well, what about the army?"

0:14:39 > 0:14:41'Cause, you know, Vietnam was going on.

0:14:41 > 0:14:43And you got a deferment if you went to school.

0:14:43 > 0:14:45I'm sure he played then as well as he does now,

0:14:45 > 0:14:47and I wasn't going to lose him.

0:14:47 > 0:14:48Campbell: he was pretty upset

0:14:48 > 0:14:51that I might go in the army. He kind of talked me out of it.

0:14:51 > 0:14:54I was like, "ah, we'll handle that," you know.

0:14:54 > 0:14:56I had no idea how we'd handle it,

0:14:56 > 0:14:59but I just kept saying, "we'll get around the army."

0:14:59 > 0:15:00You know, that's...

0:15:00 > 0:15:01(laughter)

0:15:01 > 0:15:04I should thank him for that.

0:15:04 > 0:15:06I might not be here at all.

0:15:09 > 0:15:12The cool thing about Tom was he did have a couple of songs

0:15:12 > 0:15:14he'd written, and all the other songs were like,

0:15:14 > 0:15:16you know, cover songs.

0:15:16 > 0:15:18But I thought that he had something on the ball

0:15:18 > 0:15:19with his songwriting,

0:15:19 > 0:15:21'cause not too many people around the college

0:15:21 > 0:15:22were really writing their own songs.

0:15:22 > 0:15:24# I was talking with a friend of mine

0:15:24 > 0:15:26# Some woman had hurt his pride... #

0:15:26 > 0:15:29Leadon: Mike Campbell, we tried to get him to sing harmonies,

0:15:29 > 0:15:30but he was so shy.

0:15:30 > 0:15:32We put a mike in front of him,

0:15:32 > 0:15:34turned it up as loud as we could,

0:15:34 > 0:15:35and you still couldn't hear him.

0:15:35 > 0:15:37He was such a fantastic guitarist.

0:15:37 > 0:15:40His fingers did his talking for him, I guess.

0:15:40 > 0:15:42# Don't do me like that

0:15:42 > 0:15:45# What if I love you, baby?

0:15:45 > 0:15:47# Don't do me like that... #

0:15:47 > 0:15:51Petty: So the next step was-- the main club in Gainesville

0:15:51 > 0:15:54that paid any money was this place called Dubs,

0:15:54 > 0:15:56Dubs Steer Room,

0:15:56 > 0:15:58because they also served steaks.

0:15:58 > 0:16:01And I had never played in a bar.

0:16:01 > 0:16:04The Epics played teen dances and things like that,

0:16:04 > 0:16:06but we were all too young to work,

0:16:06 > 0:16:10to get, you know, permission to work in a bar.

0:16:10 > 0:16:13You worked five sets a night, six days a week,

0:16:13 > 0:16:16but you all got 100 bucks at the end of the week.

0:16:16 > 0:16:21The real feature of dubs was six topless dancers.

0:16:21 > 0:16:23You know, we got down to the club,

0:16:23 > 0:16:27and it hadn't really registered to me

0:16:27 > 0:16:30what topless dancing really was, you know.

0:16:30 > 0:16:33And we played two or three songs, and they came walking up,

0:16:33 > 0:16:36one on each side, started dancing,

0:16:36 > 0:16:41and started removing their tops, and everyone in the band

0:16:41 > 0:16:46was just getting all blush-faced and just looking at each other.

0:16:46 > 0:16:50We were just, you know, playing like this.

0:16:50 > 0:16:53And the music almost stopped completely.

0:16:53 > 0:16:56And I started thinking,

0:16:56 > 0:16:59I'm going to like this professional musician thing.

0:16:59 > 0:17:02# Don't do me like that

0:17:02 > 0:17:03# Don't do me like that

0:17:03 > 0:17:05# What if I love you, baby?

0:17:05 > 0:17:07# Don't do me like that... #

0:17:07 > 0:17:10Marsh: We would do a lot of songs that were album songs

0:17:10 > 0:17:14that the club owner would go, "We want our top 40," you know,

0:17:14 > 0:17:16so we'd just play like a Neil Young song,

0:17:16 > 0:17:19and say it was a number-one hit or something,

0:17:19 > 0:17:21or we'd do one of our own and say, you know,

0:17:21 > 0:17:22that was by Santana or something.

0:17:22 > 0:17:24And they didn't know the difference, you know.

0:17:24 > 0:17:27Petty: And as we were playing Dubs,

0:17:27 > 0:17:29I was hanging with this guy, hanging in his apartment.

0:17:29 > 0:17:32One night the door opens, and this guy comes in,

0:17:32 > 0:17:35and he's got an armful of records

0:17:35 > 0:17:39and a big bushy beard and hair down over his shoulders,

0:17:39 > 0:17:42and I said, you know, "So what's your name, man?"

0:17:42 > 0:17:45He says, "it's Benmont Tench."

0:17:45 > 0:17:49I go, "Benmont Tench...

0:17:49 > 0:17:53you're not the kid that plays the piano?"

0:17:53 > 0:17:55"Yeah, that's me."

0:17:56 > 0:18:00Benmont I knew when he was just a little guy.

0:18:00 > 0:18:02He couldn't have been more than 11 or 12.

0:18:02 > 0:18:04He came in to Lippo Music.

0:18:04 > 0:18:07He began to play a Beatles album on the organ,

0:18:07 > 0:18:09and he played the entire album--

0:18:09 > 0:18:12certainly the best keyboardist I'd ever heard.

0:18:12 > 0:18:14I love pianos. I can't stay away from them.

0:18:14 > 0:18:17So if I'm in a music store, I'm going to sit down

0:18:17 > 0:18:19and play the piano until they say, "Stop."

0:18:19 > 0:18:21And they did.

0:18:21 > 0:18:24They said, "Kid, enough."

0:18:24 > 0:18:27On a break from boarding school,

0:18:27 > 0:18:29I went to see them play a bar.

0:18:29 > 0:18:30I was underage.

0:18:30 > 0:18:31They were great.

0:18:31 > 0:18:34When they came off the stage,

0:18:34 > 0:18:37if there even was a stage, it was probably just a corner

0:18:37 > 0:18:38of the bar, I don't remember,

0:18:38 > 0:18:42you could see Tom had something going on.

0:18:42 > 0:18:44You know, he had some kind of vibe,

0:18:44 > 0:18:46even at the time, just playing some bar.

0:18:46 > 0:18:48I go, "son of a bitch.

0:18:48 > 0:18:50"What are you doing, you know?

0:18:50 > 0:18:52What's up with you?"

0:18:52 > 0:18:55He goes, "Oh, I go to school in New Orleans,

0:18:55 > 0:18:59and I got a band up there, and I come back on breaks.

0:18:59 > 0:19:01I'm like, "shit, man,

0:19:01 > 0:19:03what are you doing tomorrow night, you know?"

0:19:03 > 0:19:04And he's, "I don't know, nothing."

0:19:04 > 0:19:06And I said, "well, why don't you come play with us?"

0:19:06 > 0:19:09And he says, "well, how long do you play?"

0:19:09 > 0:19:11I go, "oh, just, you know, we play five hours."

0:19:11 > 0:19:15He's like, "well, what about rehearsing?"

0:19:15 > 0:19:17"Ah, don't worry about, you know, rehearsing.

0:19:17 > 0:19:19It'll be fine."

0:19:19 > 0:19:20(laughs)

0:19:20 > 0:19:21He was so good, you know,

0:19:21 > 0:19:23and he had so much musical training that none of us had.

0:19:23 > 0:19:26Petty: He got up, and he didn't have any rehearsal,

0:19:26 > 0:19:30and he outplayed all of us for five hours.

0:19:30 > 0:19:33# I can't fight it

0:19:33 > 0:19:36# I can't keep myself from wanting you

0:19:36 > 0:19:40# I can't fight it

0:19:40 > 0:19:42# No matter what you say, no matter what you do... #

0:19:42 > 0:19:45Tench: The main thing was I really loved the music that they made.

0:19:45 > 0:19:48I think I was really looking for that thing

0:19:48 > 0:19:51that the Beatles seemed to have, which was just a bunch of guys

0:19:51 > 0:19:53to hang around with,

0:19:53 > 0:19:55like a gang, like a bunch of friends

0:19:55 > 0:19:56that made music,

0:19:56 > 0:19:57that all, you know,

0:19:57 > 0:19:59loved a certain thing and did it.

0:19:59 > 0:20:03# 'Cause I know what I want and I need

0:20:03 > 0:20:04# And I can't fight it... #

0:20:04 > 0:20:07Petty: You could never have planned it or dreamed it up,

0:20:07 > 0:20:10just two of the best musicians in the world

0:20:10 > 0:20:12walked right into my life

0:20:12 > 0:20:16and completely grasped what I wanted to do.

0:20:20 > 0:20:23# You used to look wild-eyed... #

0:20:23 > 0:20:26Leadon: We were sitting around the Mudcrutch farm,

0:20:26 > 0:20:27as it became known later,

0:20:27 > 0:20:29and we want to play for the kids.

0:20:29 > 0:20:31We want to play some of these outdoor shows

0:20:31 > 0:20:33that are so much fun.

0:20:33 > 0:20:37And Mike had the idea, "let's invite them all out here."

0:20:38 > 0:20:40We had the place with about ten acres,

0:20:40 > 0:20:44so we cleared an area there at the side of the house,

0:20:44 > 0:20:47and we invited a couple of other bands on a Sunday.

0:20:47 > 0:20:51We had the local health food co-op bring some free food.

0:20:51 > 0:20:54We just put posters around town,

0:20:54 > 0:20:55and there were hundreds of people there,

0:20:55 > 0:20:57maybe 1,500 people.

0:20:57 > 0:20:59The police came the first time we had it

0:20:59 > 0:21:02and said, "What the hell's going on here," you know?

0:21:02 > 0:21:04"Do you guys have a license and everything?"

0:21:04 > 0:21:05And luckily, you know, back then,

0:21:05 > 0:21:08it was a simpler time, and they said, you know, "Next time."

0:21:08 > 0:21:09And so next time we got the license.

0:21:09 > 0:21:12Leadon: The second time, we must have had 15 bands,

0:21:12 > 0:21:14and from all over the South,

0:21:14 > 0:21:16and it became quite a famous thing.

0:21:16 > 0:21:18It got too big.

0:21:18 > 0:21:20We had to quit, 'cause it was...

0:21:20 > 0:21:22people were coming from other states.

0:21:22 > 0:21:26That was really in some ways some of the best times.

0:21:26 > 0:21:27We were our own little entity.

0:21:27 > 0:21:28We didn't have any controllers.

0:21:28 > 0:21:30We did everything ourselves.

0:21:30 > 0:21:32It was just a really good time.

0:21:32 > 0:21:37# In the long run

0:21:37 > 0:21:41# It made you feel helpless and confined... #

0:21:41 > 0:21:44Marsh: Gainesville was just in a perfect place to be.

0:21:44 > 0:21:46You know, it was a little hippie town

0:21:46 > 0:21:48with a liberal university

0:21:48 > 0:21:50that allowed us to do so many different things.

0:21:50 > 0:21:53We had so many venues to play and to experiment,

0:21:53 > 0:21:56and it was really pretty cool.

0:21:56 > 0:21:58You couldn't ask for more.

0:22:01 > 0:22:05Leadon: After about six months or so, Jim left the band.

0:22:05 > 0:22:07Tom became the singer.

0:22:07 > 0:22:08Well, he was writing all the songs anyway.

0:22:09 > 0:22:11It was kind of silly for him to be writing songs for me to sing.

0:22:11 > 0:22:15Petty: We had become the biggest thing Gainesville had ever seen.

0:22:15 > 0:22:18We felt we had to break out of there.

0:22:18 > 0:22:21The whole point of the band had been to make a record.

0:22:21 > 0:22:23We heard there was a guy

0:22:23 > 0:22:27who had a mobile recorder, which was just a van

0:22:27 > 0:22:28with a two-track recorder in it.

0:22:28 > 0:22:30He came for one afternoon,

0:22:30 > 0:22:33and we set up and played live in Benmont's living room,

0:22:33 > 0:22:36and the tape came out really good.

0:22:36 > 0:22:38And I decided we should drive to L.A.

0:22:38 > 0:22:40We had a whole stack of reel-to-reel tapes.

0:22:40 > 0:22:42And we drove to L.A.

0:22:45 > 0:22:49# Well I know I'm only one in a hundred

0:22:49 > 0:22:52# And I know that you've heard this before... #

0:22:52 > 0:22:54Petty: None of us had been west of the Mississippi,

0:22:54 > 0:22:56you know, like...

0:22:56 > 0:22:59it was a big deal.

0:22:59 > 0:23:02# But this dream has become an obsession

0:23:02 > 0:23:05# 'Cause I've held it inside for so long

0:23:05 > 0:23:08# All my friends say I should use discretion

0:23:09 > 0:23:11# But I know I'm just not that strong... #

0:23:11 > 0:23:14Petty: Our first stop was Playboy Records.

0:23:14 > 0:23:16In those days, it had a big Playboy bunny emblem

0:23:16 > 0:23:17on the side.

0:23:18 > 0:23:19And we must have looked pretty funny,

0:23:19 > 0:23:22I mean, just having driven 3,000 miles.

0:23:22 > 0:23:24And he brings us in the office.

0:23:24 > 0:23:26"Look, guys, it's not done this way.

0:23:26 > 0:23:27You just don't walk in."

0:23:27 > 0:23:30And we said, "well, we're here, and there's a tape deck,

0:23:30 > 0:23:33and why don't you put it on and listen," you know?

0:23:33 > 0:23:36And he played not quite 30 seconds

0:23:36 > 0:23:38when he stopped the tape

0:23:38 > 0:23:42and said, "I've heard enough, get out of my office."

0:23:42 > 0:23:44We're back on the street,

0:23:44 > 0:23:46thinking, "This is going to be harder than we thought."

0:23:46 > 0:23:51The next day, start out the day at Capitol Records.

0:23:51 > 0:23:53They send us to the A&R department.

0:23:53 > 0:23:55The guy says, "I like what I hear.

0:23:55 > 0:23:57I'd really like to cut a demo."

0:23:57 > 0:24:02Now, we go, "Well, we've already made a demo."

0:24:04 > 0:24:10So we left Capitol, thinking, waste of time.

0:24:10 > 0:24:12So I'm going to call ahead and try to make an appointment

0:24:12 > 0:24:13at a record company.

0:24:13 > 0:24:18While I'm on the phone, asking for the number,

0:24:18 > 0:24:20I look down in the bottom of the booth,

0:24:20 > 0:24:26and there's a piece of paper lying there, and I picked it up.

0:24:26 > 0:24:29On this paper, there's 25 record companies

0:24:29 > 0:24:33and their phone numbers.

0:24:33 > 0:24:36That made me feel good and bad,

0:24:36 > 0:24:38good because I had the numbers,

0:24:38 > 0:24:42bad because, "Christ, how many people are doing this?"

0:24:43 > 0:24:46MGM was there with the big lion,

0:24:46 > 0:24:49and I said, "well, I've heard of them. Let's go in there."

0:24:49 > 0:24:53And we go in, the guy says, "Okay, I'll listen to it."

0:24:53 > 0:24:57He goes in and he listens to the whole tape, and he says,

0:24:57 > 0:25:00"I'd like to make a deal for a single."

0:25:00 > 0:25:03Our eyes go up, and we said,

0:25:03 > 0:25:06"Well, we're really looking for an album deal."

0:25:07 > 0:25:09And he goes, "you start out with a single,

0:25:09 > 0:25:12and if the single goes good, we'll talk about an album."

0:25:12 > 0:25:14So we hit the street, just leaping in the air.

0:25:15 > 0:25:16All right,

0:25:16 > 0:25:19got a single, but we got more places to go.

0:25:20 > 0:25:24The next stop was a label called London Records.

0:25:24 > 0:25:25He plays our tape.

0:25:25 > 0:25:26He plays the whole thing,

0:25:27 > 0:25:29and he starts clapping his hands and jumping around going,

0:25:29 > 0:25:32"This is fantastic. You got a deal."

0:25:33 > 0:25:36We just looked at him, you know.

0:25:36 > 0:25:37"I want to hear the band right away.

0:25:37 > 0:25:40I mean, I want to make a record. This is great."

0:25:40 > 0:25:43"Well, the band's in Gainesville, Florida."

0:25:43 > 0:25:44"Well, go get 'em!"

0:25:44 > 0:25:45I call Mike

0:25:46 > 0:25:47and said, "Guess what," you know?

0:25:48 > 0:25:50"We got two record offers."

0:25:50 > 0:25:51He goes, "you're crazy."

0:25:51 > 0:25:54"No, we've really done it."

0:25:54 > 0:25:59So we made the trip back and went up to Ben's place

0:25:59 > 0:26:02and said, "Look, this is it with school.

0:26:02 > 0:26:04We're going to make records."

0:26:04 > 0:26:06I do remember having to go to his father,

0:26:06 > 0:26:10who was a big-time judge, very intimidating,

0:26:10 > 0:26:13and I had to talk him into letting his son quit college.

0:26:13 > 0:26:15And I made a pretty good case.

0:26:15 > 0:26:17(chuckling)

0:26:19 > 0:26:21There was never any doubt in his mind at all.

0:26:22 > 0:26:25Like a week after he left, he comes walking into my 7-11

0:26:25 > 0:26:27where I'm behind the counter, and he goes,

0:26:27 > 0:26:29"We got five offers. We're leaving next week.

0:26:29 > 0:26:31You're the stage manager."

0:26:31 > 0:26:33And I said, "okay," and that was it.

0:26:33 > 0:26:35(laughs)

0:26:37 > 0:26:41Petty: We started selling anything we owned of value,

0:26:41 > 0:26:43which wasn't much.

0:26:43 > 0:26:46We put all our money together in a pool,

0:26:46 > 0:26:48like, I think I had 50 bucks to my name.

0:26:48 > 0:26:49I gave him my 50 bucks for gas.

0:26:50 > 0:26:55We had enough money to pay for gas to get from Gainesville

0:26:55 > 0:26:58to Hollywood, California, and once we got there,

0:26:58 > 0:27:00we would have 200 left,

0:27:00 > 0:27:05and we said, "We can live for a month on 200 dollars,"

0:27:05 > 0:27:08seven people-- seven, eight-- nine people.

0:27:08 > 0:27:12Petty: We're rehearsing in this little bedroom we rehearsed in,

0:27:12 > 0:27:16and we had a car for sale for money for the trip,

0:27:16 > 0:27:18and the phone rings,

0:27:18 > 0:27:20and I answer the phone,

0:27:20 > 0:27:23but they're still kind of playing in the next room.

0:27:23 > 0:27:27And I hear someone saying something,

0:27:27 > 0:27:29and I think they're calling about the car,

0:27:29 > 0:27:32'cause it's someone I don't know.

0:27:32 > 0:27:34And I'm saying, "well, you know, it's 100 bucks.

0:27:34 > 0:27:35It's not that good."

0:27:35 > 0:27:37He goes, "no, no, no, no, no.

0:27:37 > 0:27:43This is Denny Cordell, and I'm calling for Mudcrutch."

0:27:43 > 0:27:45Denny Cordell produced records by bands we really loved,

0:27:45 > 0:27:48"A Whiter Shade Of Pale" for Procol Harum,

0:27:48 > 0:27:50the Joe Cocker great, great early stuff.

0:27:51 > 0:27:52He co-produced Leon Russell's records.

0:27:52 > 0:27:54He was the real thing.

0:27:54 > 0:27:59Holy. "You know, this is, uh, you're speaking to them."

0:27:59 > 0:28:01"This is Denny Cordell. I got your tape.

0:28:01 > 0:28:04"I think it's the best thing I've heard in years.

0:28:04 > 0:28:05I want to sign the group up."

0:28:05 > 0:28:08"Well, gosh, I'm sorry,

0:28:08 > 0:28:12but we've just taken a deal with London Records."

0:28:12 > 0:28:14"Well, have you signed the deal?"

0:28:14 > 0:28:15"No."

0:28:15 > 0:28:16"Well, listen,

0:28:16 > 0:28:20"I have an office and a studio in Tulsa, Oklahoma.

0:28:20 > 0:28:21"If you're going to L.A.,

0:28:21 > 0:28:25it's not too far out of your way to stop in Tulsa."

0:28:25 > 0:28:27The Tulsa trip was my effort

0:28:27 > 0:28:29to sort of head him off at the pass...

0:28:29 > 0:28:33get to him before he came to Hollywood and go into the studio

0:28:34 > 0:28:37and try and strike up a sort of bond,

0:28:37 > 0:28:40which... 'cause I felt that at the end of the day, you know,

0:28:40 > 0:28:43he wasn't going for the biggest deal he could possibly get,

0:28:43 > 0:28:47but he was going for the chance to make good records, you know.

0:28:47 > 0:28:49So I hoped, if we could do that in Tulsa,

0:28:49 > 0:28:50maybe when he got to Hollywood,

0:28:50 > 0:28:52he wouldn't bother with the others.

0:28:52 > 0:28:57We left Gainesville on April Fool's Day, 1974.

0:28:59 > 0:29:01Petty: I had gotten married

0:29:01 > 0:29:03a couple of days before we left.

0:29:03 > 0:29:06This time, the trip was really hard, because we had Benmont's

0:29:06 > 0:29:08mother's station wagon.

0:29:08 > 0:29:09We had a U-haul truck.

0:29:09 > 0:29:13It did at tops about 50 miles an hour, you know.

0:29:13 > 0:29:14A Volkswagen bus.

0:29:14 > 0:29:16And all of us crammed in.

0:29:16 > 0:29:18They had the dogs and everything in the truck

0:29:18 > 0:29:19and all our gear.

0:29:19 > 0:29:22Right at the city limits of Gainesville,

0:29:22 > 0:29:24the truck breaks down.

0:29:24 > 0:29:27You know, hours getting the truck ready.

0:29:27 > 0:29:28Okay, we took off again.

0:29:28 > 0:29:30Tench: we got a little farther along,

0:29:30 > 0:29:32the bearings go out on the station wagon.

0:29:32 > 0:29:34We had to stop and stay there for two or three days

0:29:34 > 0:29:38while they ordered the parts to fix the station wagon.

0:29:38 > 0:29:40It was very bizarre.

0:29:40 > 0:29:43# I got my mind made up... #

0:29:43 > 0:29:44Very bizarre.

0:29:44 > 0:29:46# I got my mind made up. #

0:30:04 > 0:30:08Petty: After a day or two, we got to Oklahoma.

0:30:08 > 0:30:12It was just a windstorm of dust blowing everywhere,

0:30:12 > 0:30:13and through the clouds almost,

0:30:13 > 0:30:16this Englishman stepped through,

0:30:16 > 0:30:18who was really something to see, you know.

0:30:18 > 0:30:21He had the earring, which you didn't see a lot of then,

0:30:21 > 0:30:23and a bandanna,

0:30:23 > 0:30:27and we had never met anybody that was English.

0:30:27 > 0:30:29And we immediately hit it off,

0:30:29 > 0:30:31and he's, "Come over, I want to show you the studio.

0:30:31 > 0:30:34And we had never seen anything like this studio.

0:30:34 > 0:30:36It was just amazing.

0:30:36 > 0:30:40We went down the next day, played a while in the studio,

0:30:40 > 0:30:44and he clapped his hands and said, "I'm sold.

0:30:44 > 0:30:45I'll sign you right now."

0:30:45 > 0:30:50Either a guy's a true artist and a true poet and a true rocker,

0:30:50 > 0:30:53or they're not, and, um...

0:30:53 > 0:30:56in my judgment, he was.

0:30:56 > 0:30:59Then he reaches in his pocket

0:30:59 > 0:31:03and pulls out a wad of cash about this big,

0:31:03 > 0:31:06as in, "You're going to need some money."

0:31:06 > 0:31:10You know, we've never seen that much money in one fist,

0:31:10 > 0:31:14you know, and just throws it down on the table.

0:31:14 > 0:31:17"There's five grand there. That'll get you to Hollywood?"

0:31:17 > 0:31:19"Yeah."

0:31:19 > 0:31:20(laughs)

0:31:23 > 0:31:27Drove into Hollywood, up to Shelter Records.

0:31:27 > 0:31:30It was an old house converted into an office.

0:31:30 > 0:31:33It was like a family. It was that thing.

0:31:33 > 0:31:35It wasn't like some corporation or something.

0:31:35 > 0:31:39Petty: Within a day or so, they'd rented us a couple of houses,

0:31:39 > 0:31:41one with a swimming pool.

0:31:41 > 0:31:44Now, this is heavy stuff for us, you know.

0:31:44 > 0:31:47We ain't hardly seen a house with a swimming pool,

0:31:47 > 0:31:48let alone live in one.

0:31:48 > 0:31:51Of course, there's no furniture.

0:31:51 > 0:31:53Campbell: It was like going to Mars for me.

0:31:53 > 0:31:54I mean, coming from Florida,

0:31:54 > 0:31:56back then, it was a huge cultural gap,

0:31:56 > 0:31:59and it was overwhelming, you know,

0:31:59 > 0:32:00things moving so fast, you know.

0:32:00 > 0:32:02The south, back then, everything was real slow.

0:32:02 > 0:32:05Everybody talked slow and thought slow.

0:32:05 > 0:32:07And you get to L.A., it's like, "Yeah, go, go, go!

0:32:07 > 0:32:08We're going to do this, do this, do this.

0:32:08 > 0:32:10It's like it took us a while to catch on.

0:32:10 > 0:32:13Tench: The world was very odd to me.

0:32:13 > 0:32:15I felt like an alien in this band anyway,

0:32:15 > 0:32:16'cause I was younger than anybody

0:32:16 > 0:32:18in the band by a couple years,

0:32:18 > 0:32:19and I'd been in boarding school

0:32:19 > 0:32:21in New England, you know?

0:32:21 > 0:32:23And I was having a great adventure of being broke.

0:32:23 > 0:32:25I didn't want to call my parents for much money.

0:32:25 > 0:32:27I wanted to live off of the little stipend

0:32:27 > 0:32:30the record company was giving us.

0:32:30 > 0:32:31And I was a mess,

0:32:31 > 0:32:34and I looked like hell, and I was having a great time.

0:32:34 > 0:32:35We were really tight.

0:32:35 > 0:32:37We were really good friends, too.

0:32:37 > 0:32:39I mean, we spent a lot of time together.

0:32:39 > 0:32:42We knew that rehearsing was the key.

0:32:42 > 0:32:45# I saw you walking down the street with him

0:32:45 > 0:32:48# You know, I almost could have died

0:32:48 > 0:32:51# I didn't know that... #

0:32:51 > 0:32:53(song fades)

0:32:56 > 0:33:00Petty: Mudcrutch was an overwhelming flop.

0:33:00 > 0:33:04The band had one or two sort of weak links in it,

0:33:04 > 0:33:06but because of that sort of brotherhood,

0:33:06 > 0:33:08the Three Musketeers, you know, all together,

0:33:08 > 0:33:12it was very hard to dislodge the weaknesses.

0:33:12 > 0:33:15One day Tom, you know, sat down with me,

0:33:15 > 0:33:20said, "Uh, the record company kind of...

0:33:20 > 0:33:25"basically has told me that they, they want me,

0:33:25 > 0:33:30and they are kind of not that interested in the band."

0:33:30 > 0:33:33I was really devastated.

0:33:33 > 0:33:36I was just,

0:33:36 > 0:33:39I felt like I'd been hit by a truck or something.

0:33:39 > 0:33:41These were the people I knew

0:33:41 > 0:33:43that I'd moved out to California with.

0:33:43 > 0:33:46And so it's like, oh, dissolution of the family,

0:33:46 > 0:33:48and what am I going to do?

0:33:48 > 0:33:49You know, who am I going to play with?

0:33:49 > 0:33:54I went immediately to Mike and said, "Don't leave me, you know.

0:33:54 > 0:33:55You've got to stay with me."

0:33:55 > 0:33:59And I felt really bad about Benmont leaving,

0:33:59 > 0:34:01but I didn't know what to do.

0:34:01 > 0:34:03I wanted to be in the band.

0:34:03 > 0:34:07I didn't want to be a solo guy that picked up,

0:34:07 > 0:34:10no matter how good, the musicians were great,

0:34:10 > 0:34:14but I didn't, they didn't, they weren't my guys, you know.

0:34:14 > 0:34:16They worked for whoever had the dough.

0:34:19 > 0:34:21Lenahan: The real reason I think

0:34:21 > 0:34:22there's a Tom Petty and the Heartbreakers

0:34:22 > 0:34:25is 'cause of Benmont Tench.

0:34:29 > 0:34:30Ben had written some songs,

0:34:30 > 0:34:32and so he put a little demo session together

0:34:32 > 0:34:34to go in and record his songs,

0:34:34 > 0:34:36and he called in me and Stan and Ron.

0:34:39 > 0:34:43Lenahan: Stan and Ron Blair were from Gainesville bands

0:34:43 > 0:34:46and had come out here independently.

0:34:46 > 0:34:47I knew Stanley for a long time.

0:34:47 > 0:34:50After Mudcrutch broke up, he and I would hang out,

0:34:50 > 0:34:51and we wanted to have a band,

0:34:52 > 0:34:54and we were going to call it "The Drunks."

0:34:54 > 0:34:56And that's what those demos were going to be.

0:34:56 > 0:35:00I was very excited just because Ben had said,

0:35:00 > 0:35:03"We're going into a big-time recording session."

0:35:03 > 0:35:08And he called me to play drums on his demos.

0:35:08 > 0:35:10I called Ron.

0:35:10 > 0:35:13And we just ended up at the same session one night.

0:35:13 > 0:35:16Tom I called and said, "come tell me how to sing this vocal,

0:35:16 > 0:35:18play a little harmonica maybe."

0:35:18 > 0:35:20And that was the first time we all got in a room together.

0:35:20 > 0:35:24Petty: So I walk in, and I'm sitting in the control room

0:35:24 > 0:35:25listening to this band play.

0:35:25 > 0:35:27I was, like, "wow,"

0:35:27 > 0:35:28I got to steal this band."

0:35:28 > 0:35:33And that's my first thought is "this should be my band."

0:35:33 > 0:35:35So then they came in on the break,

0:35:35 > 0:35:37and I started my pitch.

0:35:37 > 0:35:39"You guys could throw in with me,

0:35:39 > 0:35:42and I've got a record deal."

0:35:42 > 0:35:43Blair: And it kind of organically became

0:35:43 > 0:35:47a real band without, you know, any premeditation.

0:35:47 > 0:35:48It just kind of, kind of happened.

0:35:48 > 0:35:51Petty: So without any rehearsal or anything,

0:35:51 > 0:35:53I just brought them to the next session I did

0:35:53 > 0:35:55that was booked for a solo session.

0:35:55 > 0:35:59And Denny was very impressed, and he said,

0:35:59 > 0:36:02"You guys are really one of the best groups

0:36:02 > 0:36:03I've heard in a long time."

0:36:03 > 0:36:06And he said, "plus you look good."

0:36:06 > 0:36:08Once that final personnel was in place,

0:36:08 > 0:36:12then it was just full tilt, you know, full tilt ahead.

0:36:12 > 0:36:17# Breakdown, go ahead, give it to me

0:36:17 > 0:36:19# Breakdown, honey, take me through the night

0:36:19 > 0:36:21# Breakdown

0:36:21 > 0:36:25# Breakdown, I'm standing here, can't you see

0:36:25 > 0:36:30# Breakdown, it's all right

0:36:30 > 0:36:32# It's all right

0:36:35 > 0:36:36# It's all right

0:36:53 > 0:36:56Tench: During the course of the making of the record,

0:36:56 > 0:36:58they brainstormed for names

0:36:58 > 0:37:00and they came up with some really bad ones.

0:37:00 > 0:37:02For a while, it was Nightro.

0:37:02 > 0:37:06N-i-g-h-t-r-o.

0:37:06 > 0:37:08(laughs) What that means, I don't know.

0:37:08 > 0:37:11My choice was the King Bees.

0:37:11 > 0:37:12"No, you can't call this.

0:37:12 > 0:37:14Oh, my God, no, no, no, no, no!"

0:37:14 > 0:37:16Petty: But I thought it sounded good.

0:37:16 > 0:37:18Tom Petty and the King Bees.

0:37:18 > 0:37:22# All right

0:37:22 > 0:37:24# It's all right. #

0:37:24 > 0:37:26Lenahan: Tom was living in a little apartment in the valley,

0:37:26 > 0:37:28and I walked in one day, and he goes,

0:37:28 > 0:37:32"What do you think of Tom Petty and the Heartbreakers?"

0:37:32 > 0:37:35And, of course, "heartbreaker" was a song that we all liked,

0:37:35 > 0:37:37and I went, "Bingo! That's it."

0:37:38 > 0:37:41And he goes, "And I got a great idea.

0:37:41 > 0:37:43"The logo will be a heart

0:37:43 > 0:37:47with a Gibson SG sticking through it."

0:37:47 > 0:37:52And I said, "cool, but why don't you use a flying V

0:37:52 > 0:37:54'cause it's shaped like an arrow, instead of an SG?"

0:37:54 > 0:37:57And he goes, "Perfect. Great."

0:37:57 > 0:37:58And then Denny Cordell, later, came up

0:37:59 > 0:38:02with the idea of having a ribbon with the name around it

0:38:02 > 0:38:03like it was a tattoo.

0:38:03 > 0:38:05Tench: we thought, well, that's good,

0:38:05 > 0:38:07because that's kind of ironic and funny, isn't it?

0:38:07 > 0:38:09Heartbreakers?

0:38:09 > 0:38:13(laughing): I mean, come on, you know.

0:38:13 > 0:38:15Who are we kidding here?

0:38:21 > 0:38:24Petty: Things were starting to get pretty exciting.

0:38:24 > 0:38:25Stan was something new.

0:38:25 > 0:38:30Stan had a... a really big personality--

0:38:30 > 0:38:34just radiated personality-- and he was a great cheerleader,

0:38:34 > 0:38:38really hungry, and really wanted to do this thing.

0:38:38 > 0:38:39And he was a great drummer.

0:38:39 > 0:38:43And Ron was really good, so it just all worked,

0:38:43 > 0:38:46And I was so excited, you know.

0:38:46 > 0:38:48I just thought, "we've got our band."

0:38:48 > 0:38:52And, you know, it was kind of, like,

0:38:52 > 0:38:54you've got something really good,

0:38:54 > 0:38:56and nobody else knows it,

0:38:56 > 0:38:58but you know they're going to know it.

0:38:58 > 0:39:03(guitar-lead rock intro playing)

0:39:03 > 0:39:06(drums begin mid-tempo cadence)

0:39:13 > 0:39:16I was really inspired when I got this group.

0:39:16 > 0:39:19They could pretty much do anything I threw at them

0:39:19 > 0:39:21and give it back to me better

0:39:21 > 0:39:24than I'd pictured it in the first place.

0:39:24 > 0:39:27The first two records Cordell had produced or coproduced

0:39:27 > 0:39:28with these two wonderful guys

0:39:28 > 0:39:30named Noah Shark and Max,

0:39:30 > 0:39:32who were engineers and coproducers

0:39:32 > 0:39:33and out of their minds on LSD

0:39:33 > 0:39:36as a deliberate part of their creative process.

0:39:37 > 0:39:39Petty: We wouldn't take the acid,

0:39:39 > 0:39:40though it was offered to us every day.

0:39:40 > 0:39:44These guys would get out of bed, swallow some acid,

0:39:44 > 0:39:47and go, "All right. Let's make a record."

0:39:47 > 0:39:49Strange as it may sound,

0:39:49 > 0:39:51they actually were pretty good at what they did.

0:39:51 > 0:39:53And this is when we recorded

0:39:53 > 0:39:58"American Girl," "Breakdown," some of the first

0:39:58 > 0:39:59hits we ever had.

0:39:59 > 0:40:03We would spend hours working on the simplest-- shakers!

0:40:03 > 0:40:04We're going to learn how to do it.

0:40:04 > 0:40:06We all had to learn how to do it.

0:40:06 > 0:40:08You know, I was 19 years old when we made the first record.

0:40:08 > 0:40:10Campbell: We were young and green. We would come in, say,

0:40:10 > 0:40:12with four songs for the studio, and Denny would listen to them,

0:40:12 > 0:40:15and he'd go, "Those two are crap.

0:40:15 > 0:40:16That one's good. Let's do that one."

0:40:16 > 0:40:17And he would just instinctively know.

0:40:17 > 0:40:19He just sort of could zero in on,

0:40:19 > 0:40:22"Okay, here's the essence of what's really good."

0:40:22 > 0:40:23And, you know, "don't do that.

0:40:23 > 0:40:25That's not so good. Do this." You know?

0:40:25 > 0:40:28Blair: Tom came in one night, and he had a great song

0:40:28 > 0:40:30and, for some reason, it just wasn't happening,

0:40:30 > 0:40:32and Denny said, "well, what else you got?

0:40:32 > 0:40:34And the look on Tom's face was priceless.

0:40:34 > 0:40:36He was going, "uh... that was it."

0:40:36 > 0:40:39And Denny kind of, like, in a...

0:40:39 > 0:40:43in a, you know, nice way, kind of read him the riot act.

0:40:43 > 0:40:45Like, "Look, son, you know, you're in the studio.

0:40:45 > 0:40:47You got to have songs."

0:40:47 > 0:40:48I think, from then on,

0:40:48 > 0:40:51it probably doubled Tom's songwriting.

0:40:53 > 0:40:55Petty: the record came out.

0:40:55 > 0:40:58It pretty much did nothing.

0:40:58 > 0:41:01Then, like a bolt of lightning-- bam--

0:41:01 > 0:41:03it hits in England, comes out in England,

0:41:03 > 0:41:07and it's an enormous success right out of the box.

0:41:07 > 0:41:11I mean, they're writing whole page reviews,

0:41:11 > 0:41:15and just going mad for it in England.

0:41:15 > 0:41:17Disco was just rearing its head,

0:41:17 > 0:41:20and there was a huge movement towards that,

0:41:20 > 0:41:22and so rock 'n' roll seemed to be dying out.

0:41:22 > 0:41:24And then, completely out of the blue,

0:41:24 > 0:41:27here he came, a sort of 24-karat rocker.

0:41:29 > 0:41:34(rock melody playing)

0:41:34 > 0:41:36(audience cheering)

0:41:36 > 0:41:38Petty: we went to England, and journalists met us

0:41:38 > 0:41:41at the plane, taking our photos.

0:41:41 > 0:41:46We were on the covers of the weekly music magazines.

0:41:46 > 0:41:48This is like Mecca.

0:41:48 > 0:41:50This is where all that music came from,

0:41:50 > 0:41:52big time stuff for us.

0:41:52 > 0:41:53It was, like, wow!

0:41:53 > 0:41:54One that I've played an awful lot

0:41:54 > 0:41:56on my Saturday morning Radio One program--

0:41:56 > 0:41:59It's from Tom Petty and the Heartbreakers, a new 45

0:41:59 > 0:42:02called "Anything That's Rock And Roll!"

0:42:12 > 0:42:15Before I met Tom, he was about the only American music

0:42:15 > 0:42:18that was acceptable in Britain.

0:42:18 > 0:42:21It was the one band that people would, like, go,

0:42:22 > 0:42:24"Yeah, they're cool," in England.

0:42:24 > 0:42:27But all other American bands were, like, not cool.

0:42:27 > 0:42:29# Some friends of mine and me

0:42:29 > 0:42:31# Stayed up all through the night

0:42:31 > 0:42:35# Rockin' pretty steady till the sky went light

0:42:35 > 0:42:38# I didn't go to bed, didn't go to work

0:42:38 > 0:42:42# I picked up the telephone, told the boss he was a jerk

0:42:42 > 0:42:46# Your mama don't like it when you run around with me

0:42:46 > 0:42:50# But we got to hip your mama that you got to live free

0:42:50 > 0:42:53# Don't need her, don't need school

0:42:53 > 0:42:57# You don't like your daddy, don't dig rules

0:42:57 > 0:42:59# So come on, baby, let's go

0:42:59 > 0:43:01# Don't you hear the rock and roll

0:43:01 > 0:43:03# Playing on the radio?

0:43:03 > 0:43:05# Sounds so right

0:43:05 > 0:43:07# Girl, you better grab hold

0:43:07 > 0:43:09# Everybody's got to know

0:43:09 > 0:43:13# Anything that's rock and roll is fine

0:43:13 > 0:43:16# Anything that's rock and roll is fine

0:43:18 > 0:43:21# Oh, oh, oh, hold me, little baby

0:43:22 > 0:43:25# I'm a little bit shakin', I'm a little bit crazy

0:43:25 > 0:43:29# But I know what I want, I want it right now

0:43:29 > 0:43:33# While the electric guitars are playing way up loud. #

0:43:45 > 0:43:47The English press really connected with the record

0:43:47 > 0:43:50and built it up as the big deal,

0:43:50 > 0:43:53and when we went over there, it was really exciting.

0:43:53 > 0:43:58(rock music playing)

0:44:02 > 0:44:05Petty: The first show in Wales, audience went insane.

0:44:05 > 0:44:07Lenahan: They played about half of a song,

0:44:07 > 0:44:10and the audience mobbed the stage,

0:44:10 > 0:44:12and we'd never seen an audience mob the stage before.

0:44:13 > 0:44:14It was kind of scary.

0:44:15 > 0:44:18Petty: It was such an exhilarating thing,

0:44:18 > 0:44:21the biggest mainline shot of adrenaline

0:44:21 > 0:44:22you could have.

0:44:23 > 0:44:26And we thought, "Hey, we're going to make it.

0:44:26 > 0:44:27This is going to work."

0:44:27 > 0:44:31We were really gung-ho, a lot of team spirit,

0:44:31 > 0:44:34and then we did a few more television shows.

0:44:34 > 0:44:36We did one called

0:44:36 > 0:44:37The Old Grey Whistle Test.

0:44:38 > 0:44:39That was a popular show.

0:44:39 > 0:44:44(intro to "Fooled Again" playing)

0:44:44 > 0:44:48# You never said you had no number two

0:44:48 > 0:44:53# I need to know about it if you do

0:44:53 > 0:44:57# If two is one, I might as well be three

0:44:57 > 0:45:00# Good to see you think so much of me

0:45:01 > 0:45:05# Looks like I'm the fool again

0:45:05 > 0:45:10# Looks like I'm the fool again

0:45:10 > 0:45:12# I don't like it

0:45:14 > 0:45:18# I don't like it

0:45:18 > 0:45:21# No! #

0:45:22 > 0:45:24Campbell: It was amazing.

0:45:24 > 0:45:25I mean, it was, like,

0:45:25 > 0:45:27I could think about it now, looking back.

0:45:27 > 0:45:28It was just like living a dream.

0:45:28 > 0:45:30I mean, there's no other way to describe it.

0:45:30 > 0:45:33It's, like, wow, this dream is happening, you know,

0:45:33 > 0:45:34and people like us.

0:45:35 > 0:45:36The band's really good.

0:45:36 > 0:45:38You know, we're going to do it.

0:45:38 > 0:45:40You know, it was, like, wow.

0:45:40 > 0:45:41It was a gas. It still is.

0:45:54 > 0:45:57The tour went into Europe, you know.

0:45:59 > 0:46:03This was real adventure, going into Germany and Belgium,

0:46:03 > 0:46:06France, Holland.

0:46:06 > 0:46:08In those days, I remember Tom would always turn to me

0:46:08 > 0:46:10and go, "Where are we?"

0:46:10 > 0:46:12And I'd go, "Hollywood, California," you know.

0:46:13 > 0:46:15Or, "where are we?" "Paris, France."

0:46:15 > 0:46:18That was incredible that we were actually there,

0:46:18 > 0:46:20the places that we'd heard about our whole lives,

0:46:20 > 0:46:21and now we were finally doing it.

0:46:21 > 0:46:22We went into Holland,

0:46:22 > 0:46:24and hashish is legal.

0:46:24 > 0:46:27Of course, we bought far more than we could

0:46:27 > 0:46:31possibly have smoked, and then

0:46:31 > 0:46:33the next day, we're going to Germany.

0:46:33 > 0:46:36So we got big blocks of hash,

0:46:36 > 0:46:39and we can't quite bring ourselves

0:46:39 > 0:46:41to throw it in the trash, you know, but they're going,

0:46:41 > 0:46:44"Look, you know, you're going to go through customs."

0:46:44 > 0:46:45So I threw mine away.

0:46:45 > 0:46:48We get in line to go through

0:46:48 > 0:46:49the customs in Germany,

0:46:49 > 0:46:54and they find in Stan's bag a little hash pipe.

0:46:54 > 0:46:58Now, there's no hash in the bag, but there's a little hash pipe

0:46:58 > 0:47:03with a little bit of residue in the pipe.

0:47:04 > 0:47:07You know... "Out of the line."

0:47:07 > 0:47:10And Ron Blair's looking at me kind of funny.

0:47:10 > 0:47:12He smiles at me.

0:47:12 > 0:47:15His whole teeth are black.

0:47:15 > 0:47:19He's got the whole lump of hash in his mouth,

0:47:19 > 0:47:23and he's chewing.

0:47:23 > 0:47:26(laughing)

0:47:26 > 0:47:30So they bring us into the little room,

0:47:30 > 0:47:34and Blair's chewing away, you know.

0:47:34 > 0:47:37Like, to chew a chock of hash is a really big job.

0:47:37 > 0:47:40So it went through a long afternoon.

0:47:40 > 0:47:43We had a tv show-- a network show--

0:47:43 > 0:47:46we were supposed to be on,

0:47:46 > 0:47:49and we had missed the rehearsal for sure,

0:47:49 > 0:47:51and then people from the network show up.

0:47:51 > 0:47:52They tell us in English,

0:47:52 > 0:47:54"Look, we're going to work this out.

0:47:54 > 0:47:56Just sit tight, and we're going to work it out."

0:47:56 > 0:47:59So they take us through and put us in these

0:47:59 > 0:48:01black Mercedes that were waiting for us,

0:48:01 > 0:48:07and I get in one with Ron, who doesn't make a sound.

0:48:07 > 0:48:10He's just looking at me, you know.

0:48:10 > 0:48:12And I go, "Did you swallow that?"

0:48:19 > 0:48:23(speaking German)

0:48:23 > 0:48:26Tom Petty and the Heartbreakers.

0:48:28 > 0:48:31(intro chord plays)

0:48:37 > 0:48:39(playing intro chords)

0:49:00 > 0:49:06(plays "Dog On The Run")

0:49:09 > 0:49:11(audience clapping rhythmically)

0:49:29 > 0:49:32(full band playing melody)

0:49:43 > 0:49:46# Well, I was downtown waiting for my number to be called

0:49:47 > 0:49:51# Seen it through the window outside against the wall

0:49:57 > 0:49:58# Well, I know this little secret

0:49:58 > 0:50:00# You don't want no one to know

0:50:00 > 0:50:04# You're living in a high-rise, try to stay low

0:50:11 > 0:50:14# I don't think you realise, baby

0:50:14 > 0:50:18# What one little kiss could do

0:50:18 > 0:50:21# I would really love to make you understand, honey

0:50:21 > 0:50:24# I can't get close to you

0:50:24 > 0:50:29# Baby, you better stop and look at what you done

0:50:29 > 0:50:32# You try to keep it living like a dog on the run

0:50:32 > 0:50:35(music plays)

0:50:35 > 0:50:38Petty: I think we had to do about 40 minutes on the show...

0:50:38 > 0:50:40(chuckling)

0:50:40 > 0:50:42and if you see the tape,

0:50:42 > 0:50:46there's a very glassy-eyed Ron Blair,

0:50:46 > 0:50:48played like a champ.

0:50:48 > 0:50:50(Petty chuckles)

0:50:50 > 0:50:53(playing instrumental bridge)

0:51:04 > 0:51:07(playing solo)

0:51:19 > 0:51:21But that's what it was like

0:51:21 > 0:51:23touring with the Heartbreakers in those days.

0:51:23 > 0:51:25Anything could happen day to day.

0:51:25 > 0:51:26It was high adventure.

0:51:26 > 0:51:30Everything was new, everything was exciting.

0:51:30 > 0:51:34We were meeting lots of nice foreign ladies

0:51:34 > 0:51:36and trying to extend

0:51:36 > 0:51:39as much American hospitality to them as we could.

0:51:41 > 0:51:44And so, next thing you know...

0:51:44 > 0:51:45(car horns honking)

0:51:45 > 0:51:47...we're back in L.A.,

0:51:47 > 0:51:49taking out the garbage.

0:51:51 > 0:51:53Blair: We come back to the States, and we have to, you know,

0:51:53 > 0:51:56go state by state and area by area,

0:51:56 > 0:51:58and I can remember Stan,

0:51:59 > 0:52:01you know, I must have it on a tape somewhere,

0:52:01 > 0:52:03but we're pulling into Toledo in some kind of van,

0:52:03 > 0:52:05and then Stan is waking up,

0:52:05 > 0:52:07and he's going, "Are we stars in Toledo?"

0:52:07 > 0:52:10And we're going, "no, Stan, we're not stars here," you know.

0:52:11 > 0:52:13We're going to have to like work the market, whatever, you know.

0:52:13 > 0:52:14It's the big time. It's not the big time.

0:52:14 > 0:52:17I remember that feeling, like, we got it, we don't got it.

0:52:17 > 0:52:18We got it. We don't got it.

0:52:18 > 0:52:20Blair: Depending on the area

0:52:20 > 0:52:23and whether a radio station was actually playing the record,

0:52:23 > 0:52:24we'd go some places, and, uh...

0:52:24 > 0:52:27gosh, where was it, somewhere in the northeast,

0:52:27 > 0:52:30and the guy from the record company walked up to us,

0:52:30 > 0:52:32gave us back a stack of records going,

0:52:32 > 0:52:34"I can't give these away."

0:52:34 > 0:52:37The first record, we're going, okay.

0:52:37 > 0:52:40Right opposite me across the road is the Whisky,

0:52:40 > 0:52:42and that's where tonight

0:52:42 > 0:52:44Tom Petty and the Heartbreakers are playing,

0:52:44 > 0:52:46and that's also where we're going right now.

0:52:46 > 0:52:48How did you enjoy the tour of England?

0:52:48 > 0:52:49I love England.

0:52:49 > 0:52:50'Cause you arrived in Wngland

0:52:50 > 0:52:52right dead center of the new wave... rise.

0:52:52 > 0:52:54Yeah, right in the middle.

0:52:54 > 0:52:56And what's more, people kind of linked you

0:52:57 > 0:52:59into that situation, too.

0:52:59 > 0:53:02Yeah, well, that's... that was only... I expected that.

0:53:02 > 0:53:05I mean, we had to be in the new wave

0:53:05 > 0:53:07because we weren't in the old wave, so...

0:53:07 > 0:53:09I just don't like clubs.

0:53:09 > 0:53:12I don't like to join nobody's club, you know,

0:53:12 > 0:53:15so we didn't join no clubs.

0:53:15 > 0:53:16We're our own club.

0:53:16 > 0:53:18We're just a rock and roll band.

0:53:18 > 0:53:20All I wanted to say is

0:53:20 > 0:53:22the reason that we've been here is because, uh,

0:53:22 > 0:53:23Britain loves this band, and so do I.

0:53:24 > 0:53:26Ladies and gentlemen, Tom Petty and the Heartbreakers.

0:53:26 > 0:53:27(audience cheering)

0:53:27 > 0:53:29(opening chord plays)

0:53:29 > 0:53:31(drumsticks clicking)

0:53:31 > 0:53:33("Listen To Her Heart" intro plays)

0:53:39 > 0:53:40Denny Cordell: The place was absolutely packed,

0:53:40 > 0:53:42and they just came on, and they just...

0:53:42 > 0:53:44they did it.

0:53:44 > 0:53:45Everything was perfect.

0:53:45 > 0:53:46The thing rocked.

0:53:46 > 0:53:48Every solo was a burner.

0:53:48 > 0:53:49Everybody was in cracking form.

0:53:49 > 0:53:52They looked phenomenal.

0:53:52 > 0:53:54And that was the day the tide turned really.

0:53:54 > 0:53:58# You think you're gonna take her away

0:53:58 > 0:54:01# With your money and your cocaine

0:54:01 > 0:54:05# You keep thinkin' that her mind is gonna change

0:54:05 > 0:54:08# But I know everything is okay

0:54:08 > 0:54:13# She's gonna listen to her heart

0:54:13 > 0:54:18# It's gonna tell her what to do

0:54:18 > 0:54:25# She might need a lot of lovin' but she don't need you

0:54:25 > 0:54:27# You want me to think that... #

0:54:27 > 0:54:31Petty: We started out as a sort of alternative band.

0:54:31 > 0:54:33It was in the time when

0:54:33 > 0:54:36rock itself had become really big and bloated,

0:54:36 > 0:54:40and songs had turned into seven minute exercises

0:54:40 > 0:54:42of, you know, bullshit.

0:54:42 > 0:54:48Long jams that don't have some kind of melodic

0:54:48 > 0:54:49beginning, middle and end,

0:54:49 > 0:54:51that's not the Heartbreakers' bag.

0:54:51 > 0:54:54We have a slogan, "Don't bore us, get to the chorus."

0:54:54 > 0:54:56(chuckles)

0:54:56 > 0:54:58Some of the bands who were on top at that time

0:54:58 > 0:55:00had once been great bands,

0:55:00 > 0:55:02but they were just kind of staying around

0:55:02 > 0:55:03way past their sell-by date.

0:55:03 > 0:55:06It just seemed like a particularly uninspired moment.

0:55:06 > 0:55:09And then suddenly, coming from the underground

0:55:09 > 0:55:11only really getting played on college radio,

0:55:11 > 0:55:16came The Clash and the Talking Heads and Elvis Costello

0:55:16 > 0:55:18and The Sex Pistols and Patti Smith

0:55:18 > 0:55:20and Tom Petty and the Heartbreakers.

0:55:20 > 0:55:24And even though it doesn't seem, especially now,

0:55:24 > 0:55:26that Tom Petty and the Heartbreakers

0:55:26 > 0:55:28would be in that company,

0:55:28 > 0:55:30they did have the energy and the brashness

0:55:30 > 0:55:32and, you know, that little edge of anger--

0:55:32 > 0:55:34the short, punchy songs

0:55:34 > 0:55:37that made them feel like part of something very new.

0:55:37 > 0:55:41So who are your influences?

0:55:41 > 0:55:43Um, the radio.

0:55:43 > 0:55:45The radio? Yeah, the radio

0:55:45 > 0:55:46in the '60s.

0:55:46 > 0:55:51# Hey, Mr. Tambourine Man

0:55:51 > 0:55:54# Play a song for me

0:55:54 > 0:55:58# In the jingle jangle morning

0:55:58 > 0:56:03# I'll come following you... #

0:56:03 > 0:56:08Petty: Some of our earliest songs were really influenced by the Byrds.

0:56:08 > 0:56:11They brought a kind of a folk

0:56:11 > 0:56:13influence to rock.

0:56:13 > 0:56:14Roger McGuinn: I was kidding my manager.

0:56:14 > 0:56:17He played "American Girl" for me, and I said,

0:56:17 > 0:56:20"When did I record that?"

0:56:20 > 0:56:21He said, "It's not you," and I said,

0:56:21 > 0:56:23"Yeah, I know it's not me. Who is it?"

0:56:23 > 0:56:26("American Girl" intro plays)

0:56:37 > 0:56:39(electric guitar plays)

0:56:54 > 0:56:59# Well, she was an American girl

0:56:59 > 0:57:03# Raised on promises

0:57:03 > 0:57:06# She couldn't help thinking that there

0:57:06 > 0:57:09# Was a little more to life

0:57:09 > 0:57:11# Somewhere else

0:57:11 > 0:57:16# After all, it was a great big world

0:57:16 > 0:57:19# With lots of places to run to

0:57:19 > 0:57:22# Yeah, and if she had to die

0:57:22 > 0:57:26# Trying she had one little promise

0:57:26 > 0:57:28# She was gonna keep

0:57:28 > 0:57:31# Oh, yeah

0:57:31 > 0:57:33# All right

0:57:33 > 0:57:35# Take it easy, baby

0:57:35 > 0:57:38# Make it last all night Make it last all night

0:57:38 > 0:57:42# She was an American girl

0:57:45 > 0:57:49# Well, it was kind of cold that night

0:57:49 > 0:57:53# She stood alone on her balcony

0:57:53 > 0:57:54# Ooh

0:57:54 > 0:57:58# Yeah, she could hear the cars roll by

0:57:58 > 0:58:00# Out on 441

0:58:00 > 0:58:03# Like waves crashing on the beach

0:58:03 > 0:58:07# And for one desperate moment there

0:58:07 > 0:58:11# He crept back in her memory

0:58:11 > 0:58:16# God it's so painful when something is so close

0:58:16 > 0:58:20# And still so far out of reach

0:58:20 > 0:58:23# Oh, yeah

0:58:23 > 0:58:24# All right

0:58:24 > 0:58:26# Take it easy, baby

0:58:26 > 0:58:29# Make it last all night Make it last all night

0:58:29 > 0:58:34# She was an American girl

0:58:37 > 0:58:40(playing instrumental bridge)

0:59:09 > 0:59:12# All right

0:59:18 > 0:59:19# All right

0:59:19 > 0:59:22(electric guitar plays melody)

0:59:26 > 0:59:27# All right

0:59:34 > 0:59:36# Oh, yeah

0:59:51 > 0:59:52# All right. #

1:00:13 > 1:00:15(loud cheering)

1:00:23 > 1:00:24(song ends)

1:00:24 > 1:00:27(mid-tempo rock intro playing)

1:00:37 > 1:00:38# This might sound strange

1:00:38 > 1:00:40# It might seem dumb

1:00:40 > 1:00:44# Depends on the side that you take it in from... #

1:00:44 > 1:00:46The second one is always a tough one,

1:00:46 > 1:00:49because you want to prove that you're worth,

1:00:49 > 1:00:51you know, staying around,

1:00:51 > 1:00:53that this is gonna be an ongoing thing.

1:00:53 > 1:00:54Two things keep this man happy:

1:00:55 > 1:00:56chasing women and playing rock and roll.

1:00:56 > 1:00:58And if he's as good with the ladies

1:00:58 > 1:01:01as he is with his music, he's a very happy man.

1:01:01 > 1:01:03Here's Tom Petty and the Heartbreakers!

1:01:03 > 1:01:06(applause, whistling, cheering)

1:01:06 > 1:01:09(up-tempo rock intro to "I Need To Know" playing)

1:01:17 > 1:01:21# Well, the talk on the street says you might go solo

1:01:23 > 1:01:27# A good friend of mine saw you leaving by your back door

1:01:28 > 1:01:30# I need to know Need to know

1:01:30 > 1:01:32# Need to know Need to know

1:01:32 > 1:01:33# If you think you're gonna leave

1:01:33 > 1:01:34# Then you better say so

1:01:34 > 1:01:36# I need to know Need to know

1:01:36 > 1:01:38# Need to know Need to know

1:01:38 > 1:01:41# Because I don't know how long

1:01:41 > 1:01:44# I can hold on

1:01:44 > 1:01:47# If you're making me wait

1:01:47 > 1:01:49# If you're leading me on

1:01:49 > 1:01:50# I need to know

1:01:50 > 1:01:53# Need to know

1:01:53 > 1:01:55# Need to know I need to know

1:01:55 > 1:01:56# Ow! #

1:01:56 > 1:01:58Campbell: Tom was just...

1:01:58 > 1:02:00blossoming as a writer-- I mean, all those great...

1:02:00 > 1:02:01they're still some of my favorite songs,

1:02:02 > 1:02:04like "American Girl," "Breakdown,"

1:02:04 > 1:02:06"Stranger In The Night," "Fooled Again,"

1:02:06 > 1:02:07"I Need To Know."

1:02:08 > 1:02:10# Baby, I need to know

1:02:10 > 1:02:11# Need to know

1:02:11 > 1:02:12# Need to know... #

1:02:12 > 1:02:14Tench: It all felt really great.

1:02:14 > 1:02:16Successful rock band, that's great.

1:02:16 > 1:02:18You're playing music you love, people love it.

1:02:18 > 1:02:20It's just a day-to-day thing.

1:02:20 > 1:02:22Didn't feel like some big dream came true.

1:02:22 > 1:02:25It felt like what I was supposed to be doing.

1:02:25 > 1:02:29That period, I was starting to drink a lot.

1:02:29 > 1:02:32You know, there was a lot of cocaine around,

1:02:32 > 1:02:34and sometimes I would just be blind.

1:02:34 > 1:02:36I think for the most part during the shows,

1:02:36 > 1:02:39I was pretty together, 'cause I really respected it.

1:02:41 > 1:02:43But after the show,

1:02:43 > 1:02:45I'd get pretty obliterated a lot of the time.

1:02:45 > 1:02:47So a lot of that period

1:02:47 > 1:02:49is a bit of a blur.

1:02:49 > 1:02:50# Too much

1:02:50 > 1:02:51# Baby

1:02:51 > 1:02:52# Ain't enough

1:02:52 > 1:02:54# No way

1:02:58 > 1:03:00# Too much Baby

1:03:00 > 1:03:02# Ain't enough No way

1:03:02 > 1:03:04# Aw, come on, baby, I'm down on my knees

1:03:04 > 1:03:07# Guess some little girls just can't be pleased... #

1:03:11 > 1:03:14Elliot Roberts: The band was getting better and better and better.

1:03:14 > 1:03:16They were playing more and building.

1:03:16 > 1:03:19They were going from headlining in clubs

1:03:19 > 1:03:24to headlining small halls, and the enthusiasm was starting.

1:03:24 > 1:03:27First you can't get gigs-- you know, you want to get gigs--

1:03:27 > 1:03:29and then you can't get out of them.

1:03:29 > 1:03:30You know? Like, there's so many.

1:03:30 > 1:03:33We weren't home much in those years.

1:03:33 > 1:03:35We worked, and we loved working.

1:03:35 > 1:03:36# Oh

1:03:36 > 1:03:39# Ain't enough... #

1:03:47 > 1:03:50Always smoking my fucking reefers.

1:03:50 > 1:03:52(laughing): That's their problem.

1:03:52 > 1:03:55(yells)

1:03:55 > 1:03:58Petty: The crowds are all great.

1:03:58 > 1:03:59They're just fantastic, you know?

1:03:59 > 1:04:01There's never a bad one.

1:04:01 > 1:04:03Can you say, I love rock and roll music?

1:04:03 > 1:04:05(cheering) Can you say,

1:04:05 > 1:04:07It makes me feel good inside?

1:04:07 > 1:04:09(cheering)

1:04:09 > 1:04:10# Sometimes

1:04:10 > 1:04:12(crowd whooping)

1:04:12 > 1:04:14# Sometimes

1:04:14 > 1:04:16(Petty groans)

1:04:16 > 1:04:18# Sometimes... # Easy.

1:04:18 > 1:04:22I leaned out over, and somebody just got me

1:04:22 > 1:04:24right around the legs.

1:04:24 > 1:04:26(loud clap) You know, in we go.

1:04:26 > 1:04:29That was, you know, pretty scary.

1:04:29 > 1:04:31They, uh...

1:04:31 > 1:04:34It was one of the first times it really registered to me

1:04:34 > 1:04:37that, you know, the crowd is dangerous.

1:04:37 > 1:04:40The crowd, a crowd, you know, out of control, is dangerous,

1:04:41 > 1:04:42because that was dangerous, you know?

1:04:42 > 1:04:45I was beat up pretty good there.

1:04:45 > 1:04:47And it doesn't seem on the tape

1:04:47 > 1:04:49like it takes very long at all to get me out,

1:04:49 > 1:04:51but I mean, it was a lifetime.

1:04:51 > 1:04:53I don't know, I think they really thought

1:04:53 > 1:04:55that they could just...

1:04:55 > 1:04:57take a finger home, you know, take this...

1:04:57 > 1:05:00I don't know what they thought, to tell you the truth.

1:05:00 > 1:05:03I got back up and finished the show.

1:05:03 > 1:05:05(cheering)

1:05:08 > 1:05:10They were a great audience, really.

1:05:10 > 1:05:11It was a great show.

1:05:11 > 1:05:13And I don't hold anything against the audience,

1:05:13 > 1:05:16'cause, I mean, I'm the one that stirred it all up

1:05:16 > 1:05:17in the first place.

1:05:17 > 1:05:21I just should know better than to... to get too close.

1:05:22 > 1:05:26Iovine: The songs of a second record in a lot of albums

1:05:26 > 1:05:28that I have found in the '70s

1:05:28 > 1:05:30was, especially singer-songwriter type guys,

1:05:30 > 1:05:33the second album, you know, they wrote that first album

1:05:33 > 1:05:36for ten, 15 years and the second album

1:05:36 > 1:05:37in ten months, you know?

1:05:37 > 1:05:39And it always showed.

1:05:39 > 1:05:41And then you have to go in on the third album

1:05:41 > 1:05:43and really just, you know...

1:05:43 > 1:05:46That's what Bruce, Patti, and Tom Petty had in common.

1:05:47 > 1:05:49To me, they were all third albums.

1:05:53 > 1:05:55Petty: Cordell had become...

1:05:55 > 1:05:59too busy with whatever was going on

1:05:59 > 1:06:01in his company to produce records.

1:06:01 > 1:06:04I, as a producer, you know,

1:06:04 > 1:06:07I-I know that I can only...

1:06:07 > 1:06:09take some people so far.

1:06:09 > 1:06:12And there was a record out at the time by the...

1:06:12 > 1:06:15the Patti Smith Group that I liked the sound of,

1:06:15 > 1:06:17and it was produced

1:06:17 > 1:06:20by a guy named Jimmy Iovine out of New York.

1:06:20 > 1:06:22At the time, I had been lucky.

1:06:22 > 1:06:23I'd worked on a few third albums.

1:06:23 > 1:06:25You know, it was Patti's third album.

1:06:25 > 1:06:27I did Born To Run with Bruce; it was his third album.

1:06:27 > 1:06:29And I knew this was

1:06:29 > 1:06:30Tom's third album.

1:06:30 > 1:06:31I was hiring him

1:06:31 > 1:06:33to be an engineer and a coproducer.

1:06:33 > 1:06:35I just didn't listen, you know what I mean?

1:06:35 > 1:06:37I just came out there with my own engineer.

1:06:37 > 1:06:39He comes with his own engineer.

1:06:39 > 1:06:40He's no longer doing that.

1:06:40 > 1:06:42You know, I kind of pushed my way in a little bit.

1:06:42 > 1:06:44And he was quite a character.

1:06:44 > 1:06:45Tom and I hit it off immediately.

1:06:45 > 1:06:47We got very close.

1:06:47 > 1:06:49We were about the same age.

1:06:49 > 1:06:51Both of us came from humble backgrounds.

1:06:51 > 1:06:53His was New York City, you know?

1:06:53 > 1:06:54Mine was the south.

1:06:54 > 1:06:55He was from hell's kitchen.

1:06:55 > 1:06:57We get together the first night,

1:06:57 > 1:06:59he wants to hear what songs I've got.

1:06:59 > 1:07:01I played him, "Here Comes My Girl"

1:07:01 > 1:07:03on my guitar.

1:07:03 > 1:07:07And I see he's... he's looking kind of excited,

1:07:07 > 1:07:09and he... just kind of, that one ends,

1:07:09 > 1:07:12and he goes, "Whew, man!

1:07:12 > 1:07:14What-what else have you got?"

1:07:14 > 1:07:16You know, and I...

1:07:16 > 1:07:18and I played him "Refugee" on the guitar.

1:07:18 > 1:07:21When he played me those two songs, I said, "Wow,

1:07:21 > 1:07:24(laughing): This is gonna be an incredible project."

1:07:24 > 1:07:26And it's the first and the last time

1:07:26 > 1:07:27I ever said to someone,

1:07:27 > 1:07:29"You don't need any more songs."

1:07:29 > 1:07:32I've never said that to anyone since.

1:07:32 > 1:07:34I love Jimmy, but, you know, he...

1:07:34 > 1:07:36I think he sometimes got frustrated,

1:07:36 > 1:07:38because we were, you know,

1:07:38 > 1:07:40from the South, a little slower--

1:07:40 > 1:07:42he's from New York-- and we would sit back

1:07:42 > 1:07:44and, you know, get stoned and discuss it for a while

1:07:44 > 1:07:46and then jam for a while, and, "Okay, let's try the song."

1:07:46 > 1:07:48And he'd be, like, "come on, guys," you know,

1:07:48 > 1:07:49"we got to make a record," you know?

1:07:51 > 1:07:53Petty: We finally got into a place

1:07:53 > 1:07:57where we knew the people and things were working well,

1:07:57 > 1:08:01but then problems started when MCA acquired Shelter Records.

1:08:01 > 1:08:03I felt like they'd just sold us

1:08:03 > 1:08:07like we were groceries or, you know,

1:08:07 > 1:08:09frozen... pork or something.

1:08:09 > 1:08:10(laughs)

1:08:10 > 1:08:12We had a clause that said

1:08:12 > 1:08:15if our contract is sold to anyone else,

1:08:15 > 1:08:18you have to have our consent.

1:08:18 > 1:08:20So we went to them and said,

1:08:20 > 1:08:22"You're gonna have to let us go."

1:08:22 > 1:08:24And we were pretty much told

1:08:24 > 1:08:26we just had to forget about that

1:08:26 > 1:08:29and that we weren't in any financial position

1:08:29 > 1:08:31to fight a large corporation.

1:08:31 > 1:08:34This made me really mad.

1:08:34 > 1:08:37Like so many young artists, he'd signed a bad deal,

1:08:37 > 1:08:40and when he found out what it... what it entailed,

1:08:40 > 1:08:41he did what very few artists do,

1:08:41 > 1:08:44is he actually said, "I'll go to war over this."

1:08:46 > 1:08:49The publishing deal wasn't a fair deal,

1:08:49 > 1:08:53because it had been signed under duress.

1:08:53 > 1:08:55They had said, "You sign the publishing deal,

1:08:55 > 1:08:57or we won't sign the recording deal."

1:08:57 > 1:08:59That's illegal.

1:08:59 > 1:09:02So my songs had really been taken away from me

1:09:02 > 1:09:05when I didn't even know what publishing was.

1:09:05 > 1:09:10Here's this huge corporation, like Universal was, and...

1:09:10 > 1:09:14they want to take my songs away from me?

1:09:14 > 1:09:16You don't have any right.

1:09:16 > 1:09:18And when you made me sign this paper,

1:09:18 > 1:09:20I thought publishing was songbooks.

1:09:20 > 1:09:22I swear to God, I just thought that meant

1:09:22 > 1:09:25that you could put it in a songbook.

1:09:25 > 1:09:26I didn't know you owned

1:09:26 > 1:09:30the copyright to my song and I would never see a dime for it.

1:09:30 > 1:09:33And our record deal was just as bad.

1:09:33 > 1:09:35You know, it was pennies-a-record we were making.

1:09:35 > 1:09:38And the record business, the way it works is,

1:09:38 > 1:09:39they front you money,

1:09:39 > 1:09:42but you really pay to make your record,

1:09:42 > 1:09:46because they deduct all the costs of the record

1:09:46 > 1:09:48against your royalties.

1:09:48 > 1:09:50Technically, you're bankrupt,

1:09:50 > 1:09:54'cause you can't possibly pay this huge bill back,

1:09:54 > 1:09:57and if you're bankrupt, all contracts are void.

1:09:58 > 1:10:01So if you prove that in court, you could walk.

1:10:01 > 1:10:04And so he filed for chapter 11 bankruptcy,

1:10:04 > 1:10:07which is the first time anybody did that in the music business.

1:10:07 > 1:10:10And that was a big, you know...

1:10:10 > 1:10:13there was huge reverberations around the business.

1:10:13 > 1:10:16Petty: This turned into a big thing, because...

1:10:16 > 1:10:17it would set an industry standard

1:10:17 > 1:10:19where lots and lots of people

1:10:19 > 1:10:23could use the same argument and leave their contracts.

1:10:23 > 1:10:27Suddenly, I'm not in a battle with one record company,

1:10:27 > 1:10:29I'm in a battle with all of them.

1:10:32 > 1:10:34During that period,

1:10:34 > 1:10:36you know, I wrote a song called "Century City,"

1:10:36 > 1:10:38because that's where we had to go every day.

1:10:38 > 1:10:41That's where the lawyers live, Century City.

1:10:41 > 1:10:44# Sometimes I wanna leave here

1:10:44 > 1:10:47# Sometimes I wanna go

1:10:47 > 1:10:50# Right back where I came from

1:10:50 > 1:10:53# Back where I belong... #

1:10:53 > 1:10:57Dimitriades: And he was really scared... outside,

1:10:57 > 1:11:00but once we went in the room with the lawyers

1:11:00 > 1:11:02and he sat down, like, he was...

1:11:02 > 1:11:05he was a totally different personality, you know.

1:11:05 > 1:11:07He made them believe that he didn't give a shit.

1:11:07 > 1:11:11And, in fact, he had a penknife that he'd got out,

1:11:11 > 1:11:15opened the penknife, and started cleaning his nails.

1:11:15 > 1:11:18Now, he swears to me that he didn't even think about it.

1:11:19 > 1:11:21He just thought, he wanted something to do.

1:11:21 > 1:11:23You know? the lawyers took it as,

1:11:23 > 1:11:24here's this young punk,

1:11:25 > 1:11:27you know, he's got a knife, you know,

1:11:27 > 1:11:29he's, like... he's, like,

1:11:29 > 1:11:31threatening, and he doesn't give a shit.

1:11:31 > 1:11:32That's how they took him.

1:11:32 > 1:11:36The big guy comes in and goes, "let me tell you something, kid.

1:11:36 > 1:11:38"You're gonna forget this,

1:11:38 > 1:11:41"you're gonna go make your records and shut up.

1:11:41 > 1:11:45You know, I said, "look, I'll sell fucking peanuts

1:11:45 > 1:11:48"before I'll give in to you.

1:11:48 > 1:11:50I refuse to give in to you."

1:11:50 > 1:11:55I said, "you can break me, but you can't make records."

1:11:55 > 1:11:58So in order to pay the legal bills,

1:11:58 > 1:12:01we did a short tour and called it...

1:12:01 > 1:12:02"The Lawsuit Tour."

1:12:02 > 1:12:05And we had shirts that said

1:12:05 > 1:12:07"Why MCA?" on the front.

1:12:07 > 1:12:09(rock intro to "Shadow Of A Doubt" playing)

1:12:22 > 1:12:28# There goes my baby, there goes my only one

1:12:34 > 1:12:42# I thinks she loves me, but she don't want to let on

1:12:47 > 1:12:51# Yeah, she likes to keep me guessing

1:12:51 > 1:12:54# She's got me on the fence

1:12:54 > 1:12:57# With that little bit of mystery

1:12:57 > 1:13:00# She's a complex kid

1:13:00 > 1:13:07# And she's always been so hard to figure out

1:13:07 > 1:13:10# Yeah, she always likes to leave me

1:13:10 > 1:13:14# With a shadow of a doubt

1:13:20 > 1:13:21# Oh! #

1:13:21 > 1:13:23Tony Dimitriades: We were recording an album

1:13:23 > 1:13:25at the time,

1:13:25 > 1:13:27and we made it clear that we weren't going

1:13:27 > 1:13:28to deliver the album.

1:13:28 > 1:13:31Incredible pressure, and artistically,

1:13:31 > 1:13:35I knew this is certainly my greatest work,

1:13:35 > 1:13:38and I don't know if I'm going to be able to put it out.

1:13:38 > 1:13:41The worst thing to me was that Tom and Cordell fell out.

1:13:41 > 1:13:44Petty: I felt betrayed by Denny.

1:13:44 > 1:13:47The funny thing was he never took it personal.

1:13:47 > 1:13:50He can't understand why we couldn't still be friends.

1:13:50 > 1:13:51He came from that '60s

1:13:51 > 1:13:55school of, "Well, it's just business, you know?

1:13:55 > 1:13:57"It's just business.

1:13:57 > 1:13:59"Of course, I'm going to try to take you

1:13:59 > 1:14:03if you give me a chance, but I still, I'm still your friend."

1:14:03 > 1:14:04I didn't see it that way, you know?

1:14:04 > 1:14:06I thought, "if you're my friend,

1:14:06 > 1:14:08"you should have been up front with me about this,

1:14:08 > 1:14:10"because you knew damn well

1:14:10 > 1:14:12I didn't know what I was getting into."

1:14:12 > 1:14:15The guys in the band were very supportive.

1:14:15 > 1:14:18They trusted me so implicitly that if I said,

1:14:18 > 1:14:19"That's what we're gonna do,

1:14:19 > 1:14:21by God, that's what we're gonna do."

1:14:21 > 1:14:25But it's the old story of we could fight among ourselves,

1:14:25 > 1:14:26but if somebody else starts something,

1:14:26 > 1:14:28we were all on him, you know.

1:14:28 > 1:14:33And Jimmy, Jimmy was very much there for me.

1:14:33 > 1:14:36I used to talk to Tom Petty-- this is no bullshit--

1:14:36 > 1:14:39two to four hours a night on the phone,

1:14:39 > 1:14:44seven nights a week for at least 400 to 500 days in a row.

1:14:45 > 1:14:47Jimmy used to call me at night and go,

1:14:47 > 1:14:48"Do you think it'll ever come out?

1:14:48 > 1:14:50What if it never comes out?"

1:14:50 > 1:14:52(laughs)

1:14:52 > 1:14:54And you know, I go, "I don't know,

1:14:54 > 1:14:58"but we got to make it, right? We've got to make it."

1:14:58 > 1:15:01("Refugee" playing)

1:15:05 > 1:15:08Iovine: I had no doubt that we were going to do something

1:15:08 > 1:15:10that no one ever heard before.

1:15:10 > 1:15:12I knew that we were going to have an impact sonically.

1:15:12 > 1:15:14I knew it. I just felt it, you know?

1:15:16 > 1:15:18# We got something, we both know it

1:15:18 > 1:15:21# We don't talk too much about it

1:15:24 > 1:15:26# Ain't no real big secret

1:15:26 > 1:15:30# All the same, somehow we get around it

1:15:32 > 1:15:37# Listen, it don't really matter to me, baby

1:15:37 > 1:15:40# You can believe what you want to believe

1:15:40 > 1:15:45# You see, you don't have to live like a refugee

1:15:45 > 1:15:49# Don't have to live like a refugee

1:15:49 > 1:15:52# Somewhere, somehow, somebody must have

1:15:52 > 1:15:54# Kicked you around some

1:15:58 > 1:16:01# Tell me why you want to lay there

1:16:01 > 1:16:02# Revel in your abandon

1:16:05 > 1:16:10# Honey, it don't make no difference to me, baby

1:16:10 > 1:16:13# Everybody's had to fight to be free

1:16:13 > 1:16:18# You see, you don't have to live like a refugee

1:16:18 > 1:16:21# Don't have to live like a refugee

1:16:21 > 1:16:26# Now, baby, you don't have to live like a refugee

1:16:26 > 1:16:30# Don't have to live like a refugee

1:16:30 > 1:16:31# No! #

1:16:31 > 1:16:34Petty: we worked so... hard.

1:16:34 > 1:16:37We worked 18-hour days.

1:16:37 > 1:16:39Campbell: "Refugee," we must have done 150 takes.

1:16:39 > 1:16:41We wanted a live performance,

1:16:41 > 1:16:42all the band playing at the same time,

1:16:42 > 1:16:45which means, you know, you have to get five guys

1:16:45 > 1:16:48to capture that emotional, kinetic energy of magic

1:16:48 > 1:16:51all at the same time and get it on tape.

1:16:51 > 1:16:54Petty: It was just getting that one special performance

1:16:54 > 1:16:59that really did the song justice.

1:16:59 > 1:17:01There was just roomfuls of tapes

1:17:01 > 1:17:03with nothing but "Refugee," "Refugee," "Refugee."

1:17:03 > 1:17:06And somehow, nobody ever said, when we cut "Refugee,"

1:17:06 > 1:17:09"Why don't we edit two takes together,"

1:17:09 > 1:17:12which every band in the world does.

1:17:12 > 1:17:16Petty: but we'd gotten so hypnotised with working on it,

1:17:16 > 1:17:17we never knew when to quit.

1:17:17 > 1:17:19Once we had the finished record,

1:17:19 > 1:17:22we were still trying to mix it again, you know,

1:17:22 > 1:17:24like Jimmy was going,

1:17:24 > 1:17:27"I don't know, we got to mix it one more time.

1:17:27 > 1:17:32Let's go to New York and see what it sounds like there."

1:17:32 > 1:17:35We got, Jimmy and I flew to New York with the tapes.

1:17:35 > 1:17:36We were crazy.

1:17:36 > 1:17:41# No, you don't have to live like a refugee

1:17:41 > 1:17:43# Don't have to live... #

1:17:43 > 1:17:45Campbell: You can go through that if the song is really good.

1:17:45 > 1:17:47These songs, we felt, were going to be timeless.

1:17:47 > 1:17:50We just had a feeling that these were really powerful songs,

1:17:50 > 1:17:54and so it was worth all the slaving to get them good.

1:17:54 > 1:17:57If you spent that much time on a mediocre song,

1:17:57 > 1:17:59you'd probably want to kill yourself.

1:17:59 > 1:18:01Up until about five years ago,

1:18:01 > 1:18:04if I heard it on the radio, I would still call them.

1:18:04 > 1:18:06I would. I would call them and say,

1:18:06 > 1:18:08"This fucking thing sounds amazing on the radio,

1:18:08 > 1:18:09doesn't it?"

1:18:09 > 1:18:11And he'd get annoyed.

1:18:11 > 1:18:12(chuckles)

1:18:12 > 1:18:14("Don't Do Me Like That" plays)

1:18:23 > 1:18:25The only that I didn't like about the experience

1:18:25 > 1:18:27was that they were down on Stan, and I didn't like that.

1:18:27 > 1:18:29Actually they weren't.

1:18:29 > 1:18:31I think it was just Jimmy and Stan didn't hit it off.

1:18:31 > 1:18:34I don't think Jimmy liked the way that Stanley played.

1:18:34 > 1:18:41I felt the way Tom sang and Stanley played,

1:18:41 > 1:18:44that it never, it would always be hard

1:18:44 > 1:18:45for it to connect for me.

1:18:45 > 1:18:47Stanley was a really good drummer,

1:18:47 > 1:18:48and Tom was a great singer,

1:18:48 > 1:18:51but I always felt there was a little bit of a rub there

1:18:51 > 1:18:54and a little bit of a plodding that made the songs sound slower

1:18:54 > 1:18:55than they were.

1:18:59 > 1:19:01(man speaks indistinctly off screen)

1:19:01 > 1:19:03The bass drum feels real loose right now.

1:19:03 > 1:19:05Okay, bring it up a fraction.

1:19:05 > 1:19:07No, I was thinking like maybe put some more packing in it

1:19:07 > 1:19:09or something, yeah?

1:19:09 > 1:19:12All right, go ahead, try that.

1:19:12 > 1:19:13It's kind of got shitty action.

1:19:13 > 1:19:14Lynch: well, my experience with Jimmy

1:19:14 > 1:19:17was he was a professional record producer,

1:19:17 > 1:19:18and he came with a professional engineer

1:19:19 > 1:19:21who was terrific, Shelly Akison.

1:19:21 > 1:19:25The first thing they did was Shelly took me drum shopping.

1:19:25 > 1:19:27He said, "you know, your drum sound is punk-ass,

1:19:27 > 1:19:29because your drums are punk-ass.

1:19:29 > 1:19:33And Jimmy was basically like,

1:19:33 > 1:19:35"Get the drum tracks and get out of my way.

1:19:35 > 1:19:40Okay, this is the same beater with the... more packing.

1:19:40 > 1:19:42(playing basic beat)

1:19:50 > 1:19:53Campbell: we'd been in there, I think, for three days,

1:19:53 > 1:19:56just hitting the drum, trying to get the drum to sound right,

1:19:56 > 1:19:57trying to play, and of course, then,

1:19:58 > 1:19:59after you get tired of getting the sounds,

1:19:59 > 1:20:00you don't have the spirit to play,

1:20:01 > 1:20:02and just getting bummed out.

1:20:02 > 1:20:04I just left the studio one day. I left town.

1:20:04 > 1:20:06I'm out of here. I can't take the pressure.

1:20:06 > 1:20:09Just went to Santa Barbara for three days, cooled out.

1:20:24 > 1:20:27Man: Whoa...!

1:20:33 > 1:20:35(all laugh)

1:20:39 > 1:20:41Petty: Jimmy would say, "well, you know,

1:20:41 > 1:20:44you shouldn't have to work this hard to get the takes,"

1:20:44 > 1:20:47but I will say, when other drummers were brought in,

1:20:47 > 1:20:50they weren't Stan Lynch.

1:20:50 > 1:20:53You know, he had a certain power,

1:20:53 > 1:20:56like we were all fingers of the same hand.

1:20:56 > 1:20:59Stan made a sound with us.

1:20:59 > 1:21:03And I can't downplay how good he was.

1:21:03 > 1:21:05("Here Comes That Girl" plays)

1:21:17 > 1:21:23In that album, we developed a drum sound that was very big.

1:21:23 > 1:21:25# You know, sometimes I don't know why

1:21:26 > 1:21:29# But this old town just seems so hopeless

1:21:29 > 1:21:33For years, that drum sound was imitated by everyone

1:21:33 > 1:21:34for a long time.

1:21:34 > 1:21:37It changed the way drums were recorded, really.

1:21:37 > 1:21:39Iovine: Tom puts a lot of guitars on records,

1:21:39 > 1:21:41so when you layer those guitars,

1:21:41 > 1:21:42if you don't have

1:21:42 > 1:21:44the right illusion going on,

1:21:44 > 1:21:45the drums go away, in those days.

1:21:45 > 1:21:48This is, you know, this is, this is before sampling,

1:21:48 > 1:21:50before anything, you know.

1:21:50 > 1:21:53So you had to create an illusion in the studio

1:21:53 > 1:21:55so where you can put those kinds of guitars on there,

1:21:55 > 1:21:59and Tom's voice has to fit right in the middle of those things.

1:21:59 > 1:22:02# Hey, here comes my girl

1:22:03 > 1:22:06# Here comes my girl

1:22:10 > 1:22:13# Yeah, and she looks so right

1:22:13 > 1:22:19# She is all I need tonight... #

1:22:19 > 1:22:22Every now and then I get down to the end of a day

1:22:22 > 1:22:26I have to stop, ask myself why I'm doing it.

1:22:26 > 1:22:31It just seems so useless to have to work so hard

1:22:31 > 1:22:34and nothing ever really seem to come from it.

1:22:37 > 1:22:40# And then she looks me in the eye

1:22:40 > 1:22:42# Says, "we gonna last forever"

1:22:42 > 1:22:46# Man, you know, I can't begin to doubt it

1:22:46 > 1:22:50# No, 'cause it feels so good, and so free and so right

1:22:50 > 1:22:53# I know we ain't never gonna change our minds about it

1:22:53 > 1:22:59# Hey, here comes my girl

1:22:59 > 1:23:01# Here comes my girl. #

1:23:03 > 1:23:06Petty: And of course, while we were recording the album,

1:23:06 > 1:23:08the lawsuit was still going on,

1:23:08 > 1:23:10and this lawsuit is in the papers

1:23:10 > 1:23:14and it's becoming a huge anchor around my neck,

1:23:14 > 1:23:16but I'm still gonna make

1:23:16 > 1:23:18this record, you know, this Damn The Torpedoes record.

1:23:18 > 1:23:20We're still working away on it.

1:23:20 > 1:23:24Then the court, they start to imply that they have the right

1:23:25 > 1:23:28to come in and seize the tapes of anything that I'm working on.

1:23:29 > 1:23:33Trusty bugs again, I know bugs isn't going to be in this film,

1:23:33 > 1:23:35because he refuses to be interviewed--

1:23:35 > 1:23:36says something about him--

1:23:36 > 1:23:39but he's been there the whole time, my right-hand guy.

1:23:39 > 1:23:42We say, "Bugs, you got to change the name

1:23:42 > 1:23:43on every tape box."

1:23:44 > 1:23:45And so he came up with this name,

1:23:45 > 1:23:49"Morgan Lane," that he wrote on every tape box

1:23:49 > 1:23:50and took our name off.

1:23:50 > 1:23:54"And at the end of every session,

1:23:54 > 1:23:57"I want you to take all the tapes somewhere,

1:23:57 > 1:23:59"but I don't want to know where,

1:23:59 > 1:24:02and then bring 'em back the next session."

1:24:02 > 1:24:06So if I'm asked in court where these tapes are,

1:24:06 > 1:24:11"I don't know where they are." Got it?

1:24:11 > 1:24:13He goes, "Got it."

1:24:13 > 1:24:16And so we used to hide the tapes every night in my car

1:24:16 > 1:24:18so that they couldn't be confiscated by the court

1:24:18 > 1:24:19or by the record company.

1:24:19 > 1:24:22Something I didn't know is that they had drills

1:24:22 > 1:24:25to see how fast they could get the tapes off the machine,

1:24:25 > 1:24:27in the box and out of the studio.

1:24:29 > 1:24:33They never could find the tapes.

1:24:35 > 1:24:38We're in the courtroom--

1:24:38 > 1:24:44and uh, the case is being heard, witnesses are being called,

1:24:44 > 1:24:49and... at the last minute,

1:24:49 > 1:24:52they buckled.

1:24:52 > 1:24:55They realised he's not going to say "I give,"

1:24:55 > 1:24:56which I wasn't.

1:24:56 > 1:24:59What did I have to lose, you know?

1:24:59 > 1:25:03Even if I lose, what are you going to do,

1:25:03 > 1:25:04take my songs from me?

1:25:04 > 1:25:06I mean, you've already done it.

1:25:06 > 1:25:08So they call us to the settlement table,

1:25:08 > 1:25:13and what they did was they gave us our own label at MCA.

1:25:13 > 1:25:18It was like, okay, we're not going to let you leave MCA,

1:25:18 > 1:25:21but we're going to give your publishing back.

1:25:21 > 1:25:24You can own your publishing,

1:25:24 > 1:25:27and you can have your own record label

1:25:27 > 1:25:29and set your own deal,

1:25:29 > 1:25:33but we want to distribute the record.

1:25:33 > 1:25:36Thank you very much, you know.

1:25:36 > 1:25:37Danny Bramson was brought in.

1:25:37 > 1:25:39He started a label

1:25:39 > 1:25:41called Backstreet Records,

1:25:41 > 1:25:43and our first release was

1:25:43 > 1:25:46Damn The Torpedoes, which the title came

1:25:46 > 1:25:50from that experience, and life was great all of a sudden.

1:25:57 > 1:26:02# Well it was nearly summer we sat on your roof

1:26:05 > 1:26:10# Yeah, we smoked cigarettes and we stared at the moon

1:26:13 > 1:26:16# And I showed you stars you never could see

1:26:18 > 1:26:24# Baby, it couldn't have been so easy to forget about me... #

1:26:24 > 1:26:27Petty: It was a huge hit.

1:26:27 > 1:26:30It was our first really big, big, record.

1:26:30 > 1:26:34It sort of kicked us up into a whole other stratosphere.

1:26:34 > 1:26:36We felt really like the conquering heroes.

1:26:36 > 1:26:39We'd all been pushing together for a long time for this.

1:26:39 > 1:26:41Even though it was happening all around us,

1:26:41 > 1:26:44it's still hard to believe that it's real, you know,

1:26:44 > 1:26:45but it was really real,

1:26:45 > 1:26:51and I'm sure everybody's life was changing rapidly.

1:26:51 > 1:26:54# Baby, even the losers

1:26:54 > 1:26:57# Get lucky sometimes... #

1:26:57 > 1:27:00And so you're just trying to hang on to ride this thing out,

1:27:00 > 1:27:02wherever it's going.

1:27:02 > 1:27:06# Keep a little bit of pride #

1:27:06 > 1:27:09# They get lucky sometimes

1:27:09 > 1:27:12# Hey... #

1:27:12 > 1:27:14We toured from late in '79

1:27:14 > 1:27:19until almost the fall of the next year.

1:27:19 > 1:27:21Then all the way around the world.

1:27:21 > 1:27:23We were really pushing it then.

1:27:23 > 1:27:26Now it's 8:00 in the morning and everyone's happy.

1:27:26 > 1:27:28Are you happy, Ben?

1:27:28 > 1:27:29I'm so happy, Ron.

1:27:29 > 1:27:31Sign me, please?

1:27:31 > 1:27:33Sure.

1:27:33 > 1:27:35Man: You dirty dog.

1:27:35 > 1:27:37We got Mr. Tom Petty, rock and roll star,

1:27:37 > 1:27:39come all the way over here to play for you tonight.

1:27:39 > 1:27:43Tom, how are you doing? Hey, hey, I feel good.

1:27:43 > 1:27:46I feel very good.

1:27:46 > 1:27:49Petty: Damn The Torpedoes?

1:27:49 > 1:27:54It means... see, it's American slang for full speed ahead.

1:27:54 > 1:27:59# Baby, even the losers

1:27:59 > 1:28:01# Get lucky sometimes

1:28:02 > 1:28:05# Even the losers

1:28:06 > 1:28:10# Keep a little bit of pride

1:28:10 > 1:28:13# They get lucky sometimes

1:28:13 > 1:28:16# Baby, even the losers

1:28:17 > 1:28:20# Get lucky sometimes

1:28:20 > 1:28:24# Even the losers

1:28:24 > 1:28:27# Keep a little bit of pride

1:28:27 > 1:28:31# Yeah, they get lucky sometimes

1:28:31 > 1:28:34# Baby, even the losers

1:28:36 > 1:28:38# Get lucky sometimes

1:28:38 > 1:28:40# Even the losers... #

1:28:40 > 1:28:42Roberts: Very rarely do you allow yourself the luxury of saying,

1:28:43 > 1:28:44"Wow, we're making a smash record."

1:28:44 > 1:28:45I mean, the whole thing was like,

1:28:46 > 1:28:48it had a feel to it that was unique,

1:28:48 > 1:28:50that'll never happen again,

1:28:50 > 1:28:53that's once in a life for all of us that were part of it.

1:28:53 > 1:28:56Damn The Torpedoes was one of those records

1:28:56 > 1:28:58that re-energised rock and roll

1:28:58 > 1:29:01and made rock and roll relevant for radio again.

1:29:01 > 1:29:07I mean, I was just so amazed that we had like found

1:29:07 > 1:29:09the treasure without a map, you know.

1:29:09 > 1:29:11It's about four hours before show time

1:29:11 > 1:29:14here at The Whisky on the Sunset Strip,

1:29:14 > 1:29:16where one of the premier rock stars of the new decade

1:29:16 > 1:29:18is getting ready to rock and roll.

1:29:18 > 1:29:20His latest album,

1:29:20 > 1:29:23Damn The Torpedoes, is already a million seller

1:29:23 > 1:29:25and rose to number three

1:29:25 > 1:29:28on Billboard magazine's national charts this week.

1:29:28 > 1:29:31When a star of this calibre decides

1:29:31 > 1:29:33to play a small club,

1:29:33 > 1:29:36those treasured tickets are normally doled out

1:29:36 > 1:29:38to the so-called industry people of the record world.

1:29:38 > 1:29:42But tonight, Tom Petty made sure they went to the people

1:29:42 > 1:29:45who really counted and cared, his fans.

1:29:45 > 1:29:48He played the forum for 18,000 people,

1:29:48 > 1:29:51but he comes here to play just for a few hundred dedicated people.

1:29:51 > 1:29:53He understands the things that made rock and roll important,

1:29:53 > 1:29:55I think, the innocence and romanticism and so forth,

1:29:55 > 1:29:56and he's never lost that,

1:29:56 > 1:29:58and that's what makes his songs so good.

1:29:58 > 1:30:00They're real simple songs in a way,

1:30:00 > 1:30:02but they have kind of complex undercurrents,

1:30:02 > 1:30:04and you can listen to them on different levels and enjoy it,

1:30:04 > 1:30:06and you can just dance to it,

1:30:06 > 1:30:08or it's kind of like an emotional release,

1:30:08 > 1:30:09so it hits you on several levels,

1:30:09 > 1:30:12and that's what's so rewarding about it.

1:30:12 > 1:30:14Man: from the United States of America,

1:30:15 > 1:30:16Tom Petty and the Heartbreakers.

1:30:16 > 1:30:20# Listen, honey, can't you see?

1:30:20 > 1:30:22# Baby, it would bury me

1:30:22 > 1:30:24# If you were in the public eye #

1:30:24 > 1:30:26# Givin' someone else a try... #

1:30:26 > 1:30:27Petty: the success comes,

1:30:28 > 1:30:31and then it's like you're on your own from here.

1:30:31 > 1:30:33Look out, you're on your own.

1:30:33 > 1:30:34There's no book.

1:30:34 > 1:30:38There's nothing in your manual about success, you know.

1:30:38 > 1:30:42And then, you know, one day they give you a check

1:30:42 > 1:30:45out of the blue for hundreds of thousands of dollars.

1:30:45 > 1:30:49Now, there is no handbook for that, you know.

1:30:49 > 1:30:53That's just downright dangerous to take some kid

1:30:53 > 1:30:56and say, here's this pile of money

1:30:56 > 1:31:01that you can't even relate to the zeros on the end,

1:31:01 > 1:31:06and you can get in a lot of trouble with that much money.

1:31:06 > 1:31:09Fortunately, I think we were pretty,

1:31:09 > 1:31:12almost levelheaded about it all.

1:31:12 > 1:31:14# Shout, just a little bit louder now

1:31:14 > 1:31:16# Shout, just a little bit louder now

1:31:16 > 1:31:18# Shout, just a little bit louder now

1:31:18 > 1:31:21# Shout, just a little bit louder now... #

1:31:21 > 1:31:25Reporter: It's been said Tom Petty has rock and roll in his veins.

1:31:25 > 1:31:27His sincerity and passion on stage

1:31:27 > 1:31:29is full of the raw energy and excitement

1:31:29 > 1:31:32of rock music at its best, and it made

1:31:32 > 1:31:35for one heck of a coming home party at The Whisky.

1:31:35 > 1:31:39Billy Juggs, Channel 7 Eyewitness News.

1:31:41 > 1:31:43(cheering and applause)

1:31:51 > 1:31:54But the people who make it and who make it

1:31:54 > 1:31:55for as long as Petty has

1:31:55 > 1:32:00made it have to have some kind of rocket fuel driving them.

1:32:00 > 1:32:02I get the sense from the songs that there was

1:32:02 > 1:32:04some anger in Tom

1:32:04 > 1:32:06that was bigger than normal teenage rebellion.

1:32:06 > 1:32:09There was something that drove him out of Gainesville

1:32:09 > 1:32:11and drove him through all of these battles

1:32:11 > 1:32:14and all this refusal to back down to the normal way

1:32:14 > 1:32:16business is done or even to make the normal compromises

1:32:16 > 1:32:19that people make in order to get ahead.

1:32:19 > 1:32:22I was always struck by how many great rock musicians

1:32:22 > 1:32:24lost their mothers when they were very young.

1:32:24 > 1:32:27That would be Lennon and McCartney, the guys in U2,

1:32:27 > 1:32:29Madonna, Jimi Hendrix,

1:32:29 > 1:32:31Aretha Franklin, Sinead O'Connor.

1:32:31 > 1:32:34It becomes an incredible list if you look for it.

1:32:34 > 1:32:37And I said that to Bono once.

1:32:37 > 1:32:38Both he and Larry Mullen in U2

1:32:38 > 1:32:41lost their mothers when they were kids.

1:32:41 > 1:32:44And he said, it seems like the untold story of rock and roll

1:32:44 > 1:32:48is either your mother died or your father hated you.

1:32:48 > 1:32:51And he said, and if like me, you were lucky enough

1:32:51 > 1:32:54to have both, there's no limit to what you can accomplish.

1:32:54 > 1:32:55Petty: Those two factors, you know,

1:32:55 > 1:32:59the dangerous shadowy figure of a dad

1:32:59 > 1:33:04and the sweet mom that left too early in your life,

1:33:04 > 1:33:06I think that gives you a certain drive,

1:33:06 > 1:33:09though I wasn't aware of it at the time.

1:33:09 > 1:33:11But if I look back on it,

1:33:11 > 1:33:15I kind of turned that anger into ambition.

1:33:15 > 1:33:18There was an extreme rage in me

1:33:18 > 1:33:21that from time to time would show its head

1:33:21 > 1:33:23through a lot of my life.

1:33:23 > 1:33:26Any sort of injustice just outraged me.

1:33:26 > 1:33:28I just couldn't contain myself.

1:33:28 > 1:33:32And this comes from... from my dad

1:33:32 > 1:33:37just being so incredibly verbally abusive to me,

1:33:37 > 1:33:42and he was certainly physically abusive at times.

1:33:43 > 1:33:47He would give me pretty good beatings most of my life.

1:33:47 > 1:33:48Oh, he was just crazy, you know.

1:33:48 > 1:33:52The house could erupt into a fist fight.

1:33:52 > 1:33:55Myself or my mother, if we were there,

1:33:55 > 1:33:57which we usually always were,

1:33:57 > 1:33:59we would get in the middle of it, too,

1:33:59 > 1:34:02and obviously try to stop it.

1:34:02 > 1:34:04I know on numerous occasions,

1:34:04 > 1:34:08I, you know, basically tried to tackle my father

1:34:09 > 1:34:11to try, you know, so that my brother could get away.

1:34:11 > 1:34:15I remember my mom even taking a few to the face,

1:34:15 > 1:34:17trying to get between me and my dad, you know.

1:34:17 > 1:34:20Bruce Petty: I think he was harder on Tom,

1:34:20 > 1:34:23because Tom was not really willing to conform

1:34:23 > 1:34:26to what he wanted as a son.

1:34:26 > 1:34:28I wasn't a fisherman, I wasn't a hunter.

1:34:28 > 1:34:31I was just this mild-mannered little kid

1:34:31 > 1:34:36that was really interested in the arts more than anything.

1:34:36 > 1:34:38My mother was always kind of the glue

1:34:38 > 1:34:40that held the family together.

1:34:40 > 1:34:41Petty: She was an angel,

1:34:41 > 1:34:45just wonderful and very good to me.

1:34:45 > 1:34:48You know, she's the one that really made it seem

1:34:48 > 1:34:52like a home, though she worked every day.

1:34:52 > 1:34:58My grandmother on my mother's side was very close to me,

1:34:58 > 1:35:01and she was very supportive all through my childhood

1:35:01 > 1:35:03and just told me always,

1:35:03 > 1:35:06you know, "You can do anything you set your mind to."

1:35:06 > 1:35:11My brother is a prince, you know, just a wonderful guy.

1:35:11 > 1:35:15Don't think we've ever had an argument in our lives.

1:35:15 > 1:35:17It was a strange household.

1:35:17 > 1:35:19I didn't even have a southern accent,

1:35:19 > 1:35:20and my family, you know,

1:35:20 > 1:35:22they talked with these really thick accents,

1:35:22 > 1:35:26but for some reason I never got one.

1:35:26 > 1:35:31I often, I remember being, you know, five years old

1:35:31 > 1:35:33and really thinking that my parents

1:35:33 > 1:35:35had been replaced by aliens.

1:35:35 > 1:35:39And so I think when music came along,

1:35:39 > 1:35:42that's where I escaped to.

1:35:42 > 1:35:45As my brother became more and more successful,

1:35:45 > 1:35:48then my father became more and more supportive,

1:35:48 > 1:35:52and obviously he started to realise that...

1:35:52 > 1:35:56he was, uh... he was wrong.

1:35:56 > 1:35:58Reconcile, I don't think so.

1:35:58 > 1:36:02I think he certainly loved my success,

1:36:02 > 1:36:07and it became his identity in Gainesville, you know.

1:36:07 > 1:36:12He was my dad, which really sort of insulted me,

1:36:12 > 1:36:15that he embraced rock in such a big way

1:36:15 > 1:36:17when he'd been so against it.

1:36:17 > 1:36:20You don't get to where he got to

1:36:20 > 1:36:23from where he started out unless you have something to prove

1:36:23 > 1:36:25to somebody who's not listening to you.

2:00:02 > 2:00:04# They put me out on the Old King's Road... #

2:00:07 > 2:00:11Petty: This was the glory days of FM radio,

2:00:11 > 2:00:12and The Torpedoes was just made for it.

2:00:12 > 2:00:16Here we had the big, successful album,

2:00:16 > 2:00:18and now you have to follow it up,

2:00:18 > 2:00:20so it was quite a challenge.

2:00:20 > 2:00:22Hard promise is a, is a really good record.

2:00:22 > 2:00:24I don't listen to that record and hear a lot of happiness,

2:00:25 > 2:00:26and it always felt to me like

2:00:26 > 2:00:27there was a tension in that record.

2:00:27 > 2:00:30Petty: Most every day and every night, I was

2:00:30 > 2:00:32trying to write more songs,

2:00:32 > 2:00:34and the rest of them, God knows they're out chasing women

2:00:34 > 2:00:35or whatever it is...

2:00:35 > 2:00:37(laughing):..they do,

2:00:37 > 2:00:40but I was always writing.

2:00:40 > 2:00:44I wanted something that had a little lick

2:00:44 > 2:00:47from the beginning, and I just hit that, uh...

2:00:47 > 2:00:50(strumming gentle melody)

2:00:56 > 2:00:58And that's all I had, see.

2:00:58 > 2:01:00I did that for weeks.

2:01:00 > 2:01:02(laughs)

2:01:02 > 2:01:03And then finally I'd hit...

2:01:03 > 2:01:07# Waiting is the hardest part

2:01:07 > 2:01:12# Every day you get one more yard

2:01:12 > 2:01:14# You take it on faith

2:01:14 > 2:01:16# You take it to the heart

2:01:16 > 2:01:19# The waiting is the hardest part. #

2:01:19 > 2:01:21You know, I'd get to that,

2:01:21 > 2:01:24and then I'd go, "well, now what?" you know?

2:01:24 > 2:01:25And I'd be like all week...

2:01:26 > 2:01:27(playing melody)

2:01:27 > 2:01:29< (man laughs)

2:01:29 > 2:01:30You'd eat dinner, you'd come back, sit down

2:01:30 > 2:01:31and pick up the guitar...

2:01:34 > 2:01:36People start banging on the wall.

2:01:36 > 2:01:37"Don't play that anymore!"

2:01:37 > 2:01:40(applause)

2:01:40 > 2:01:45(intro to "The Waiting")

2:01:45 > 2:01:46Tench: The Waiting's a great way

2:01:46 > 2:01:48to start a record with the line,

2:01:48 > 2:01:50"Baby, don't it feel like heaven right now?"

2:01:50 > 2:01:52It's a great... great opening line.

2:01:52 > 2:01:56# Oh, baby, don't it feel like heaven right now

2:01:56 > 2:02:00# Don't it feel like something from a dream

2:02:00 > 2:02:04# Yeah, I've never known nothing quite like this

2:02:04 > 2:02:08# Don't it feel like tonight might never be again

2:02:08 > 2:02:13# Baby, we know better than to try and pretend

2:02:13 > 2:02:16# No one could have ever told me 'bout this

2:02:16 > 2:02:17# I said, "yeah, yeah"

2:02:18 > 2:02:18# Yeah, yeah

2:02:19 > 2:02:21# Yeah, yeah, yeah, yeah

2:02:21 > 2:02:25# The waiting is the hardest part

2:02:25 > 2:02:28# Every day you see one more card

2:02:28 > 2:02:33# You take it on faith, you take it to the heart

2:02:33 > 2:02:37# The waiting is the hardest part... #

2:02:39 > 2:02:42Eddie Eedder: The Waiting came out. I think... I was such

2:02:42 > 2:02:44a follower of his music that I was waiting in line,

2:02:44 > 2:02:46you know, to get his record the, the minute it

2:02:46 > 2:02:49came out, bought the record, brought it home at lunch,

2:02:49 > 2:02:50learned that song, went back

2:02:50 > 2:02:52to school, you know, with it in my head,

2:02:52 > 2:02:55and then was playing it by the time I got home.

2:02:55 > 2:02:56# ...feel right now, baby... #

2:02:56 > 2:02:58Vedder: The girls that I was going after

2:02:58 > 2:02:59when I was a kid,

2:02:59 > 2:03:01they just loved fucking Tom Petty.

2:03:01 > 2:03:03Everything was Tom Petty, Tom Petty, Tom Petty.

2:03:03 > 2:03:06It got to the point where it became kind of an issue.

2:03:06 > 2:03:09You know, you put on the Tom Petty record,

2:03:09 > 2:03:10but then all the focus went onto Tom.

2:03:10 > 2:03:12When you asked about playing a song with him,

2:03:12 > 2:03:14it's interesting now,

2:03:14 > 2:03:17because I feel like I can finally let go of all that.

2:03:17 > 2:03:19All right, here you go.

2:03:19 > 2:03:20I'm playing with him now.

2:03:22 > 2:03:24Take that, ladies.

2:03:28 > 2:03:30# I said, "yeah, yeah"

2:03:30 > 2:03:31# Yeah, yeah

2:03:31 > 2:03:33# Yeah, yeah, yeah, yeah

2:03:33 > 2:03:36# The waiting is the hardest part

2:03:36 > 2:03:40# Every day you see one more card

2:03:40 > 2:03:44# You take it on faith, you take it to the heart

2:03:44 > 2:03:49# The waiting is the hardest part

2:03:52 > 2:03:54# Yeah, the waiting is

2:03:54 > 2:03:58# The hardest

2:03:58 > 2:04:02# Part

2:04:12 > 2:04:15# Go on

2:04:20 > 2:04:24# Yeah, it's the hardest part

2:04:28 > 2:04:31# Oh...

2:04:36 > 2:04:40# Yeah, it's the hardest part. #

2:04:53 > 2:04:55(applause)

2:05:05 > 2:05:08I don't know if an artist completely understands

2:05:08 > 2:05:10or needs to be reminded of sometimes,

2:05:10 > 2:05:13is how deeply these songs affect people, in such a way

2:05:13 > 2:05:15that when you hear the song, you know,

2:05:15 > 2:05:19like, where you were and even the feeling in your gut

2:05:19 > 2:05:21when you were 14, hearing that song,

2:05:21 > 2:05:25and the artist, like, if they can accept that,

2:05:25 > 2:05:26that's a potent thing.

2:05:26 > 2:05:27It's really...

2:05:27 > 2:05:28What a...

2:05:28 > 2:05:30What a gracious situation.

2:05:30 > 2:05:33Petty: Oone, two, three, four

2:05:33 > 2:05:38# Oh... Oh...

2:05:38 > 2:05:42# I'm not in trouble, I'm that in control... #

2:05:42 > 2:05:45I had started the hard promises album,

2:05:45 > 2:05:48and I was in the studio pretty much every day.

2:05:48 > 2:05:50The last time I had seen my mother

2:05:50 > 2:05:53was toward the end of the Damn the Torpedoes tour

2:05:53 > 2:05:56and we had had a nice visit, but she was in terrible pain.

2:05:56 > 2:06:00I felt so bad for her, and it'd been a long struggle.

2:06:00 > 2:06:03I knew then that was probably the last time

2:06:03 > 2:06:05I was going to see her.

2:06:05 > 2:06:10So when the call came, after a session one night,

2:06:10 > 2:06:12and she had passed away,

2:06:12 > 2:06:17I think I felt a sense of relief for her and me.

2:06:17 > 2:06:18I think we were all relieved

2:06:18 > 2:06:21from a standpoint that she wasn't suffering,

2:06:21 > 2:06:25but it was really hard, um, to lose her,

2:06:25 > 2:06:27because she was the family, you know.

2:06:27 > 2:06:29It was very tough for me.

2:06:29 > 2:06:30Bruce Petty: They were very close.

2:06:30 > 2:06:33If she was alive today,

2:06:33 > 2:06:35she'd be living in California with him.

2:06:35 > 2:06:36There's no question.

2:06:49 > 2:06:53Tom Petty: Then it was around that time when Stevie entered our lives.

2:06:53 > 2:06:55Well, Stevie was going to make a solo album,

2:06:55 > 2:06:56her first solo record.

2:06:56 > 2:06:58Stevie Nicks: I almost preferred

2:06:58 > 2:06:59The Heartbreakers' music

2:07:00 > 2:07:02to Fleetwood Mac's music at that point,

2:07:02 > 2:07:05so I called Jimmy Iovine and asked him

2:07:05 > 2:07:07if he would consider producing my record.

2:07:07 > 2:07:08I felt maybe this is the way

2:07:08 > 2:07:11to get that kind of Tom Petty and The Heartbreakers sound,

2:07:11 > 2:07:13and I really wanted that friendship.

2:07:13 > 2:07:14I wanted to be friends with Tom,

2:07:14 > 2:07:17and I wanted to be friends with The Heartbreakers.

2:07:17 > 2:07:18She said it all the time,

2:07:18 > 2:07:21"I'm going to leave Fleetwood Mac

2:07:21 > 2:07:22and join The Heartbreakers."

2:07:22 > 2:07:23And we'd say,

2:07:24 > 2:07:28"Yeah, but there aren't any girls in The Heartbreakers,"

2:07:28 > 2:07:30and she'd say, "No, but...

2:07:30 > 2:07:33"I really want to join the band,"

2:07:33 > 2:07:36and we'd say, "Well, that's good,

2:07:36 > 2:07:39"but there aren't any girls in The Heartbreakers."

2:07:39 > 2:07:42Stevie was at the height of her success.

2:07:42 > 2:07:44We didn't want to take on someone else's trip.

2:07:44 > 2:07:45We had our own thing.

2:07:45 > 2:07:47But then she started to campaign

2:07:47 > 2:07:49for me to write her a song,

2:07:49 > 2:07:52and I, I... "No, I don't have time."

2:07:52 > 2:07:54"Please, just write me a song."

2:07:54 > 2:07:57So she wore me down, and I wrote her a song

2:07:57 > 2:08:00called "Insider," and I played it

2:08:00 > 2:08:02for Jimmy, and he was just elated.

2:08:02 > 2:08:04He just loved the song.

2:08:05 > 2:08:08# I'm an insider

2:08:08 > 2:08:13# I been burned by the fire... #

2:08:13 > 2:08:14Stevie did appear the next day

2:08:14 > 2:08:16and we played the song for her.

2:08:16 > 2:08:20She liked it, but she didn't sing the lead on it.

2:08:20 > 2:08:22When I was showing her how the song went,

2:08:22 > 2:08:24she sang a harmony.

2:08:24 > 2:08:28I'm an insider...

2:08:28 > 2:08:30It sounded beautiful,

2:08:30 > 2:08:32but it was me singing the lead,

2:08:32 > 2:08:34and I started to really love the song,

2:08:34 > 2:08:37and I said, "Stevie, I'm really sorry,

2:08:37 > 2:08:39"but I don't want to give you this song.

2:08:39 > 2:08:41"I'd rather keep it," and she was great.

2:08:41 > 2:08:43She says, "no, I completely understand,

2:08:43 > 2:08:46"and I don't want to take it away from you,

2:08:46 > 2:08:49"and anyway, to tell the truth,

2:08:49 > 2:08:50"I was looking for something

2:08:50 > 2:08:52with a little more tempo."

2:08:52 > 2:08:54When you write a song for other people,

2:08:54 > 2:08:57you sit down and you write something just like them.

2:08:57 > 2:08:59Often you'll write right in their style.

2:08:59 > 2:09:01The truth is, that if somebody's come to you,

2:09:01 > 2:09:03looking for a song, they're really looking

2:09:03 > 2:09:05for something that sounds like you.

2:09:05 > 2:09:08They've got plenty of things that sound like them.

2:09:08 > 2:09:13She was more attracted to the swampier,

2:09:13 > 2:09:15bluesier kind of music,

2:09:15 > 2:09:17because it was something she didn't do.

2:09:17 > 2:09:21I had four or five songs that I'd cut for hard promises

2:09:21 > 2:09:23that I didn't think I was going to use.

2:09:23 > 2:09:24They weren't complete.

2:09:24 > 2:09:26So I played her these songs,

2:09:26 > 2:09:31and the one she likes is "Stop draggin' my heart around."

2:09:33 > 2:09:37# Ooh...

2:09:37 > 2:09:40# Ooh.... ooh

2:09:42 > 2:09:45# Ooh... #

2:09:45 > 2:09:49Petty: I had a notion that I wanted to finish the song

2:09:49 > 2:09:51and then decide if I wanted

2:09:51 > 2:09:53to give it away, because of what had happened

2:09:53 > 2:09:55with the last song,

2:09:55 > 2:09:59but Jimmy was like, "uh... no, this is, uh...

2:09:59 > 2:10:01"I hear a girl singing this song."

2:10:01 > 2:10:04I always love girls singing guys' point of view.

2:10:04 > 2:10:09# ...make a meal of some bright-eyed kid

2:10:09 > 2:10:13# You need someone to look after you... #

2:10:13 > 2:10:16"And to make a meal of some bright-eyed kid

2:10:16 > 2:10:18You need someone lookin' after you"

2:10:18 > 2:10:20with a girl singing that lyric,

2:10:20 > 2:10:22I knew the record would go.

2:10:22 > 2:10:24I said, "Wow, we're going to win."

2:10:24 > 2:10:29# Baby, you'll come knocking on my front door

2:10:29 > 2:10:30# Same old line... #

2:10:35 > 2:10:38- Petty: Let me show you how the melody goes. - OK.

2:10:38 > 2:10:42# There's people running round loose in the world

2:10:42 > 2:10:46# That ain't got nothing better to do... #

2:10:46 > 2:10:47OK, creative writing, right?

2:10:47 > 2:10:49Did you ever take that?

2:10:49 > 2:10:50I tell you, I just barely got

2:10:50 > 2:10:52through school at all. It was just, uh...

2:10:52 > 2:10:53We never ventured out of, uh...

2:10:53 > 2:10:55# You come knocking on my... #

2:10:55 > 2:10:56English was about as deep as it goes.

2:10:56 > 2:11:00# Ain't got nothing better to do... #

2:11:00 > 2:11:02Campbell: I might be wrong, but I have a feeling that Jimmy Iovine,

2:11:02 > 2:11:05in his "genius," heard it as a duet,

2:11:05 > 2:11:08and he was starting to, he was just getting ready

2:11:08 > 2:11:10to produce her record, and I thought he...

2:11:10 > 2:11:13I think he kind of thought, "Oh, this would be a good...

2:11:13 > 2:11:14"Put this over here, and put this over here,

2:11:14 > 2:11:16"and I'll be king of the world,"

2:11:16 > 2:11:17which he, he was right.

2:11:17 > 2:11:18It worked out good.

2:11:18 > 2:11:20I think it's kind of better as a duet,

2:11:20 > 2:11:23and she's a great singer, and they sang great together.

2:11:23 > 2:11:27# So you've had a little trouble in town

2:11:27 > 2:11:31# Now you're keeping some demon down

2:11:31 > 2:11:36# Stop draggin' my... stop draggin' my...

2:11:36 > 2:11:40# Stop draggin' my heart around. #

2:11:40 > 2:11:42Nicks: I pretty much credit

2:11:42 > 2:11:45Tom with my solo career, and he'll laugh and...

2:11:45 > 2:11:47be sweet and not conceited about it,

2:11:47 > 2:11:49but it really is true.

2:11:51 > 2:11:55# She's a woman in love

2:11:59 > 2:12:04# She's a woman in love

2:12:06 > 2:12:11# And he's gonna break her heart to pieces

2:12:11 > 2:12:14# She don't wanna see

2:12:14 > 2:12:22# She's a woman in love

2:12:22 > 2:12:25# But it's not me. #

2:12:25 > 2:12:27Campbell: "Stop draggin' my heart around" was a big hit.

2:12:28 > 2:12:29She put it on her record,

2:12:29 > 2:12:31and we had A Woman In Love out as our single.

2:12:31 > 2:12:33And her single came out.

2:12:33 > 2:12:34It kind of just killed our single.

2:12:34 > 2:12:37The radio wasn't going to play two Heartbreakers songs,

2:12:37 > 2:12:39and it was billed

2:12:39 > 2:12:41"Stevie Nicks with Tom Petty and The Heartbreakers."

2:12:41 > 2:12:45Iovine: That was a bad weekend.

2:12:45 > 2:12:47Campbell: We were on tour in New York,

2:12:47 > 2:12:49and she was checking into the hotel at the same time

2:12:49 > 2:12:51we were checking out, and she came running up to me

2:12:51 > 2:12:54going, "Did you hear? our song, it's a big hit."

2:12:54 > 2:12:55And the first thing out of my mouth was,

2:12:55 > 2:12:57"Yeah, it killed our single dead."

2:12:57 > 2:12:59And I just saw her face go...

2:12:59 > 2:13:01And I go, "Oh, it's OK,

2:13:01 > 2:13:03I didn't mean it in a bad way, you know."

2:13:03 > 2:13:07If you've had an occasion to go into a record store lately,

2:13:07 > 2:13:09you're probably aware that record prices

2:13:09 > 2:13:12have risen dramatically over the past few years.

2:13:12 > 2:13:13The record industry started

2:13:13 > 2:13:16hitting its decline about five years ago.

2:13:16 > 2:13:18The recession, coupled with the rising cost

2:13:18 > 2:13:20of petroleum-based vinyl forced prices up

2:13:20 > 2:13:22and record sales down.

2:13:26 > 2:13:29Dimitriades: We'd just had huge success with damn The Torpedoes.

2:13:29 > 2:13:32There was great anticipation for the next album.

2:13:32 > 2:13:34And I walked into a record store,

2:13:34 > 2:13:38and I saw this sign up behind the counter which said,

2:13:38 > 2:13:42"Coming soon: new Tom Petty 9.98."

2:13:42 > 2:13:45So I called the record company and...

2:13:45 > 2:13:47"I saw this thing, 9.98."

2:13:47 > 2:13:49He says, "Oh, yeah, we're going to put it up.

2:13:49 > 2:13:51"We can make more money on this album," you know.

2:13:51 > 2:13:54"This is the time to put record prices up and make more money."

2:13:54 > 2:13:57I said, "but I'm sure Tom's not going to want that."

2:13:57 > 2:13:59And they were using our popularity

2:13:59 > 2:14:03to increase profit across the board.

2:14:03 > 2:14:04They were going to raise

2:14:04 > 2:14:08the list price of records in general on our backs.

2:14:08 > 2:14:10It's just like the western. It's like the...

2:14:10 > 2:14:12you know, the two grubstakers at the gold mine.

2:14:12 > 2:14:15It's like, "but I could kill him while he's asleep

2:14:15 > 2:14:16"and get it all, you know."

2:14:16 > 2:14:19It's that mentality that enraged us.

2:14:19 > 2:14:21Dimitriades: He says, "I'm not the guy."

2:14:21 > 2:14:23"This is not about selling shoes

2:14:23 > 2:14:24"and raising the price and nobody's going to notice.

2:14:24 > 2:14:27This is a Tom Petty album. It's got my name on it."

2:14:27 > 2:14:29Petty: Well, it's really funny, but at the time,

2:14:29 > 2:14:339.98 seemed like an outrageous price for a record.

2:14:33 > 2:14:36There I am again in hot water with the record company.

2:14:36 > 2:14:38I didn't want it to get to that,

2:14:38 > 2:14:41but I think once the press got involved,

2:14:41 > 2:14:43it became a kind of standoff,

2:14:43 > 2:14:45where neither one of us would give in.

2:14:45 > 2:14:50They finally blinked, and they said,

2:14:50 > 2:14:53"Well, we'll sneak the price up with someone else later on."

2:14:53 > 2:14:55But, you know, it was many a year

2:14:55 > 2:14:57before the price did go up,

2:14:57 > 2:14:59and I was kind of proud of that.

2:15:01 > 2:15:04I don't think I was quite the same human after that.

2:15:04 > 2:15:06I was toasted.

2:15:06 > 2:15:10I'd been through a long album, months of touring.

2:15:10 > 2:15:14My mom had died.

2:15:14 > 2:15:16I think I was a little different then.

2:15:16 > 2:15:19I think I was just on my guard,

2:15:19 > 2:15:21and it would take a while for me

2:15:21 > 2:15:23to be the person I was.

2:15:28 > 2:15:30Well, we were five years into it.

2:15:30 > 2:15:32We had virtually

2:15:32 > 2:15:33no time to ourselves.

2:15:33 > 2:15:35We were always traveling.

2:15:35 > 2:15:36From the get-go, it was just

2:15:36 > 2:15:38one thing after another, like tonight

2:15:38 > 2:15:40the little radio guy's going to be here,

2:15:40 > 2:15:41and the next night it's the programmer,

2:15:41 > 2:15:43and then, you know, the record company guy,

2:15:43 > 2:15:44and then the money guy, and then...

2:15:44 > 2:15:46It's just a lot of stress and pressure

2:15:46 > 2:15:49for years, and, you know, it kind of wore on my attitude.

2:15:49 > 2:15:53Petty: He's so sweet and gentle, a kind guy,

2:15:53 > 2:15:55and I think our life at the time

2:15:55 > 2:15:58was anything but sweet and gentle.

2:15:58 > 2:15:59It was the situation where

2:15:59 > 2:16:02we were taking the recording really seriously.

2:16:02 > 2:16:04We could get really hard on people,

2:16:04 > 2:16:07and we were really hard on him.

2:16:07 > 2:16:09At times, I think he just wanted to do it

2:16:09 > 2:16:11the way he was going to do it,

2:16:11 > 2:16:14where Mike and I had definite ideas

2:16:14 > 2:16:16about how we wanted the bass to go.

2:16:16 > 2:16:17And it'd get down to,

2:16:17 > 2:16:19"Well, why don't you just play it yourself then?

2:16:19 > 2:16:20"Thank you very much, I will."

2:16:20 > 2:16:22There was never any evil animosity.

2:16:22 > 2:16:23It was just musical frustration.

2:16:23 > 2:16:26Making records is very stressful.

2:16:26 > 2:16:28If it's going well, it's great,

2:16:28 > 2:16:29but if it's not, it can be very hard.

2:16:29 > 2:16:32Petty: Which resulted in him leaving

2:16:32 > 2:16:34the music business.

2:16:34 > 2:16:39Not leaving to go to another band, leaving the whole thing.

2:16:39 > 2:16:41Blair: I seemed to have a lot of issues with the music business.

2:16:41 > 2:16:44I thought it was a little sleazy and funky

2:16:44 > 2:16:45and full of people with egos,

2:16:45 > 2:16:47and I was right.

2:16:47 > 2:16:49But I soon found out that, you know,

2:16:49 > 2:16:51the world is just like that.

2:16:51 > 2:16:53You know, any business is like that,

2:16:53 > 2:16:55and I just did something different.

2:16:55 > 2:16:58Oh, he's got an enviable job now, man.

2:16:58 > 2:17:03He bought a real nice bikini store on Ventura Boulevard,

2:17:03 > 2:17:06and he's just down there

2:17:06 > 2:17:08watching them try on bikinis all day.

2:17:08 > 2:17:12I would never have called that one, boy.

2:17:12 > 2:17:15And I remember feeling really good after that.

2:17:15 > 2:17:18I didn't harbor any ill feelings,

2:17:18 > 2:17:20and I went to a lot of shows.

2:17:20 > 2:17:22I saw the band dozens of times

2:17:22 > 2:17:25and just would go watch the band just to...

2:17:25 > 2:17:27as a fan, you know.

2:17:27 > 2:17:29And I remember at the amphitheater

2:17:29 > 2:17:31sitting next to Jimmy Iovine, and Jimmy's going,

2:17:31 > 2:17:33"Ron, what's it like watching your band, man?"

2:17:34 > 2:17:36And I'm kind of going, "It's fine.

2:17:36 > 2:17:37"It's a good band."

2:17:42 > 2:17:44It was weird, Ron not being there.

2:17:45 > 2:17:47It was weird to lose somebody in the band.

2:17:47 > 2:17:50And there was a lot of concern,

2:17:50 > 2:17:52because everybody loved the way Ron played,

2:17:52 > 2:17:55and everybody knew that a band had a chemistry,

2:17:55 > 2:17:59and if you change anybody, you change things a lot.

2:17:59 > 2:18:01So we played with a few different

2:18:01 > 2:18:03bass players who had very

2:18:03 > 2:18:05disparate styles, but were very good,

2:18:05 > 2:18:08and Tom was producing Del Shannon at the time...

2:18:08 > 2:18:10Petty: ...who was a rock and roll legend

2:18:10 > 2:18:14from the late '50s, early '60s, and big hero of ours.

2:18:14 > 2:18:16And we needed a bass player for a couple of tracks,

2:18:16 > 2:18:18and Del said, "well,

2:18:18 > 2:18:21"there's a guy in my road band who's really great."

2:18:21 > 2:18:24And I said, "Great, we'll call him and bring him down."

2:18:24 > 2:18:26And so in walks...

2:18:30 > 2:18:31I'm not from Gainesville, Florida.

2:18:31 > 2:18:33I'm not from the South.

2:18:33 > 2:18:35I'm from Milwaukee, Wisconsin. That's where I'm from.

2:18:36 > 2:18:37Well, what are you doing in this band then, Howie?

2:18:37 > 2:18:39I don't know. What am I doing in this band?

2:18:39 > 2:18:41He looked fantastic...

2:18:41 > 2:18:43four feet of hair

2:18:43 > 2:18:46and gold earrings and Cuban heels.

2:18:46 > 2:18:48And he played great.

2:18:48 > 2:18:49And then I heard him sing,

2:18:49 > 2:18:52and I went, "Oh, man, we got to have this guy."

2:18:53 > 2:18:54It had always been my dream

2:18:54 > 2:18:57to have a really good high harmony singer,

2:18:57 > 2:18:59and he was one of the best.

2:18:59 > 2:19:01So I cornered Howie and said,

2:19:01 > 2:19:03"What would you think about joining the band?"

2:19:03 > 2:19:06And he was like, "Wow, I'd love it."

2:19:06 > 2:19:08Now I'm in an awkward spot,

2:19:08 > 2:19:10because I'm the producer of this record,

2:19:10 > 2:19:12and I'm certainly not supposed to steal

2:19:12 > 2:19:14the artist's bass player, you know.

2:19:14 > 2:19:18Well, I get home and Del Shannon's on the phone,

2:19:18 > 2:19:22and he's furious, just furious.

2:19:22 > 2:19:26He says, "Don't take Howie.

2:19:26 > 2:19:29"He's the guy I count on. He runs my band.

2:19:29 > 2:19:32"How can you take Howie? you're my friend.

2:19:32 > 2:19:34"You can have anybody you want.

2:19:34 > 2:19:36"Don't take Howie."

2:19:36 > 2:19:39And I said, "Del, I love you.

2:19:39 > 2:19:41I'm taking Howie."

2:19:41 > 2:19:44And he got over it, sort of.

2:19:44 > 2:19:45Epstein: Sometimes I wondered,

2:19:45 > 2:19:47like, how it was for them,

2:19:47 > 2:19:49being together and growing up together,

2:19:49 > 2:19:51like what it would be for them, like,

2:19:51 > 2:19:52to get this new guy in the band,

2:19:52 > 2:19:55and I don't know, sometimes I think maybe

2:19:55 > 2:19:57it was weirder for them than it was for me.

2:19:57 > 2:20:01Tench: He was an entirely different type of bass player than Ron,

2:20:01 > 2:20:03but somehow it still worked with Stan.

2:20:03 > 2:20:06So he came in, and there wasn't any need for panic

2:20:06 > 2:20:08because the band could continue,

2:20:08 > 2:20:09and he turned out to be great

2:20:09 > 2:20:11and turned out to be my best friend in the band.

2:20:12 > 2:20:13I like the band a lot.

2:20:13 > 2:20:17I mean, I would, if someone at that time would ask me,

2:20:17 > 2:20:21like, what band I'd like to join, they were one of them.

2:20:21 > 2:20:22Tench: And that's always a big help.

2:20:22 > 2:20:25If somebody loves your music and wants to play it

2:20:25 > 2:20:27and knows the obscure stuff,

2:20:27 > 2:20:29well, you know...

2:20:29 > 2:20:31you can't pass that up,

2:20:31 > 2:20:32especially if they can play like Howie Epstein.

2:20:32 > 2:20:36("Keeping Me Alive" intro plays)

2:20:40 > 2:20:45# They said love was a thing of the past

2:20:45 > 2:20:48# That these days nothing ever lasts

2:20:48 > 2:20:53# This old world is moving too fast

2:20:55 > 2:20:59# And it feels so good to know

2:20:59 > 2:21:04# I got you where you belong

2:21:04 > 2:21:07# Here in my heart, right by my side... #

2:21:07 > 2:21:09I tried to do it as long as I could.

2:21:09 > 2:21:10What happened?

2:21:11 > 2:21:12This vocal mike is so fucking loud.

2:21:12 > 2:21:13Oh, sorry.

2:21:13 > 2:21:15It'll just blow your head off.

2:21:15 > 2:21:16Does happen.

2:21:16 > 2:21:18- Sorry, guys. - It's OK.

2:21:18 > 2:21:19One, turn this thing down.

2:21:19 > 2:21:20Not in my cue.

2:21:20 > 2:21:22One. Ah!

2:21:22 > 2:21:25No, no, no, you're turning it up in my cue.

2:21:25 > 2:21:26One, one. We want it down.

2:21:27 > 2:21:28Hey.

2:21:28 > 2:21:29That's good right now in this cue.

2:21:29 > 2:21:30Sorry. Really.

2:21:31 > 2:21:33("Keeping me alive" intro plays)

2:21:35 > 2:21:39# Well, sometimes we ride around

2:21:39 > 2:21:42# She plays her radio up loud

2:21:42 > 2:21:46# If I was sad, well, I'm happy now

2:21:49 > 2:21:53# And it feels so good to know

2:21:53 > 2:21:58# I got you where you belong

2:21:58 > 2:22:02# Here in my heart, right by my side

2:22:02 > 2:22:06# Honey, you're getting me by

2:22:06 > 2:22:09# Yeah, you're keeping me alive. #

2:22:10 > 2:22:12Oh!

2:22:12 > 2:22:15Petty: There was some music recorded for long after dark

2:22:15 > 2:22:16that didn't get on the record,

2:22:16 > 2:22:19that I thought would have made it a better album.

2:22:19 > 2:22:23There's a really good song on there called Keepin' Me Alive

2:22:23 > 2:22:24that I really love,

2:22:24 > 2:22:28but Jimmy Iovine and I did not see eye to eye.

2:22:28 > 2:22:29He thought they sounded too acoustic,

2:22:29 > 2:22:31therefore, didn't put them in the album.

2:22:31 > 2:22:32I think it hurt the album.

2:22:33 > 2:22:34Iovine: Tom and I, on the third album,

2:22:34 > 2:22:35and it maybe was mostly my fault,

2:22:35 > 2:22:37I don't think I was as focused.

2:22:37 > 2:22:39After three albums, you should shoot your producer.

2:22:39 > 2:22:44# Yeah, and it feels so good to know

2:22:44 > 2:22:49# I got you where you belong

2:22:49 > 2:22:53# Here in my heart, right by my side

2:22:53 > 2:22:57# Honey, you're getting me by

2:22:57 > 2:22:59# Yeah, you're keeping me alive. #

2:23:00 > 2:23:02Iovine: It's a great album, but I didn't push them hard enough.

2:23:02 > 2:23:05I think that the growth from You're Gonna Get It

2:23:05 > 2:23:08to Damn the Torpedoes to hard promises,

2:23:08 > 2:23:10we didn't go the same distance.

2:23:10 > 2:23:12Petty: it wasn't really going forward, you know.

2:23:12 > 2:23:15It was just sort of a tread water album, I thought.

2:23:15 > 2:23:18Iovine: That's why I didn't do the follow-up album.

2:23:22 > 2:23:24Yeah. I dug that.

2:23:24 > 2:23:27(intense rumbling)

2:23:27 > 2:23:30Neil Armstrong: That's one small step for a man,

2:23:30 > 2:23:33one giant leap for mankind.

2:23:33 > 2:23:37("You got lucky" playing)

2:23:43 > 2:23:46(wind howling)

2:23:46 > 2:23:50(eerie tones sounding)

2:23:55 > 2:24:00(electronic droning)

2:24:03 > 2:24:06(rattlesnake's tail rattling)

2:24:08 > 2:24:09(rattling)

2:24:09 > 2:24:12Petty: Jim Lenahan, our lighting director, and I,

2:24:12 > 2:24:14we had to make a promo clip for You Got Lucky.

2:24:14 > 2:24:17"Well, I don't want to lip synch it."

2:24:18 > 2:24:21"What if we made a little movie?"

2:24:21 > 2:24:25And we did. We made this kind of science fiction western.

2:24:25 > 2:24:26(electronic droning)

2:24:26 > 2:24:30We had a little intro on the beginning that I scored,

2:24:30 > 2:24:32and I'm sure it was the first video that ever had

2:24:32 > 2:24:36a sort of intro to it that wasn't part of the track.

2:24:36 > 2:24:38And that, later on,

2:24:38 > 2:24:40became very common, but it wasn't then.

2:24:40 > 2:24:44("You got lucky" playing)

2:24:57 > 2:25:00Petty: It was a huge MTV track.

2:25:00 > 2:25:02So, the next thing we know, everywhere we go,

2:25:02 > 2:25:05people recognize all of us, you know.

2:25:05 > 2:25:08Not just me, but everybody is being recognized,

2:25:08 > 2:25:10and I started realizing, man,

2:25:10 > 2:25:12a lot of people are seeing this.

2:25:12 > 2:25:13All of a sudden,

2:25:13 > 2:25:16the biggest radio station there was was the TV.

2:25:16 > 2:25:20# Go

2:25:20 > 2:25:23# Yeah, go

2:25:23 > 2:25:25# But remember

2:25:25 > 2:25:29# Good love is hard to find

2:25:29 > 2:25:33# Good love is hard to find

2:25:33 > 2:25:36# You got lucky, babe

2:25:36 > 2:25:40# You got lucky, babe

2:25:40 > 2:25:42# When I found you. #

2:25:42 > 2:25:47Flanagan: I think because his career preceded MTV and the video era

2:25:47 > 2:25:49he wasn't always recognized as having

2:25:49 > 2:25:51contributed as much as he did to the form,

2:25:51 > 2:25:55but he was a very, very big part of MTV for... for 20 years.

2:25:55 > 2:25:57I mean, he's also very lucky

2:25:57 > 2:25:59that he's not branded a video artist, because people

2:25:59 > 2:26:02who are tend to kind of get treated like the Monkees,

2:26:02 > 2:26:03regardless of how good they are.

2:26:03 > 2:26:05they tend to kind of get dismissed

2:26:05 > 2:26:06when the hairstyles change.

2:26:06 > 2:26:08I didn't know there were synthesizers

2:26:08 > 2:26:10on this fucking record!

2:26:10 > 2:26:11That's what I want to hear.

2:26:11 > 2:26:13We're going back to our fucking roots.

2:26:13 > 2:26:14That's what I want to hear.

2:26:14 > 2:26:16We're going to be pure, like back on the first album.

2:26:16 > 2:26:17(laughter)

2:26:17 > 2:26:19That's bullshit.

2:26:19 > 2:26:21Yeah, well, we are about

2:26:21 > 2:26:23to go over to the wrong side of the tracks,

2:26:23 > 2:26:25so ya'll bear with us.

2:26:25 > 2:26:30(soft rock playing)

2:26:36 > 2:26:43# There's a southern accent

2:26:44 > 2:26:48# Where I come from... #

2:26:48 > 2:26:51Petty: When we came off the road for the first time in many years

2:26:51 > 2:26:55and we had this unlimited time to make a record,

2:26:55 > 2:26:59and while on that last tour, I had become interested

2:26:59 > 2:27:02in doing something about the South.

2:27:02 > 2:27:05All the beginnings of rock 'n' roll

2:27:05 > 2:27:07come from the South, you know.

2:27:07 > 2:27:08It's Jerry Lee Lewis and Elvis,

2:27:08 > 2:27:11Carl Perkins, Muddy Waters.

2:27:11 > 2:27:13It all emanates from the south.

2:27:13 > 2:27:15And I just felt the idea suited us,

2:27:15 > 2:27:18and then the phrase "Southern accents" hit me,

2:27:18 > 2:27:19and off we went.

2:27:19 > 2:27:23I started without Jimmy.

2:27:23 > 2:27:26Mike and I were going to produce it, and it was a joke.

2:27:26 > 2:27:27We couldn't police ourselves.

2:27:27 > 2:27:28It was hellish.

2:27:28 > 2:27:31(laughs) You know? it didn't work.

2:27:31 > 2:27:34Petty: We would listen to a producer...

2:27:34 > 2:27:36There was some level of authority there...

2:27:36 > 2:27:40but without one, we just weren't working in an efficient way.

2:27:41 > 2:27:43Coming off the road for a couple of years

2:27:43 > 2:27:46was a big mistake.

2:27:46 > 2:27:49We didn't know how to function that well.

2:27:49 > 2:27:53We didn't do anything but run off the rails.

2:27:53 > 2:27:57Everybody's life was in turmoil.

2:27:57 > 2:28:00You know, the Heartbreakers had always been a very closed set.

2:28:00 > 2:28:03There weren't a lot of stray people around.

2:28:03 > 2:28:07And, suddenly, there were lots of stray people around

2:28:07 > 2:28:10and people that just weren't there for a good reason.

2:28:10 > 2:28:14You put a big pile of drugs out there, and flies are buzzing.

2:28:14 > 2:28:16That's how I see it.

2:28:16 > 2:28:20It's just like where you attract a real low-class group of people

2:28:20 > 2:28:22when you get enough dope around.

2:28:22 > 2:28:27Petty: Life started to get really lousy, and I felt lost.

2:28:27 > 2:28:30And that's the way it is with drugs.

2:28:30 > 2:28:32All it does really is make you want some more, you know.

2:28:32 > 2:28:33They're useless.

2:28:34 > 2:28:35You don't have any drugs, do you?

2:28:35 > 2:28:38Never. (laughs)

2:28:38 > 2:28:41# Hey, hey, hey

2:28:41 > 2:28:44# I was born a rebel

2:28:44 > 2:28:45# Down in Dixie

2:28:45 > 2:28:48# Hey, hey, hey

2:28:48 > 2:28:49# On a Sunday morning... #

2:28:49 > 2:28:52Petty: I was working on this track called Rebels,

2:28:52 > 2:28:56and had I been sober, it would have been so simple to do.

2:28:56 > 2:29:00But because we were all gacked up,

2:29:00 > 2:29:01we weren't getting anywhere with it,

2:29:01 > 2:29:03and we worked on it for months.

2:29:03 > 2:29:06It's an awful thing when you're this far from a song,

2:29:06 > 2:29:07and you can't... What is it?

2:29:07 > 2:29:09Is it like, should the bass line move?

2:29:09 > 2:29:11Should the drums do something differently?

2:29:11 > 2:29:13And you're so sunk as soon as you get to that world.

2:29:13 > 2:29:14You'll never find it.

2:29:14 > 2:29:18Petty: I went into the next room. I saw the original demo.

2:29:18 > 2:29:19I put the demo on,

2:29:19 > 2:29:22and it sounded fantastic.

2:29:22 > 2:29:26It sounded so much better than the track we were working on,

2:29:26 > 2:29:28it made me furious.

2:29:28 > 2:29:32So I started up the stairwell to the house,

2:29:32 > 2:29:37and out of frustration, I just took my hand and hit the wall.

2:29:37 > 2:29:41I didn't just break the hand.

2:29:41 > 2:29:45I pulverized it. I had powdered it.

2:29:45 > 2:29:46# Hey, hey, hey...#

2:29:47 > 2:29:49Well, the next thing I know, I got Mickey Mouse's hand.

2:29:49 > 2:29:51You know, I got this great big hand.

2:29:51 > 2:29:55All these tendons were... were cut and broken

2:29:55 > 2:29:57and, you know, he went to the doctor,

2:29:57 > 2:29:58who said, "Well, you know,

2:29:58 > 2:30:00"you may never be able to play again."

2:30:00 > 2:30:04It's so bad that doctors are coming, you know,

2:30:04 > 2:30:06from all over the hospital.

2:30:06 > 2:30:08It's like, "Hey, come here. Get a look at this hand."

2:30:08 > 2:30:12Well, I went through a long operation then.

2:30:12 > 2:30:16They put, like, metal studs, and they wrapped wire

2:30:16 > 2:30:18around the studs.

2:30:18 > 2:30:21And there was a long period of recuperation.

2:30:21 > 2:30:22At times, the hand hurt

2:30:22 > 2:30:27so bad to move it and it would get so atrophied

2:30:27 > 2:30:30that they would hook it to electrodes

2:30:30 > 2:30:33and give me, like, an electric shock,

2:30:33 > 2:30:36and that would make the hand close,

2:30:36 > 2:30:38because the brain doesn't want to do it

2:30:38 > 2:30:40because it hurts so bad.

2:30:40 > 2:30:43It was really a manifestation of self-destruction.

2:30:43 > 2:30:46After that, I sobered up greatly.

2:30:46 > 2:30:49It was a huge wake-up call.

2:30:58 > 2:31:00Well, I brought Jimmy Iovine in

2:31:00 > 2:31:06to help me finish what I had intended to be a double album,

2:31:06 > 2:31:08and Jimmy came in and said,

2:31:08 > 2:31:11"There's no way you have a double album here.

2:31:11 > 2:31:16"Let's concentrate on making a really good single album."

2:31:16 > 2:31:19At the same time, he was working on Stevie's new album,

2:31:19 > 2:31:22and was looking for songs for her.

2:31:22 > 2:31:23He asked me, "Are there any good songwriters around?

2:31:23 > 2:31:25"Anybody new on the scene?"

2:31:25 > 2:31:26And I said, "well, you know,

2:31:26 > 2:31:29"I think this guy named Dave Stewart

2:31:29 > 2:31:31"is a really good songwriter."

2:31:31 > 2:31:35And he was just breaking on the scene with Eurythmics.

2:31:35 > 2:31:37Stewart: Jimmy suggested

2:31:37 > 2:31:40we go in the studio together with Stevie and cut this song,

2:31:40 > 2:31:42which I'd already had the sitar

2:31:42 > 2:31:44and the chorus and the sort of rhythm.

2:31:44 > 2:31:48And he puts on this little four-track that he had,

2:31:48 > 2:31:51and you hear the drums, and all you hear is,

2:31:51 > 2:31:53# Don't come around here no more

2:31:53 > 2:31:55# Don't come around here no more... #

2:31:55 > 2:31:57I say, "Wow! a girl singing that. That's a great idea."

2:31:57 > 2:32:00Tom came down, and that's where I met him,

2:32:00 > 2:32:02in a studio with Stevie Nicks and Jimmy Iovine,

2:32:02 > 2:32:04and we were doing this song,

2:32:04 > 2:32:05Don't Come Around Here No More,

2:32:05 > 2:32:07and Jimmy was getting mad at Stevie

2:32:07 > 2:32:08'cause he didn't think she was writing

2:32:09 > 2:32:10the verse lyrics how he wanted them.

2:32:10 > 2:32:14Stevie says, "I want Tom to write the lyrics."

2:32:14 > 2:32:17Tom comes down, writes the lyrics... Right?

2:32:17 > 2:32:18# And steals the song.

2:32:18 > 2:32:19# Hey

2:32:20 > 2:32:21# Don't come around here

2:32:21 > 2:32:23# No more

2:32:25 > 2:32:27# I've given up

2:32:27 > 2:32:28# Stop...

2:32:28 > 2:32:29# Ah... Ah...

2:32:29 > 2:32:31# Ooh... Ooh... #

2:32:31 > 2:32:35Stewart: Most of his band were going, "What the fuck is this?"

2:32:35 > 2:32:37The album was called Southern Accents,

2:32:37 > 2:32:38and this sounded like we're in India all of a sudden.

2:32:39 > 2:32:40The band was slow to accept Dave.

2:32:41 > 2:32:44I was like this kind of weird sort of imp.

2:32:44 > 2:32:45Petty: We had a great time.

2:32:45 > 2:32:48It was one of the only bright lights in that period.

2:32:48 > 2:32:51It was sober and funny and crazy.

2:32:51 > 2:32:53We used to laugh a lot, you know.

2:32:53 > 2:32:55I think it was, like, a tension breaker.

2:32:55 > 2:32:57We finished the song, and then, you know,

2:32:57 > 2:32:59the video was like icing on the cake.

2:32:59 > 2:33:00No pun intended.

2:33:00 > 2:33:02Hey!

2:33:02 > 2:33:04The whole Mad Hatter's tea party

2:33:04 > 2:33:06was kind of a bit like what was happening.

2:33:06 > 2:33:09Tom's life was, like, complete sort of madness at the time.

2:33:09 > 2:33:12And I ended up being the guy on top of the mushroom,

2:33:12 > 2:33:13which is quite symbolic, actually, because

2:33:13 > 2:33:15it starts off with... the video...

2:33:15 > 2:33:17me on the mushroom smoking a hookah pipe

2:33:17 > 2:33:20and getting everybody to go off on this trip,

2:33:20 > 2:33:22which is kind of what I did really.

2:33:22 > 2:33:24(Petty shrieks)

2:33:25 > 2:33:26(gasps)

2:33:26 > 2:33:29# So listen, honey... #

2:33:29 > 2:33:33Petty: Southern Accents isn't the record I set out to make,

2:33:33 > 2:33:35but I liked the record it became.

2:33:35 > 2:33:40# I wish you the best of everything

2:33:40 > 2:33:42# In the world... #

2:33:42 > 2:33:45Petty: As soon as we went back and started to work again

2:33:45 > 2:33:50and went back on the road, and cut that shit out,

2:33:50 > 2:33:53everything was back to normal.

2:33:53 > 2:33:57# Whatever you were looking for... #

2:33:57 > 2:33:59Iovine: When you catch a really great songwriter,

2:33:59 > 2:34:05the song is about something else, but you say, "That's me."

2:34:05 > 2:34:08He writes very romantic lyrics.

2:34:08 > 2:34:11The combination of that and the sound of his voice

2:34:11 > 2:34:12is when I really love it.

2:34:12 > 2:34:15It's a guy in pain, but it's very romantic.

2:34:15 > 2:34:17I thought he was a brilliant poet,

2:34:17 > 2:34:19and poetry's absolutely essential,

2:34:19 > 2:34:21and he's got it.

2:34:21 > 2:34:23I've never heard him write a bad lyric.

2:34:23 > 2:34:26I'm always irritated at seeing these writers on tv

2:34:26 > 2:34:29that go, "Well, you know, I sat down to write a song about dogs,

2:34:29 > 2:34:30"and I wrote..." you know.

2:34:31 > 2:34:32It's not that simple.