The Tom Petty Project

Today’s episode is a fantastic chat I had with my friend Eric Senich, who has been on the show previously, back in October of last year. As well as being an outstanding podcaster and rock historian, Eric also spent a large part of his early career as a DJ, so I thought it would be interesting to talk to him about the nature of the industry and how and why freeform DJ’s like Jim Ladd were such an i...

Rich is back to share his answers to my 10 questions? He's in cover bands that deal with Tom, Jeff Lynne, and George Harrison's musical output, so that question is a slam dunk, right? Which gig will he want to travel back in time to see? And which song is he going to duet on? It isn't one that's been picked thus far! You can find Rich's music and bands here! Rich Gibson: https://open.spotify.com/a...

Today’s episode is a fan chat with a musician who’s be following along with the podcast for a while now and is a fellow Northern Englishman. Rich Gibson is a singer, songwriter, and musician as a solo artist and with the bands Spring and Indigo Slink, as well as being part of three different Wilbury’s-related tribute acts, The Petty Heartbreakers, Ultimate ELO and The Pretend Beatles! We had...

Well, we've covered all the songs on Echo now, so that can only mean one thing! That's right. It's time for John Paulsen to join me again to wrap up the twelfth album and dig into the vinyl age, whether fifteen songs is too many, and of course, a whole lot of back and forth about the album! As always, it was great to hang with John for an hour and dive into the darkest work in Tom's catalogue. To...

“One more night, God I've had to fight. To keep my line of sight on what's real”. That opening line really acts as a double underline on the pain and weariness that Tom has explored lyrically throughout much of his twelfth album. When author Paul Zollo mentions this in Conversations with Tom Petty, asking “Can you keep some perspective, being within the music industry, on the meaning and impact an...

Wolfie is back to answer my ten "quick fire" questions, which seem to be taking longer and longer! His pick for favourite Heartbreaker came as a surprise but his three words to describe Tom Petty are pretty fantastic! Don't forget to go check out Greg's music on Soundcloud (links below) and if you're in the Connecticut area, make sure you check out when his band Accidental Breakdown is playing! Yo...

Today’s episode is a fan chat with a musician and podcaster who I’ve gotten to know a little over the last 12 months or so and wanted to learn more about. Greg Wolfe, or Wolfie as he’s more commonly known in the podcast universe, is a bass player and band leader for the Connecticut-based band Accidental Breakdown. He’s also one of the co-hosts of the Regarding Series of podcasts which breaks down...

There’s a weight to the arrangement of this song, accentuated by that heavy kick pattern that Steve Ferrone opts for, along with Tom’s deliberate persistence in landing on the root note at the end of his phrases that makes this one compelling. It’s also noteworthy in not really having a defined chorus. We do have that A section and B section, but I wouldn’t necessarily call it a chorus, then you h...

Welcome to a special episode of the Tom Petty Project where I’m going to take a break from our usual scheduling to pay tribute to one of the most influential performers of all time. Today’s episode is dedicated to the life and work of Ozzy Osbourne. NOTE: There is some profanity in this episode, when quoting Ozzy. Don't forget to follow me on social media, like, subscribe, and please, leave a rati...

It’s often been remarked that Mike sometimes sounds like Tom when he sings. If you listen to the Dirty Knobs albums you do hear some of those inflections peeking out from time to time, as you’d expect. But this goes both ways and I think Tom actually sounds a lot like Mike on About to Give Out - particularly in the verses. If you heard this on a Dirty Knobs record I don’t think you’d immediately c...

"Pharmacists aren't here to save rock and roll. They don't have the budget, or the jackets. But they are *trying*, in a landscape where most bands are too busy refreshing their socials to finish a bridge. Rock music doesn't die - it just downsizes. And Pharmacists are out here propping it up with their own shoulders, one open wound at a time." Those are words of KWR Radion DJ Jim McCaulty, and I t...

It’s an affirmation that after thinking about this problem, there’s a conviction to follow an ideal, if not a known direction yet. Whatever the direction we end up taking, it has to be something that we have certainty of authenticity. We’re not going to take a chance on something that feels half-dressed or unfinished, or flimsy in its intent. This course has to be real. I think a lot of us spend a...

 I think this is a perfectly neat, tidy, compact, fun little bouncy piece of music, with a nicely constructed, easy to remember lyric. The problem is, this one has always felt to me like Tom could crank out something like this on the way to the grocery store in about 5 minutes, on any given day of the week. It’s pretty much the only song on this album that I think is really safe and could rea...

It’s interesting that Mike has never dusted this one off with the Dirty Knobs and I think this goes back to him talking about how difficult a period this was and given the circumstances around its conception you can see why it might be ground he wouldn’t want to revisit. The song was a mainstay on the Echo tour however and in "Spotlight on a Heartbreaker" series, which appeared on the official web...

OK, let’s get into the song! In Conversations with Tom Petty, Tom tells author Paul Zollo “I wrote that on the drive to the studio in Bugs’ truck. My trusty roadie Bugs was driving me to work—and I got this idea for this song, “Billy The Kid.” I pulled out a pad as we were going over Topanga Canyon with all those curves, so I was really writing on the edge of the paper, and back and forth in the t...

Today’s episode is a very focused conversation I had with my pal and previous guest Nic Apostoleries. When we chatted way back in 2022, Nic told me that when I reached Echo, that he’d love to come onto the show and talk about it. We dive specifically into the lyrics on this season’s album and speculate on possible meanings to specific songs and overall moods and intent that album may hold. As a pr...

I’d said in the closing to last week’s episode that I get a strong connection between this song and the Jeff Lynne era of Tom’s work. So, close your eyes, listen to the first four bars, and imagine coming out of Too Good to Be True and into this song. It feels as natural a transition as anything in the catalogue to me. I think it’s partially the blend of those two acoustic guitars panned left and...

This is a very grown up song and as we discussed on Wildflowers, it’s a song that wouldn’t resonate as much with a person in their teens or early twenties as it would with someone who has lived and lost. You need that weight of experience to truly feel the bone-weariness that Tom projects at times and the hesitant accusations he ends with. It’s a collage of emotions and narrative dissonance that p...

In Conversations with Tom Petty, author Paul Zollo tells Tom that he finds the song has “kind of a British, early Beatles sound” to which to Tom replies “Yeah. It’s funny how you see these influences go round and round, because I was thinking of Don Everly, that sort of melody. But it does have a mid-Sixties British sound. And he was obviously influencing them.” Paul then observes “Like one of tho...

Lyrically, we get this short story, in typical Tom fashion where he’s just giving us the outlines and parts of a narrative. We start out standing by the highway in boots and silver spurs. And we end on the interstate across the Georgia line, which is maybe a teeny nod back to Tweeter and the Monkey Man. In fact, here’s an idea, maybe the protagonist of this song is actually Jan! I can imagine her...

I love the line “She’s a sweet young thing. Brings me dreams in a box she made for me”. That’s a very Petty-esque little piece of imagery that he throws in early to add to the very dreamy quality of the piece. In Conversations with Tom Petty, Tom tells author Paul Zollo that “The words changed several times in that song. But I finally got it to where I liked it. I think I worked on that one a lot...

The song is a powerful push back against an abusive relationship on behalf of the woman Tom loved. The way the lyrics are organized, with the verses describing the abuse in the past tense and the uplifting chorus being in the present tense really drives home that idea that “No longer will you be a slave. No longer will you have to crawl”. It’s a celebration of liberation and freedom that is specif...

Sonically, you could definitely hear this one sitting happily on Mojo. But I also sometimes feel that this is the most Wildflowers-sounding of all the songs on Echo. If you found out that it was another of the songs that hadn’t been included on that album, it wouldn’t really surprise you. In Conversations With Tom Petty, the only thing that Tom tells author Paul Zollo about this song is that “That...

 I, along with I’m sure many of you Pettyheads, consider this one of Tom’s finest works. It’s an absolute masterpiece in songwriting, lyrical precision, and arrangement. As Tom tells Paul Zollo, “It was a great example of The Heartbreakers at work. On my own I would have never arrived at that arrangement of the song. But they really took it somewhere that I would have never got to by myself.”...

Like Songs and Music for She’s The One, somewhere around half of the songs on Echo were never played live. Tom tells Paul Zollo “I was kind of glad to get to another place after Echo. I was kind of glad to get somewhere else. I don’t know why, but I kind of felt like we came back into the sun after that.” And this idea of a darkness hovering over this period in Tom’s life definitely permeates thro...