Musical Mojo: The Hypnotic World Of Tom Petty And The Heartbreakers

When it comes to sculpting timeless tunes, few can match Thomas Earl Petty and his band. Whether it be the spitting rock ‘n' roll of their early years, latter day country laments or, most recently, psychedelic blues jams, the calibre of their craftsmanship rarely fails to dazzle. A new album - 'Hypnotic Eye' - has just been released to rave reviews and has reinforced just why Petty is so widely fêted.

Petty and the Heartbreakers arrived in 1976, at a time when rock music had become increasingly bombastic, disco was everywhere and the nascent punk scene was rebelling against the old guard. Although initially grouped in with the latter, due to a stripped back dynamic and spiky attitude, they certainly didn't share the punks’ disdain for the past.  

Inspired by the Beatles, Rolling Stones, Chuck Berry, the jangling textures of the Byrds and lyrical bite of Bob Dylan, their influences combined to birth songs that were steeped in tradition while feeling modern and uniquely theirs. Add in impeccable west coast pop melodies from their adopted LA base and southern blues authenticity from their native Florida and you've got the blueprint.

Lyrically and thematically, the songs embody Petty’s worldview, focusing heavily on outsiders, loners, dreamers and the downtrodden. Such a standpoint blossomed from growing up with a father who verbally and physically abused him, once smashing his records as he was disgusted by his son's long hair and love of music.

An almost pathological need to fight unjust authority figures courses through his writing, inspiring tracks like Anything That's Rock ‘N' Roll, I Won't Back Down, Power Drunk and his recent attack on Catholic church cover ups, Playin' Dumb. By contrast, Petty's softer side came from his encouraging mother, creating a push and pull between maternal love and paternal disdain that gave him a first hand understanding of the complex human condition.

In a 2006 Billboard retrospective for Petty’s debut with the Heartbreakers, Fleetwood Mac's Stevie Nicks described how that permeates his songwriting: "What makes Tom so good is that he writes about everything. Love in theory. Love in euphoria. Love in disappointment. Love in how it affects everyone. Divorce and how that affects everyone. Then he writes about personal growth and how that ebbs and flows. He writes about the world...the record business. He is magical.”

As are his melodies, which meld Beatles pop smarts with Byrds breeziness to produce indelible refrains that are familiar, yet fresh and original. From the fist-punching Refugee to Free Fallin's dreamy hook and the giddy sugar rush of The Waiting, his lean, direct songwriting style was tailor made for radio airwaves.

Producer Jimmy Iovine – who oversaw 1979’s breakout album 'Damn The Torpedoes' – praised his economy in the same Billboard piece: “It was a time when there were these long rock songs, but he would write a three-to four-minute piece that had all the passion of any Led Zeppelin song or Bruce Springsteen song, but yet he condensed it in a three-or four-minute rock song. And he's very good at it.” But, when asked by Classic Rock magazine about where his songs come from, Petty mused: “It takes a long time. I try to play until I go into a semi-subconscious space. And then things start arriving.”

While Petty is the driving force, the Heartbreakers are more than just a backing band. Campbell, in particular, is an unsung hero whose versatility makes him one of the best all round guitarists of his generation. “I always try not to overplay,” he told Music Radar earlier this year while discussing the new record. “I hate hearing records where the guy's playing all over the place. Basically, what I do is, I really listen to the song without playing. When Tom is showing a new song to us, I listen really closely to the spaces between the words and the chords...

“The other trick is get into the soul of the singer and listen to the way he's phrasing his melody. And maybe you can hear a little line in there that you can try to play on the guitar to simulate that. Sometimes that leads you into maybe not the same line, but something that's really complementary to where the guy's coming from.”

From the laser-edged lead of Woman In Love (It's Not Me) to the whistling-razor slide on What Are You Doin' In My Life?, Petty's songs wouldn't be the same without Campbell's multi-layered fretwork.The same can be said of keyboard player Benmont Tench. Like Campbell, everything he plays, blending his Hammond B-3 organ, acoustic and electric pianos, is for the good of the song. Don't Do Me Like That highlights this, beginning on the piano with a few bouncing notes before a choral Hammond lick over the top injects a funky groove into proceedings.

Together, Campbell and Tench bring Petty's stories to life by whipping up a virtual wall of sound, with Here Comes My Girl a great example of their interaction as Campbell’s Rickenbacker arpeggios and Tench’s counter melodies bring rays of romance to its hook.

Although the original rhythmic duo, drummer Stan Lynch, now Steve Ferrone, and bassist Ron Blair, who was replaced by the late Howie Epstein between 1982 and 2002 before returning, aren't as technically proficient, their infectious grooves are just as essential. Lynch really made things swing, playing on the back of the beat to give that laid-back Heartbreakers vibe, while Blair bound it all together with a style that's punchy and packed with bounce. Listen to how he and Lynch boogie during the chorus of Shadow Of A Doubt (A Complex Kid) to witness a supreme rhythm section in full flight.  

Iovine explained to Billboard: "What makes them sound the way they do is as much their imperfections as it is their talent and originality. It's the way Tom lays on a beat, and the bass and drums are slightly right behind. It is incredible chemistry. When you put all the instruments up, it would just lock.”  

On top of that, the Heartbreakers embody the Thomas Edison quote: “Genius is 1% inspiration, and 99% perspiration.” It may seem contrary to the spontaneous spirit of rock ‘n’  roll, but Petty explained to Classic Rock magazine how diligent fine tuning makes all the difference. Talking about a minor lyrical alteration to his solo song You Wreck Me - originally titled You Rock Me - he said: “It's amazing how one word can completely change the entire thing.  It can lift up the whole trip and elevate it if you're patient enough to get that one little word or key line.”

Given that meticulous attention to detail, how does the finished product sound effortless? The answer lies in the pop formula and the band’s understanding of their material. In the early years they had a saying: “Don't bore us, get to the chorus.” The songs are short and peak quickly. The verses don't labour. The lyrics are sharp as a tack and to the point. There's no over indulgence.

Such simplicity creates a form of musical sleight of hand, making the songs accessible while hiding a wealth of ideas and subtle embellishments within. They can be enjoyed as superficial singalongs, loved for their dreamy escapism, bar-room dancing rhythms or Petty's wordplay.

Finally, Petty is always searching for a core of undiluted authenticity. The songs appear straightforward because of the consideration that goes into finding the heart and soul of each composition. If it feels forced, rushed and doesn't resonate, they discard it. Fashions may rise and fall, but honesty and class never go out of style.

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