sign in sign up
<<
Home , Benmont Tench, Even the Losers, Hard Promises, Last Nite, Mike Campbell (musician), Mo Ostin

1950-2017

October 14-20, 2017 | billboard.com We have seen no other who compares with you.

From Burbank With Love. Letter From The Editor

TOM PETTY VIOLENCE IN VEGAS Photographed by Joe Pugliese on June 26, 2014, Illustration by Edel Rodriguez at Petty’s home in Malibu, Calif.

THE SANCTITY OF MUSIC

N JULY 2, 2016, BILLBOARD EDITORS WROTE AN most heinous contemporary instance. Live music is often open letter to Congress, in response to the mass fundamental to worship. A concert, like a church, can be shooting at the Pulse nightclub in Orlando, the vessel for communion among strangers. Communities O Fla., on June 12, 2016, and the killing of singer spontaneously arise at stadiums and small shows alike. A Christina Grimmie by a gun-wielding stalker two days earlier. concertgoer becomes part of a shared experience, and for a The letter, which was signed by over 200 top music artists and few hours, everyone in that venue is in tune with each other. executives, asked Congress to close the deadly Keeping these spaces safe is crucial. loopholes around gun regulation that put so many The bonds between people experiencing live lives at risk. music together are as fragile as they are powerful. Fifteen months later, we awoke on the morning On Oct. 2, we lost Tom Petty, one of the most of Oct. 2 to news of another mass shooting in celebrated live-rock mainstays of the last 40 years. a space where music fans had gathered. Fifty- His shows brought millions together across his nine people are dead and over 500 injured as career, and his timeless songs will be covered for the result of an attack on concertgoers at the years to come. Sadly, Petty will never perform Route 91 Harvest festival in Las Vegas. Using again. But even under the specter of possible gun a semiautomatic rifle he had legally modified violence, live music will persevere. We all must Billboard’s 2016 to fire at a faster rate, the shooter targeted a “open letter to work to preserve it. We need our elected officials to crowd watching Jason Aldean’s Sunday night Congress” cover. protect it. performance. Because the shooter was positioned We live in terrifying, difficult times, but music outside of the festival grounds, this tragedy was not a venue makes community. “You belong somewhere you feel free,” security issue — this was a gun safety issue. Tom Petty sang on “Wildflowers.” In an ideal world, we have It is unacceptable that so little in our country has changed each other and we have music to help us find that freedom. since the Pulse tragedy. It is unacceptable that our nation must Anything less won’t do. continue to search for a sane and safe end to gun violence. There is something especially obscene about violence committed in a place of worship. The murders of nine members of the Emanuel African Methodist Episcopal Church by a white supremacist in Charleston, S.C., is perhaps the Ross Scarano, VP, CONTENT

OCTOBER 14, 2017 | WWW.BILLBOARD.COM 3 IT WAS AN HONOR. YOU WILL BE MISSED.

*PHOTO BY SAM JONES Contents Sam Smith photographed Sept. 7 at Royal Botanic FEATURES Gardens, Kew in London. 40 Tom Petty (1950-2017) Smith wears a Prada A tribute to Petty, who sweater, Casely-Hayford shirt and AMI pants. To hear synthesized a range of about how “Too Good at uniquely American tropes to Goodbyes” came together, go to Billboard.com. expand rock’s boundaries. 48 40 Under 40 Billboard’s annual list of the young industry executives behind today’s top talent. 62 You Can’t Hurry Love Sam Smith found multiplatinum fame overnight... and then he basically disappeared. Now he’s humbled, fit and making his most heartbreaking music yet.

BILLBOARD HOT 100 5 After the success of “Despacito,” J Balvin, Willy William, BTS and Camila Cabello are having hits with globally influenced singles.

TOPLINE 13 Will the mass shooting at a Las Vegas festival change the genre’s relationship with guns? THIS WEEK 20 New hires at Warner Music Volume 129 / No. 23 Group have labels playing musical chairs.

7 DAYS ON THE SCENE 24 Las Vegas tributes, Songs of Hope, Clio Awards

THE BEAT 29 In a new documentary, Clive Davis revisits his biggest wins — and his toughest defeats: “This film is not an ego trip.” 38 After waiting 10 years between solo LPs, Gwen Stefani made her first holiday in a hurry.

BACKSTAGE PASS 69 The arena power players who drive the $25 billion global touring business. 77 “Despacito,” the year’s biggest hit — and cultural breakthrough — gets Latin Grammy heat. 83 From Abbey Road to The Village Studios, an inside look at where the most iconic music has been made.

CODA 108 Twenty years ago, “Candle in the Wind 1997” debuted TO OUR READERS atop the Billboard Hot 100, Billboard will publish its where it stayed for 14 weeks. next issue on Oct. 19. For 24-7 music coverage, go to Billboard.com.

8 BILLBOARD | OCTOBER 14, 2017 PHOTOGRAPHED BY NICOLE NODLAND

Petty onstage at the Paradise Rock Club in Boston in 1978.

TOM PETTY, 1950 - 2017 Beneath the surface of his masterful radio hits, Petty, who died Oct. 2 at age 66, artfully synthesized a range of uniquely American tropes — Los Angeles and the South, ennui and ambition, tradition and reinvention — reducing rock to its essence even as he expanded its boundaries BY ROB TANNENBAUM IN SPRING 2013, WHILE HE WAS RECORDING , now his final album with The Heartbreakers, Tom Petty was prepping for a tour with the band, and he was bedeviled by the setlist. “The audience always likes it if you play the hits,” he told me. “I feel we have more to offer than that.” The set changed each night on that tour, but for the most part Petty bypassed a lot of his best-known songs, from “The Waiting” to “You Don’t Know How It Feels.” Some nights he even skipped his two signature songs, “Free Fallin’ ” and “I Won’t Back Down.” Petty had resolved to stop acting like a human jukebox. It was consistent with the way he lived his life and drove his career: Figure out what you want and do it. Damn the torpedoes. Aside from musical ability, Petty’s great gift (and occasional curse) was a determination that sometimes turned ruthless. In Runnin’ Down a Dream, director Peter Bogdanovich’s 2007 documentary, Petty describes his band’s beginnings in its hometown of Gainesville, Fla. With a mix of pride and shame, Petty says he convinced guitarist and keyboardist to drop out of college and play music full-time. Years later, when he needed a bassist, he stole one from his friend Del Shannon’s band, shrugging when Shannon asked him not to do it. He put his career in jeopardy by twice going to war with MCA Records — winning both times. “When I felt any sort of injustice had been done to me, I could erupt into absolute rage,” he told MOJO magazine in 2010. Petty earned every inch of his lizard skin. He described his dad, a charming, carousing good ol’ boy, as “very abusive.” As early as fifth grade, Petty was a self-described weirdo because of his obsession with music. In an era when every Gainesville musician was imitating The Allman Brothers and playing long jams, he wrote concise, British Invasion-style songs. By his own

OCTOBER 14, 2017 | WWW.BILLBOARD.COM 41 TOM PETTY (1950 – 2017)

account he was a “geeky, artistic kid,” a striver with his eye on the West Coast and no interest in the two local hobbies, hunting and fishing. “In the South, I always felt a bit like a duck out of water,” said Petty. He was glad to have grown up there, because being surrounded by R&B and country music made his band tougher and sharper, he said. “When we came to L.A., we thought we’d have to come up a few notches to compete. And our first impression of the local groups was, ‘Wow. These guys suck!’ ” Petty recalled with a laugh. But, he pointed out, unlike the rest of his family and friends, he didn’t have a Southern accent. When I suggested he had ditched the accent as a way of shedding the South, he agreed. Petty was a loose, forthright guy who laughed a lot, but he was also peevish and held tight to grudges. He recalled, and not affectionately, a Los Angeles Times article about the city’s ‘THERE'S NOTHING LIKE BEING IN A BAND’ all-time top groups, in which he and his band were excluded because they started in Florida. Tom Petty was never shy about fighting for his artistic vision, but his reward was the joy of “That’s kind of a shitty feeling. all jamming with his friends — in The Heartbreakers, and The came from different places. So did Buffalo BY ALAN LIGHT Springfield. Jim Morrisoncame from Florida, for Christ’s sake.” It pained him to be shunned as a carpetbagger in the city he had idolized and where he lived for almost 40 years. From left: Petty, Campbell, “There’s nothing like being friends reunited Mudcrutch and, of course, Leadon and Randall Marsh If denim could start a rock band, it would of Mudcrutch in Los and being in a band,” said Tom Petty. The Traveling Wilburys. sound like Tom Petty. In his songs, he drew Angeles in 1974. “That’s the most attractive part of it Campbell spoke of Petty’s talent as heavily on The Byrds and Buffalo Springfield to me. When I saw on Ed a frontman when I interviewed him in as well as and The Rolling Stones. Sullivan, I’d think, ‘Those guys look like 2014. “At the end of the day, it’s always His most frequent lyrical tone was a wounded they’re all friends and they’re having Tom’s choice,” he said. “With the label perseverance: “You can stand me up at the gates such a good time.’ And that’s really or management, he has good antenna of hell/And I won’t back down” wasn’t just a important to be a good band.” for weeding out bullshit and phoniness refrain, it was his mission. His choruses relied As he was telling me this in 2014 and keeping everything honest.” on firm, declarative phrases: “You don’t have to at his sprawling home in Malibu, Not that it was an easy role. As live like a refugee,” “Don’t come around here no Calif., I thought back to 2008, when explored in Warren Zanes’ excellent more,” “You don’t know how it feels to be me.” At I watched Petty rehearsing with Petty: The Biography from 2015, the first glance, his songs seemed rudimentary, but his recently reassembled second pressures of fronting a band weighed Petty deployed contradict ory ideas and feelings band, Mudcrutch. Petty beamed as heavily on Petty, particularly the almost like jump cuts in a movie. he and a group that had broken up departures of drummer , Petty was less artful than other 32 years earlier — though two of its who quit in 1994 over longstanding in hiding influences — has any singer ever members, guitarist Mike Campbell personal and artistic differences; and in been called “Dylanesque” more often or more and keyboardist Benmont Tench, 2002, bassist , who was accurately? — but he in turn became an influence continued to play with him as the core, fired in part due to his heroin use — not on anyone who grew up on FM radio in his The Heartbreakers — bashed through long after Petty had kicked his own heyday. Nearly every country or alt-country band a version of “Shake, Rattle and Roll” in addiction to the drug. (Epstein died was influenced by him, as were John Mayer, The his Van Nuys rehearsal space. A few from an overdose in 2003.) Wallflowers and The War on Drugs. Half of Sheryl months earlier, Petty had headlined “I never really wanted to be up front,” Crow’s biggest hits could be Petty songs, as could the Super Bowl halftime show, but Petty said in 2014. “[In the beginning] Elton John’s “I’m Still Standing.” Like The Beach right then he looked content with the I was the bass player, but I was the one Boys, The Doors and a few other bands, Petty simple pleasures of playing bass and with the record deal, and the record made California a universal idea. singing harmony in a rock’n’roll band. company wanted me up front ... I didn’t Petty was adept at playing possum, the Petty never seemed to lose the really understand all that entailed at Southern tradition of passing yourself off as a joy and wonder of being part of a the time, but that’s the way it went.” simpleton even though you’re not. But it was one musical group. With his death, so Petty’s leadership kept The of the only things he kept when he left the South. much of the focus has (rightly) been Heartbreakers a stable unit. Its latest “We felt much more at home, musically, when we on his extraordinary songwriting, but iteration looked a lot like its first, and got to L.A. If I’m honest, we’re a California band,” Petty was also one of rock’s great even its newer members — drummer he told me. “We’re probably the last link to that bandleaders, maintaining the airtight , who replaced Lynch, long line of bands that came off the [Sunset] Strip. versatility of The Heartbreakers and utility player — We’re probably the end of the line.” for 40 years while also juggling the had been with the band for over 20

42 BILLBOARD | OCTOBER 14, 2017 CREDITSPETTY: JIM HERE MCCRARY/GETTY AND HERE TKTKTKTKTKTKTK IMAGES. PHAIR: SCOTT DUDELSON/GETTY IMAGES. LEIGH: UNIVERSAL PICTURES/PHOTOFEST. PREVIOUS SPREAD: © RON POWNALL. in the Rock andRoll Hall of Fame.in theRock crew from Gainesville orhisnewpeers collaboration, whether withhisold was thatfeelingofcamaraderie and the musicindustry. Hisreward, then, for hisvisioninthestudioorwith said in2007. group justnaturally he materialized,” were“We all inthesamecircle, andthe — ashavingagenuinebanddynamic. ,RoyOrbisonandJeffLynne collaborating withGeorge Harrison, Wilburys —whichsaw him andold,oldfriends.” of people hesaid.“Apeople,” veryhappybunch withthose The Epics.“Ilovebeing Petty hadformed hisfirst band, Tomco-founder Leadon,withwhom this unlikely reunion thatincluded expresswould later delightabout like getthemtogether.’ to ”Petty band. Iwonderwhatitwouldbe ’Ireally likedrandom that thought: Petty saidin2010,sprang from “a band like TheStones.” usand a see adifference between 2014. “So really inourminds,wedon’t Petty saidofhisgroup idea,” in better agree withmeoriftheyhavedon’t a . with original Heartbreakers bassist years. Petty evenreplaced Epstein Petty was nevershyaboutfighting TheTravelingHe evendescribed Putting Mudcrutch backtogether, meifthey tell veryquick to “They’re not being willing to change. willingto not being singing very soulfullyabout he’s He’s honest. alsobeing adouche,but kind ofbeing he’s it, if you thinkabout In“Freewanted. Fallin’,” giveyouwhat going to a woman.Hejustwasn’t what youwere feeling as awarewas 100percent of Itwasclear he shy it. about andbe have alotofbooks his house,he’d probably you were hangingoutin him.Like, just trusted if Where are you?!” “Are call? youevergoingto him,you’ddated like, be You thatifyou couldtell yourteeth!” understand Idon’t is uncomfortable! Charming. Like, “God, this him thatwere notPrince about There were parts where you’d kisstheTV. “Oooh, Luke Skywalker!” Itwasn’t like, about. idols Iwouldhavedreams He wasoneofthefirst pop mysexuality.understood beforemy sexuality Ireally me.Hegotto disturbed but I’ll youthis—he tell guy. Helooked sensitive, come outofafair-haired voiceto authoritative suchalow,expect deep, through me.You didn’t them. dated inwhetherI factor tipping going on,andthatwasa who hadshades ofPetty name atleastthree guys love.Ican pure teen-idol My lovefor Tom was Petty Phair Liz By it’ understood Ireallybefore sexuality my ‘He got to And yet somehow you And yetsomehowyou His voicewentright the opening of the 1982 film the1982 of the opening song heplayed. Bowl,itwasthefinal Hollywood with“Americantheir set Girl.” Andat Petty’s last showever, at the 25 onSept. played the theircareerbiggest at showof theLive Aidfestival, theystarted “LastNite.”breakthrough hit, whenPetty andTheHeartbreakers In1985, Handmaid fate of Elisabethseason thefirst Moss of of intheclosing sequence Harvest Festival. Just thisyear, itwas from aterriblefate, butwhile s along tothesong, keeping timeon of the Lambs thanin Jonathan onscreen used better Demme’s thriller, 1991 Dolls —nottomentionTheStrokes takingthe do.” really could something that noone else special “[W]ecareer: hadfound greatest his highlightof “American Girl” wasthe said in2008that recording more thanthevictory. Petty cherished thebattle were onfire,because but play like their amplifiers The Heartbreakers could anyway, notjustbecause songs feel those joyful cometome.”would All down adream/That never a day inthesunshine, hehadtopuncture itsfantasy “Runnin’ immediately: WhenPetty inthepasttense. thatthe happyromance song of wrote about Even getocean. thelosers Petty sometimes, lucky allowed—butthenheput heroes don’t get TheAmerican girl what may theywant. never live nexttothe ifthe that strivingfortheirdreams songs are people about more powerful roll by/Out like waves on441 crashing onthebeach.” that got aFlorida and route number of the thetraffic sound of PacificOcean—a wasactuallythe the sound joke nexttothefreewayan apartment inEncino, Florida Angele foramusiccareer inLos itwas onlyafew monthsafterhehadleftsmall-town he wrote thesong, current existence. Hissympathy for the bigger longingforsomething songs thantheir people about of running series triumph of Amytriumph of Poehler in standard Americangirlsmodern (and formillionsof boys). Hot 100—through theyears theanthemPetty itbecame hadintended,a and althoughitwasn’t —itdidn’t ahitonitsrelease crack theBillboard onpromises was anAmericangirl/Raised followedbyPettyover soon aBoDiddley-style drawling, “Well, beat, she rock’n’roll, comes anelectricshoc Petty swampy &TheHeartbreakers, minutes of after27hit-or-miss BY GAVIN EDWARDS multiple across generations amood us—andcaptured sustain hopes great theme—thateven impossible Petty’s articulated song early One THE ‘AMERICAN GIRL’ DREAM AT THE VERY END OF THE SELF-TITLED 1976 DEBUT ALBUM BY TOM “American Girl” asJennifer thescene sets Jason returns Leigh in toschool The song has been covered from hasbeen TaylorThe song byartists Goo Swiftto theGoo Guitarist Mike Campbell PettyEarly on, thatsomething figured made hismusicendure: crucial out Petty considered “American Girl” ’ s Tale . Ayoung woman(Brooke Smith)drives singing homeat night, . It rings true on all those soundtracks,. It onallthose rings butithasnever true been Parks and Recreation Fast Times at Ridgemont High he listens to this song, sheisfree. he listenstothis song, little more to more life inlittle a for looking Romanus) Robert (with Leigh Jason Jennifer OCTOBER 14, 2017 | WWW.BILLBOARD.COM |WWW.BILLBOARD.COM 2017 14, OCTOBER k. Twoguitars make aholychiming sound the steeringwheel. Sheismomentsaway became the lyric “She could hear the cars hearthecars thelyric“Shecould became to be thefirstto installmentinalong- be an ironic counterpoint tothe an ironic counterpoint uncertain s. Not yet arock star, hewaslivingin title character camenaturally: When .” was“American Thesong Girl,” Calif. totell He friendsthat used central riff for Fast Times at Ridgemont High Ridgemont at Times Fast whenshefinally launches the . It underscores the a joyride in their a joyrideintheir The Silence The The . 43 1 4

2 3

7 56

8

9

10 From left: , Petty, , Mick Jagger, Lenny Kravitz and Brian Setzer as portrayed in the 2002 Simpsons episode “How I Spent My Strummer Vacation” (center: Homer Simpson). 11 From left: Eric Clapton, Bob Dylan, G.E. Smith, Petty and rehearsed for Dylan’s 30th Anniversary Concert in New York in 1992. 12 From left: Ron Blair, Petty, Peter Bogdanovich, Benmont Tench and Mike Campbell at the premiere of Runnin’ 10 Down a Dream at Warner Bros. Studios in Burbank, Calif., in 2007. 13 Petty and The Heartbreakers’ Super Bowl XLII halftime show in Glendale, Ariz., in 2008. 14 Dylan and Petty performed at Rich Stadium in Buffalo, N.Y., in 1986. 15 Petty and Rick Rubin with Petty’s platinum record for Wildflowers at Warner Bros. Records in 1995.

11

13

12

15

14

1 From left: Steve Winwood and wife Eugenia Crafton, , Jeff Lynne and Tom Petty in 1992. 2 Petty with wife Dana York at a 2015 Los Angeles Lakers-Houston Rockets game at the Staples Center in L.A. 3 and Petty onstage in 1981. 4 Petty flashed a peace sign after winning best male video for “You Don’t Know How It Feels” at the 1995 MTV Video Music Awards. 5 His junior yearbook photo at Gainesville (Fla.) High School in 1967. 6 From left: Sharon Stone, Petty and Carrie Fisher at the Los Angeles amfAR Benefit in 1996. 7 Petty and daughter AnnaKim Violette in 1989. 8 A still from the 1989 “Free Fallin’ ” music video. 9 Petty and inductee Prince at the 19th annual Rock and Roll Hall of Fame induction ceremony in New York in 2004.

44 BILLBOARD | OCTOBER 14, 2017 1: SGRANITZ/WIREIMAGE. 2: ANDREW D. BERNSTEIN/NBAE/GETTY IMAGES. 3: LARRY HULST/MICHAEL OCHS ARCHIVES/GETTY IMAGES. 4: BEBETO MATTHEWS/AP/REX/SHUTTERSTOCK. 5: SETH POPPEL/YEARBOOK LIBRARY. 6: BEI/REX/SHUTTERSTOCK. 7: JIM HERRINGTON. 8: COURTESY OF 1989 MCA RECORDS. 9: KMAZUR/WIREIMAGE. 10: THE SIMPSONS © 1990 TWENTIETH CENTURY FOX FILM CORP. ALL RIGHTS RESERVED. 11: KEN REGAN/CAMERA 5. 12: CHARLEY GALLAY/GETTY IMAGES. 13: TOM FOX/MCT/ZUMAPRESS.COM. 14: MICHAEL BRITO/ALAMY. 15: HENRY DILTZ. BASINGER: COURTESY OF 1993 MCA RECORDS. PETTY: ADRIAN BOOT/URBANIMAGE.TV. A CLASSIC,UNCLASSIFIABLE ROCKER to complicate itevery fewye wave, “classic though, rock” is into -heavy areas without borders Those were his.Likeblinking. new it didn’t But share easilycross hecould aborder withdance orhip-hop. doesn’t meantheykeep Petty from hismiss Steve Ferrone’s any of Petty drumsare theloudest recording, which theDNA whostudies Rubin. songs, andrepeatedly: Rick else carefully of a termlike “classic rock” conceals. toanacoustic,andthegenre changes. It isthisflexibilitythat andDixie Chicks’Car” Spaces,” Open Move “Wide isit. from thissong the restraints, forPetty. Ifthere isabridge Tracy between Chapman’s “Fast showingagain that threespectrum, chords not andatoplinewere fuel, louder without any awkwardness. line up,theAC/DC comesthrough clearly. get could Thissong much Me Up,”Rolling Stones’ “Start butin2017, hearingtheguitars anddrums [And Nothin’ On]”). At thetime, itreminded many reviewers The of less rewritten byBruce pylon onhisroad, makingitclear ho singer. Petty never but“Breakdown” like wrote it, anothersong placed a Change alongside BozScaggs’ “Lowdown” from orsomething Tom Waits’ it live, Petty Charles’ Ray interpolated often “HittheRoad,Jack.” Play it hasmore electricpianothanguitar, Thesong released. andwhenhe played single, “Breakdown,” from 1977 inalmostany used genre.substances that be could Thevery first Petty later years. manyunlike withwhomhewaspigeonholed so that inhis legacy of artists rock of madeitclassic.parts Hismusic still thinkthere’ll innovations be withintheform.” I sung. hasbeen toldorthewholesong think that thewholestoryhasbeen nowhere togo. Ithinkthere’s places togo alotof withrock, still.Idon’t like theterm‘classic’ much,” too hesaid.“It makes mefeellike there’s callthisaclassic theywould “Iguess album. rock Idon’t album. really Shakespeare “classic theater”? optimistic thanPetty, whothoughtrock w songs. Much itwastagged asclassic of ro iterations voice of andguitartowrite the Petty close listening. evidence of sp meaningless.” virtually to be categories. Perhaps theyare newwave, basicin too pop-rock, orart-rockconception tofitintoeitherthejazz-rock ’60s- be labeled andjanglyto intense calledpunks,too be to influenced wrote thebandin about a New York University Twod dorm. anight Palladium Street, onEast14th wave that wasn’t allthat punk,Tom Petty &TheHeartbreakers played the BY SASHAFRERE-JONES latein genrescatch-all towhich his consigned hewas career sui generissongwriting did fitinto notneatly the complex, Petty’s ON JULY 14, 1978, WITH NEW YORK’S PUNK WELL SCENE INTO A SECOND “You Don’t KnowHow It Feels,” paired Petty with from 1994, someone 1991’s lands “Learnin’ far from toFly” “Jammin’ Me” onthestyle “Jammin’ Me,” from 1987, isareaction overload culture topop (more or many Petty’s of So like songs theelementsthemselves, sound uncut Rock classic onlygot tobe because interviewwithCharlieIn a1999 Rose, Petty talked about his Palmer’s inability topick forPetty justonesound wasnotafailure but album, andyou’d album, thinkPetty anext-stage wasanglingtobe soul Springsteen in 1992 as the lesser song “57 Channels “57 song asthelesser Springsteen in1992 The

New York Times ars. That jobisnow open. a fairly meaningless termwithoutsomeone , was one of thesneakiestthings, wasoneof he ays later, Palmer musiccriticRobert w wide his field of visionwas. of w widehisfield what sounds likewhat songs sounds other beneath a writerlike Petty hearwhich could club turnedinto that hassincebeen endures because itnever endures because calcified, ent 40-odd years usingthesimplest ent 40-odd although that enough termisvague ck, which toaworld speaks less as eternal astheater. Whocalls ion. He knewhisterritory,ion. and : “They are too melodic and melodic are too : “They Echoes Small

worked withhim. but soproud thatIhad sogladitwasover,being thatdayandjust the pool outof I remember getting had agreat senseofhumor. Tom sometimes! together honestly couldn’t keep it we laughedsohard. Ijust dead —allyourweight,” really play have gotto kept you saying, “Look, unfolded andthisdirector shy.” Butasthestory really “I’mI thought, shy; he’s intheworld,and being human the mostoutgoing shy.beautifully I’m not He wasjustvery humble, ofabackseatguy.sort and incredibly sensitive I alwaysfound Tom be to way orthehighway. And itwaskindoflike, guy; his McFarlane] wasagruff so inlove withthesong. I heard themusic,andIwas Then away whenhecalled. —Iwasjustblown about didn’t evencare whatitwas one reason: Tom Petty. I Dance” video[in1993]for I didthe“Mary Jane’s Last By Kim Basinger shy’ beautifully humble, ‘He was very 1996 film film 1996 Fallin’ ” “Free sang in the Cruise, —Tom with his songs.’ experience captures life he — love heartache, nostalgia, history, humor, intelligence, filled with is music ‘His The director [Keir Jerry Maguire who who BY LIZZY GOODMAN join noclubs.We’re ourownclub.” documentary, Petty sayswithasmirk inPeter Bogdanovich’s like clubs,” intheold.Ijustdon’t we weren’t inthenewwave, be because rebellion. had to “We first andforemost asenseof surrealist into tapped era. ofPetty’s Buttheabsolute essence aesthetic Vietnam and, later,sneer thatbefitted theReagan the primal roots-rock ofhisyouthwiththedefiant rock’s first graduating class.Hissoundblended Patti SmithandTalking punk Heads—American Petty was racing inthesameheatasBlondie, record, ’70sascendant andby thelate album outin1976,thesameyearasfirst came Thefirst Heartbreakersradio hitswould suggest. and weirder athiscore thanhisomnipresent attitude was always Hewas punk. afreak, angrier X’s ironic detachment. really oldto all embrace Gen youneedislove,too that haveeverbelieved youngto generation: too miniemotional ofhismid-baby pitch boomer wry yetromantic the songwritingmatched Petty’sdisenfranchisement anddisillusionment. galvanization, the1970s,was alienation, about ofhisformative creativeBut thedecade intheera of’60srock andradicalism.adolescence movies,his inElvisandcowboy was steeped asfreeing,and oddness nothumiliating. kidslikewho helped mereframe ourinsecurity PJ andEddie—thisgangofrock’n’roll characters and, Courtney, ofBjörk,Kurt, preteen me,apeer to anddangerous, playful dead.Heseemedboth be to with thepretty blondefrom video, hatdanced aquietlyamusedguyintop 1993’s ”MaryJane’s Inthemusic LastDance.” I watched thefirst Tom Petty songIeverheard: THE PUNK INPETTY outsider spiritoutsider athis core but thatdidn’t changetheproudly weird mega-success, found mainstream He Though he became a classic rock icon, Petty’s aclassicrock icon, Though hebecame Petty was born in1950.Hischildhood OCTOBER 14, 2017 | WWW.BILLBOARD.COM |WWW.BILLBOARD.COM 2017 14, OCTOBER Runnin’ Down aDream TOM PETTY (1950–2017) Batman Francisco in 1979. in Francisco whoappeared . “We didn’t didn’t . “We Petty in San Petty 45 DON’T DO ME LIKE THAT

After signing away his publishing rights early on, Tom Petty worked the angles for years to steer his career — and keep the money flowing in BY FRED GOODMAN

Petty recorded Damn Tom Petty sang “I Won’t Back Petty expected. Particularly scare into the industry (if Petty to my label, MCA, and they the Torpedoes in Hollywood in 1979. Down” with a raffish drawl. But irksome was the realization was successful, fellow artists rejected the record.” Not long when he delivered the same that he had signed away all of might see bankruptcy as a afterward, when the idea for message to a record company, his songwriting and publishing useful tool for renegotiating The Traveling Wilburys was it was with the conviction rights for $10,000. “I had no and breaking contracts), the incubating, Petty spent an of an artist protecting the idea I’d never make money tactic succeeded in getting evening with George Harrison integrity of his work — one who if I did that,” he told Rolling Cordell to settle out of court. at the home of Warner Bros. became increasingly cognizant Stone in 1980. When Shelter’s “It may have been a sham in Records chairman Mo Ostin. of both his creative and distributor, ABC Records, was some ways, the bankruptcy “Dinner ended and George financial leverage and adept at sold to MCA in 1979, Petty strategy,” Petty admitted to his said, ‘Let’s get the out controlling his career. sought to break the contract. biographer, Warren Zanes. “But and sing a little bit. Let’s do Petty was first signed to He said he was motivated by ... [Cordell’s] lawyers figured that “Free Fallin’.” [Warner — a boutique the idea that “I could work my we’d out-lawyered them.” Records president] Lenny label co-owned by Leon ass off for the rest of my life, MCA mollified Petty with Waronker said, ‘That’s a hit!’ I Russell and producer Denny and for every dime I saw, the a new imprint, Backstreet said, ‘Well, my record company Cordell — as a member of people that set me up would’ve Records, and a deal that won’t put it out.’ And Mo said,

Mudcrutch. After releasing one seen 10 times as much.” reportedly included a $3 million ‘I’ll fucking put it out.’ ” S RESERVED. single, Shelter opted to drop MCA and Shelter sued guarantee, and Petty regained Petty then signed a secret Mudcrutch but keep Petty. Petty for breach of contract, his publishing rights. The deal with Warner Bros., His initial singles with The and Petty and his managers, Heartbreakers’ first Backstreet reportedly with a $20 million Heartbreakers, “Breakdown” Tony Dimitriades and Elliot album, Damn the Torpedoes, guarantee. MCA agreed and “American Girl,” failed to Roberts, ratcheted up the went to No. 2 on the Billboard to scrap the last album in chart, yet he quickly built up a stakes by having the rocker 200 and was certified triple- his contract in return for strong following in England, file for bankruptcy protection platinum. But the honeymoon a greatest-hits package and the band’s popularity as a — a move that could force a proved short-lived. When MCA featuring two new tracks; one live act helped his two court to readjust all of Petty’s sought to make 1981’s Hard of those songs, “Mary Jane’s for Shelter go gold. business arrangements, Promises its first $9.98 release, Last Dance,” subsequently That first flush of success including the recording Petty staunchly resisted, even became a hit. If it chafed to proved far less lucrative than contract. Designed to throw a suggesting he would retitle have Petty spirited away by it Eight Ninety Eight. MCA Ostin — his first album for “couldn’t see that raising the Warner Bros., Wildflowers, album’s price wouldn’t be fair,” went triple-platinum — then- he told The New York Times. MCA Music chairman Al Teller $10,000 $9.98 $20M By 1987, Petty was itching likely found some consolation to move on. “I had written this in seeing Tom Petty and the Amount Shelter Records Price MCA hoped to charge for the Guarantee Warner Bros. paid Petty for his songwriting 1981 album — a reportedly promised Petty on song, ‘Free Fallin’,” he recalled Heartbreakers Greatest Hits sell

and publishing rights $1 premium over other albums signing him in 1987 earlier in 2017, “and taken it a reported 12 million copies. TENCH: JEFF KRAVITZ/FILMMAGIC. WILLIAMS: RANDALL MICHELSON/COURTESY OF . STUDIO: JOEL BERNSTEIN. © 1979 ALL RIGHT

46 BILLBOARD | OCTOBER 14, 2017 TOM PETTY (1950 – 2017)

‘The good old ‘He made me Florida boy think, “Maybe I KICKING OUT THE JAMS was still there’ can do this” ’ He knew the arenas wanted to hear “Free Fallin’.” But in a set of freewheeling smaller shows during By Bill DeYoung By the past decade, Petty and The Heartbreakers revealed the breadth and complexity of their roots The Gainesville (Fla.) Sun BY SIMON VOZICK-LEVINSON arts editor, 1982-2002

When I got to The Gainesville Sun, Tom Petty THERE’S NO SHAME IN PLAYING THE HITS Onions”) to Chicago blues (Muddy Waters’ “I Just & The Heartbreakers’ when the hits are as iconic as the ones Tom Petty Want to Make Love to You”) to Tulsa roots-rock meteoric rise was made throughout four decades. As recently as (J.J. Cale’s “I’d Like to Love You Baby”) to Nashville happening. They were the the last week of September, social feeds lit up country (Conway Twitty’s “The Image of Me”) to coolest thing to ever come out of Gainesville, and with exhilarating footage from the Hollywood California garage rock (The Monkees’ “[I’m Not I made it my mission to I opened for Tom Petty & Bowl, where Petty and The Heartbreakers Your] Steppin’ Stone”) — brilliantly unraveling make sure the world knew The Heartbreakers in 1999, concluded their 40th-anniversary tour with the tapestry of American sounds that Petty wove where they came from. I right after Car Wheels on a three shows stacked with classics like “Refugee,” together starting in the 1970s. mean, he was an L.A. rock Gravel Road was released. “Free Fallin,’ ” “Mary Jane’s Last Dance” and Most surprising of all was how freely the group star for sure. But if you just People didn’t know who I scratched the surface a was much back then, and it “Learning to Fly” — all sleek hook machines that jammed at these shows. Performances of the little, the good old Florida was clear his audience was work as well now as when they were recorded. Grateful Dead’s “Friend of the Devil” stretched boy was still there. He was impatiently waiting for Tom Petty knew he had one of rock’s all-time greatest to seven minutes or more, spinning out into wild, a man without pretension Petty to come out. There singles catalogs, and he made excellent use of it cosmic dances among Campbell’s guitar, Tench’s — it’s just the way you grow was a banana peel thrown in 2017. organ and Petty’s harmonica. This wasn’t a luxury up down here. onstage at one point. It was At the end of the day, pretty brutal! But after two But those indelible choruses only tell part of the band often allowed itself on record, where the [speaking manner] or three nights of this, Tom Petty’s story. His ability to write that way, with a its primary focus remained concise three- or never changed; the laconic came out and introduced seemingly effortless elegance unlike any of his four-minute pop songs, calibrated for maximum humor never changed. us: “Guys, I want you to peers, was grounded in his deep knowledge of rock joy per second. It was revelatory to see how well I can do his voice pretty listen. This is an important history and his finely honed instrumental technique the gambit worked in concert, showing off the well at this point: a little artist, and you need to be bit of a slur, you don’t move respectful of her and pay (paired with that of his bandmates, notably guitarist sheer technical talent that made the group’s most your teeth much, you talk attention.” That’s what won Mike Campbell and keyboardist Benmont Tench). popular records possible. through very tight lips. my heart. I had opened You can hear it in the breadth and depth of The Live After seeing one of those shows, it was natural Everybody you meet of a up for Bob Dylan and Van Anthology, the four-disc box set the band released to ask why Petty didn’t do this more often. Perhaps certain age here has a Tom Morrison, and it could feel in 2009. But better still, those who scored tickets he found it more fun as an occasional treat. More Petty story: “I knew Tom at really disconnected and Bishop Middle School,” “He weird. But going out with to the group’s rare tours of smaller venues in recent likely, by that point in his career, Petty would have dated my sister,” “He was Tom was like, “Wow, these years got to witness it in person. liked to play such sets for larger audiences but the weirdo kid who smoked guys seem to be enjoying On one such memorable run in 2013, the band felt it wouldn’t have been fair to the arena and a lot of pot.” He's part of the themselves!” He made me made it through five nights at New York’s Beacon amphitheater crowds who paid to hear their favorite shared cultural heritage finally think, “Maybe I can Theatre and six at Los Angeles’ Fonda Theatre radio hits. If Petty felt that tension, his dedication to of Gainesville. People are do this.” still very proud that you can When I was invited without touching many of its best-known songs. giving millions of fans what they wanted won out. look at him and say: “Here’s to open for these last Instead, the group played fast, loose versions of That’s a big part of what made Petty such a unique a guy who’s just like me — Hollywood Bowl shows little-heard jewels (“When the Time Comes,” from star: His was one of the least self-indulgent, most and it actually worked!” It [in September], it was like the 1978 album You’re Gonna Get It!, appeared generous careers in rock. But put him in front of a wasn’t luck, it wasn’t some everything had come full for the first time in 33 years in New York) and a smaller room of devoted listeners — the people who Svengali. This guy was just circle. On the last night, fucking talented and it all I’d done my set and I still diverse array of covers. The setlists slid easily from wanted the deep cuts and the long jams he so loved happened, and he came hadn’t seen Tom. I went Memphis soul (Booker T. & The MG’s’ “Green to play — and boy, could he deliver. from here, and he never down to his dressing room, forgot that. stuck my head in, we gave each other a big hug. I said, From left: Tench, “Well, I got ’em all ready Campbell and Petty for you, Tom. We rocked, onstage at The Fonda they’re ready to go.” And Theatre in 2013. as I turned to leave, he gave me this big smile and said, “I bet you did,” with that twinkle in his eye. He seemed so good. TOM PETTY 1950 – 2017

YOUR MUSIC WILL LIVE FOREVER

YOUR FRIENDS & FAMILY AT