Perhaps the most genuinely upbeat cut here in both mood and beat, “You And Me” is even more explicit in its depiction of devotion with a life of its own. Meanwhile, “The Man Who Loves Women” would sound like an indefensible glorification of misogyny if not for its lighthearted tone, elevated by Beach Boys-type harmonies from Fleetwood Mac’s Lindsey Buckingham and an arrangement anchored by ukulele: it was a favorite instrument of Harrison’s in his later years and one he actually taught TP to play it as they became close. “Joe,” however, is another unrelenting screed aimed at a record company exec (hitting VERY close to home for those familiar with the WB hierarchy). The twisting fretboard figures of Mike Campbell and languorous vocals are an even more explicit tribute to the author’s bandmate in the Traveling Wilburys and keyboardist Benmont Tench is never more prominent on The Last DJ than here as if it were necessary, it’s evidence of his indispensable yet unremittingly understated presence on the group’s recordings. But it’s hardly so illuminating as “Like A Diamond,” paean to love as a refuge from a bizarre world that, in its deliberate gait and soft chiming guitars again recalls vintage Harrison. The guarded stomp of “When A Kid Goes Bad” also sounds like something personal to Tom Petty–again, especially so for those cognizant of his childhood history. Petty suggests nostalgia is no less self-deceiving than mercenary pursuits (and often inextricably intertwined)and, in keeping with such lofty thoughts, the swells of orchestration arranged by Jon Brion distinctly recall the layered production of the aforementioned ex-Beatle’s halcyon solo debut All Things Must Pass. “Dreamville” moves along similar lines on a topic slightly-related to the latter number. Yet as much as that first number captures the quintessential sound of the band in its driving rhythm guitars and Steve Ferrone’s foursquare drumming, on the latter tune, the band’s chief songwriter and leader takes a more oblique angle on his subject than in the other diatribe. But there are also songs of personal expression that present an implicit homage to Tom’s recently-departed good friend George Harrison, who had passed just the year prior to this Warner Brothers release.Īt the very outset of this eleventh Petty/Heartbreakers studio album (and the third for the major label), the title track and “Money Becomes King” are both critical of greed in the music industry. Certainly, there are tracks on which the pugnacious Floridian homes in on the antiseptic and anonymous in what used to be a bastion of good exposure for popular music of all kinds. Vedder’s set with the Earthlings was highlighted by eight songs from the album, as well as a handful of Pearl Jam classics, covers of George Harrison, The Las, Temple of the Dog and Tom Petty & the Heartbreakers - which featured a guest appearance from Heartbreakers guitarist Mike Campbell.It didn’t take twenty years of hindsight years to discern that Tom Petty and the Heartbreaker’s album The Last DJ (released 10/8/02) was about more than the corporate takeover of commercial radio. This year’s festival took place shortly after Eddie Vedder wrapped another leg of touring with Pearl Jam, which has been on the road throughout much of the year making up for a pandemic-scrapped tour in support of 2020’s Gigaton ( click here to read our recap of a euphoric Los Angeles gig in May).Īccompanying Vedder at the Ohana Festival was the Earthlings, his backing band featuring drummer Chad Smith (of the Red Hot Chili Peppers), bassist Chris Chaney (of Jane’s Addiction), guitarist Josh Klinghoffer (of both the Chili Peppers and Pearl Jam) and guitarist Andrew Watt, all of whom participated with Vedder in the recording of his February 2021 solo record, Earthling. Stevie Nicks at Ohana Festival (Photo: Michael Ryan Kravetsky for Ohana Festival 2022)
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