Tag Archives: Journalism

Archives: Tom Petty – Anthology Liner Notes

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More than a few times over the years, I’ve attempted to compile the definitive road-tape collection of the best of Tom Petty and the Heartbreakers. It’s not easy. In fact, each time I’ve tried, it’s been a hideous undertaking, log-jammed with endless questions like these: “Do you go with the amazing acoustic-intro live version of ‘The Waiting’ or the walk-away-perfection of the original?” “Is ‘Stop Draggin’ My Heart Around” a true Heartbreakers track?” “How about including covers like ‘Something In The Air’ or ‘Psychotic Reaction’ for flavor?” “What about the live B-side version of ‘Change Of Heart?’” “And why not throw ‘Peace In L.A.’ on there?” Arguments like these can eat up days on end…. ’til the point arrives when you just pack up all the albums and drive. See, when the bounty you have to choose from is the work of the greatest and most consistent American band of the last twenty-five years, any Heartbreakers collection is gloriously controversial. Trends come and go, bands of the moment break up, re-form and break up again….and through it all, every year or so, the Heartbreakers unleash a new album full of fire, raw truths, aching melancholy and flat-out jubilation. Any Heartbreakers “best of” is destined to be a great ride filled with road signs leading to the albums that each of the tracks came from. Each album matters. And for every track on this anthology, there’s a “No Second Thoughts” from You’re Gonna Get It, “Mary’s New Car” from Southern Accents, or “Keepin’ Me Alive” from the stellar box set Playback.

So, daunting tasks aside, let’s now celebrate the killer flow of this line-up. From “Breakdown,” through the wrenching beauty of “Straight Into Darkness” to the brand new recording of “Surrender,” the song Petty wrote in 1977 and didn’t get around to recording until 2000, this new collection throws a white-hot spotlight on the truth of Tom Petty and the Heartbreakers. From their beginnings in Florida, through their journey out west and beyond, this is a band of fans. And by the way, this is one of the very few seminal bands that has actually performed the impossible–they stayed together. So here is a living mix tape, a portrait of a band still growing. These carefully chosen songs, classics and hidden-classics alike, are constant reminders of the way Tom Petty and the Heartbreakers can make you feel, on any given afternoon, when you’re craving something real, and one of these songs hits the radio.

You can’t beat it. You can barely contain it on a couple discs. All you can do is crank it up, and take the ride. Only one question. Is it too late to consider including the live version of “Time To Move On” from Saturday Night Live? And “You Don’t Know How It Feels?” And then there’s always…wait… see, this is how it all starts to unravel. Best to leave this to the professionals.

Cameron Crowe. September 2000

Courtesy of Tom Petty: Anthology – MCA Records

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Feb 25, 2013

Archives: McCartney – The Space Within US

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It began in clubs, of course. The faces were closer to the stage back then, and during the breaks, there were the cigarettes and coffee, the warm beer and the instant feedback. It was the beginning of a long relationship between Paul McCartney and his audience, that group of fans who’ve followed him from the beginning, and found his music a powerful marker in their own lives. With “The Space Within US,” it becomes more obvious than ever. Paul McCartney has been feeling the same thing on his side of the relationship. “I relate to them,” he says in one of this film’s remarkably personal interviews, “It’s quite emotional for me … ”

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Feb 14, 2013

Sissy Spacek: More Than Just A “Neat” Career

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Even though the Carrie remake (starring Chloë Grace Moretz) was recently pushed back to October 2013, we still wanted to debut this 1979 Rolling Stone cover story and interview with the original Carrie, Sissy Spacek. The topic of Carrie is covered, along with Badlands, Coal Miner’s Daughter, some projects that didn’t quite get off the ground, Sissy’s musical background and much more. It’s a 6,500 word journey and we hope you take the trip with us.

rs302

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Jan 29, 2013

Archives: Raspberries – Self Titled

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Raspberries – Raspberries

It’s awfully hard to figure this band out. Many times an album, especially a debut album, will go in numerous directions functioning as an exposure to the band’s versatility. This album can head in as many as three different paths within the tight boundaries of a two-and-a-half minute track. I’m not saying it’s good…I’m just saying I like it.

Let’s look at the LP opener, “Go All The Way.” A commercial piece of music if ever there was one, the cut sounds for the first five seconds like a Stones or Humble Pie track. The curt, sassy sound of a twanging lead guitar. A moment later and the guitar is replaced by a disciplined strum behind a falsetto vocal.

Three cuts later and we are served up a tasty piece of rock ‘n roll in “Rock & Roll Mama,” a classic tune that, had the Stones themselves done it, every pimply high school band in America would chalk up in the repertoire.

Raspberries is the type of band that in a year could either be headlining the Sports Arena or a part of the never-never land of oblivion.

Courtesy of the Door (aka San Diego Door) – Cameron Crowe –  June 8, 1972  – June 22, 1972

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Jan 28, 2013

Journalism Archives: Mott the Hoople – All the Young Dudes

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Mott The Hoople – All the Young Dudes

Released in England several weeks ago and yet to be made available in the States is Mott The Hoople’s fourth album, All the Young Dudes, named after the incredible single of the same name.

Produced and arranged by David Bowie, All the Young Dudes fails to live up to the excitement of the title cut…a very English, very metal, very riske ode to homosexual rape. “I’ve been wanting to do this for years”, admits the aggressor, lead-singer Ian Hunter as the cut fades into either “Sucker” or a label depending upon whether it’s the single or the LP. Despite its overly decadent theme, “All the Young Dudes” is very simply the best single since “Take It Easy” graced the airwaves.

The album opens with the theme song of Bowie’s musical idol, Lou Reed (who, by the way, is letting David produce his next album), “Sweet Jane”. A quite limp delivery on Hunter’s part and a plodding accompaniment courtesy of the boys in the band provides for a soggy indication of what’s to come. The rest of the record follows fairly closely the impact (or lack of it) of the previous. The recording job is very  clinical and exacting, a habit which suits Bowie’s own style but reveals a major flaw in Mott The Hoople’s, who is best displayed in a somewhat reckless light.

But it’s a fun record. The material is lyrically dependant on tongue-in-cheek for its effect, and Bowie, in his production debut is impressively meticulous. Too bad that the intricate arranging and direction was utilized by a group who just can’t benefit from it.

Courtesy of the Door (aka San Diego Door) – Cameron Crowe –  November 4, 1972  – November 18, 1972

 

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Jan 20, 2013

Absolute Bowie

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David Bowie is celebrating his birthday today and we’ve decided to join him. Cameron and Bowie go back to the mid 70’s including an in-depth 1976 Playboy interview, a short RS article on his ’76 tour and his cover story in Rolling Stone. Most recently, Cameron contributed liner notes to the 25th anniversary re-release of Station to Station. Happy Birthday David!

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Jan 8, 2013

Janusz Kamiński – Let There Be Lightning

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Janusz (Center) on the set of Jerry Maguire

Cameron profiled legendary cinematographer Janusz Kamiński for New York Times Magazine back in February, 2000. He’s been nominated for five Academy Awards for his work and won twice (Schindler’s List & Saving Private Ryan). In addition to his long and fruitful relationship with Steven Spielberg, some of his other films include Jerry Maguire, The Diving Bell and the Butterfly and Funny People.

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Dec 26, 2012

Journalism Archives: Carole King – Music

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Carole King – Music (Ode SP 77013)

With the release of the new Carole King album, Music, she is in the same situation The Band was in with Stage Fright, Cat Stevens is in with Teaser and the Firecat, and James Taylor was in with the release of Mud Slide Slim. When an artist becomes a superstar on the basis of one album, the follow-up LP is always compared with it’s predecessor. No matter how good the second album is, the majority of critics and buyers will criticize it as not “being as good.”

If the artist has changed his style in any way, the buyers will be disappointed. If the artist has stayed the same, the critics will pan the album and him for not evolving musically. So, Carole King can’t please everybody in Music.

Writer, her first album, was an experimental one. She switched from style to style, the result being an amateur recording with the exceptions of “Child of Mine” and “Up on the Roof,” which made it hard to believe that these were from the same album as the disasters “Spaceship Races” and “To Love.”

Tapestry, one of the most successful albums in recording history, was Carole King after she found her strength. Her jumpy piano work and the bubbling guitar of James Taylor seemed to make a combination that pleased both undergrounder and Sixteen Magazine devourers alike.

Music, however, isn’t a carbon copy of this successful style. For the new album, Miss King has employed the same group of musicians that has accompanied her throughout her previous albums: James Taylor and Danny “Kootch” Kortchmar on lead guitars, her husband, Charley Larkey, on bass, and Russ Kunkel on drums. So, what we hear on the new album is not only the musical evolvement of Carole King, but of the accompanists as well.

Eight of the album’s ten tunes were written by Miss King solely. In the past, she has collaborated with Gerry Goffin and, more recently, Toni Stern (who wrote three songs for the album), but these are the first lyrics that she has written by herself.

My favorite cut is the trivial “Brighter.” These changes are really first rate and the up-tempo arrangement couldn’t be more efficient. Although the song is obviously for the purpose of filling up the LP and achieving the quota for playing time, there is something about it that cries out for more than the skimpy 2:50 that is devoted to it.

The changes in Carole King’s style with this new album are minor. Her stuttering piano work has been replaced by a more continuous flowing sound. Her strained voice has matured in a short time to a smoother style.

The simple arrangements have grown more complex and lasting with the effective addition of more voices and guitars.

So, what more can be said? Carole King is definitely worthy of all the premature hype placed upon her by the many critics eager to unload their journalistic vocabulary of superlatives.

Courtesy of the Door (aka San Diego Door) – Cameron Crowe –  December 23, 1971  – January 12, 1972

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Dec 10, 2012

David Crosby: Remember My Name-Out Now on DVD/Blu-ray & Digital!


  • Almost Famous- Paramount+
  • Aloha- Starz, DirecTV
  • David Crosby- Starz, DirecTV
  • E-Town- FUBO
  • Fast Times- TUBI
  • Jerry Maguire- Netflix
  • Say Anything...- FUBO,Paramount+,MGM+
  • Singles- Vudu
  • Vanilla Sky- Prime Video,Pluto TV
  • We Bought A Zoo- Disney+