Artist: Tom Petty & The Heartbreakers
Title: Hypnotic Eye
Genre: Rock
Label: © Reprise Records
Release Date: 2014
Recorded: 2011–2014
Quality: Blu-ray Audio
Duration: 00:44:50 + 00:04:08
Video: MPEG-4 AVC 669 kbps / 1080p / 23,976 fps / 16:9 / High Profile 4.1
Audio#1: English LPCM 2.0 / 48 kHz / 2304 kbps / 24-bit
Audio#2: English DTS-HD MA 5.1 / 48 kHz / 5551 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit)
Hypnotic Eye will be the 13th studio album from Tom Petty & The Heartbreakers. Released on July 29th, 2014, Hypnotic Eye is the first album from the band in four years. “I knew I wanted to do a rock & roll record,” Petty told Rolling Stone in April. “We hadn’t made a straight hard-rockin’ record, from beginning to end, in a long time.”
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Title: Tom Petty And The Heartbreakers – Runnin’ Down A Dream
Released: 2010
Genre: Rock
Released: Reprise
Duration: 03:58:14
Quality: Blu-ray
Container: BDMV
Video codec: AVC
Audio Codec: DTS-HD MA, LPCM
Video: MPEG-4 AVC Video, 17946 kbps, 1080i / 29,970 fps / 16:9 / High Profile 4.1
Audio # 1: LPCM Audio, 2.0 / 48 kHz / 2304 kbps / 24-bit
Audio # 2: DTS-HD Master Audio, 5.1 / 48 kHz / 4119 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit)
Size: 43.14 GB
Runnin’ Down A Dream, the feature length documentary about Tom Petty And The Heartbreakers, directed by Oscar-winning filmmaker Peter Bogdanovich (The Last Picture Show, Paper Moon, Mask), is now available. Gritty and exuberant, Runnin’ Down A Dream tells the Heartbreakers’ story as never before, revealing the combination of unwavering talent, artistic vision and sheer persistence that has made them one of the great American rock bands. Featuring clips from 145 songs and documenting over 30 years of rock history, the film sources dozens of interviews and more than 500 hours of archival material (including rare footage) tracking the band from its Gainesville beginnings to its 30th anniversary Gainesville concert in 2006.
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Title: Tom Petty And The Heartbreakers – Live In Concert
Released: 2012
Genre: Rock
Released: Image Entertainment
Duration: 00:54:34 + 00:54:31
Quality: Blu-ray
Container: BDMV
Video codec: AVC
Audio Codec: DTS-HD MA, LPCM
Video: MPEG-4 AVC Video, 21994 kbps, 1080i / 29,970 fps / 16:9 / High Profile 4.1
Audio # 1: LPCM Audio, 2.0 / 48 kHz / 2304 kbps / 24-bit
Audio # 2: DTS-HD Master Audio, 5.1 / 48 kHz / 2924 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 16-bit)
Size: 22.93 GB
Tom Petty and the Heartbreakers have been playing and releasing recordings since 1976, and even more astonishing than their longevity is the fact that most members of the band are the same today as when they first assembled in Gainesville, Florida thirty-five years ago. Even the occasional solo venture and Petty’s brief adventure with Bob Dylan, Jeff Lynne, Roy Orbison and George Harrison under the name “The Traveling Wilburys” failed to deter the band from its appointed mission, which appears to have been to play old-fashioned rock ‘n’ roll, solid blues and country rock for as long as they can stand, shout and move their fingers.
I confess to being only an occasional Heartbreakers fan, collecting the random single and waking up in particular during the brief career of the Wilburys. But one would have to be deaf and blind not to be aware of Tom Petty’s presence in American popular music of the last quarter of the 20th Century. If nothing else, the unmistakable twang of his singing voice has a music all its own (and was once deliciously parodied on SNL, which devoted an entire sketch to an imaginary conversation between Petty and Bob Dylan, both of whom spoke in unintelligible slurs).
The roughly two-hour concert on this disc, denominated “Episode 1” and “Episode 2”, are part of the Soundstage series presented on PBS by Chicago’s local station, WTTW, in partnership with HD Ready, LLC. Both episodes bear 2003 copyright dates and, as far as I can tell, both are derived from the same concert, which was part of the first season of the revived Soundstage series. Both appear to have been broadcast together in July 2003, which was the year after Tom Petty and the Heartbreakers were inducted into the Rock and Roll Hall of Fame. The concert was released in 2005 by Koch Vision on a two-disc DVD set that is now out of print. In 2008, Koch briefly acquired rights to several Soundstage concerts for Blu-ray, but this title was never generally available. A few Blu-ray.com members reported finding copies of the Hearbreakers concert on Blu-ray at Sears, and at least according to Koch’s published specifications, the disc included nine bonus tracks.
Image now has the rights to the Soundstage series, and the Heartbreakers concert is the latest of its releases. The disc may not contain any bonus tracks, but it can be easily found, and it looks and sounds terrific.
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Tom Petty And The Heartbreakers – Through The Cracks (2015)
FLAC (tracks) 24 bit/44,1 kHz | Time – 45:47 minutes | 561 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Reprise
Tom Petty and the Heartbreakers have digitally released Through The Cracks and Nobody’s Children via the Tom Petty & the Heartbreakers Store and all digital distributors including Spotify, Amazon, and Apple Music.
Songs on these releases span from 1973 to 1993 and include early Mudcrutch recordings, demos and alternate versions from Tom Petty and the Heartbreakers albums pre-1995, plus some great cover versions. Until now these two discs were previously only available as part of 1995’s Playback box set.
Tom Petty And The Heartbreakers – Greatest Hits (1993/2016)
FLAC (tracks) 24 bit/96 kHz | Time – 01:05:31 minutes | 1,39 GB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Geffen
Greatest Hits is a lean yet complete overview of Tom Petty & the Heartbreakers’ biggest singles from their first prime. Sure, it’s possible to pinpoint a few great songs missing, but the group had a lot of great songs during the late ’70s and ’80s. This rounds up the biggest hits from that era, and in doing so, it turns into a succinct summary of the band at the top of its game. Everything from “American Girl” to “Free Fallin’” is included, with 18 tracks proving that Petty was one of the best rockers of his time.
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Tom Petty And The Heartbreakers – Pack Up The Plantation: Live! (1985/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:12:03 minutes | 1,55 GB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Geffen*
Recorded live at the Wiltern Theatre, Los Angeles, California, August 7, 1985 except, “Don’t Bring Me Down” – Paradise Theater, Boston, Massachusetts, July 16, 1978; “Stories We Could Tell” – Hammersmith Odeon, London, England, March 7, 1980, engineered by Charles Kaplan in the Mobile Manor Unit; “Needles and Pins” & “Insider” – The Forum, Los Angeles, California, June 1981; “Shout” – The Coliseum, Richfield, Ohio, March 19, 1983; “Rockin’ Around (With You)” – Irvine Meadows Amphitheater, Irvine, California, June 1983
Exclusively on HDtracks, images of the master tapes are included with every download, along with a note from the remaster producer, Ryan Ulyate.
Until The Live Anthology was released in 2009, this was the only live album the Heartbreakers ever released. Primarily recorded at a show at the Wiltern Theatre in Los Angeles, CA on August 7, 1985, the album also includes the following tracks recorded at other concerts. Pack Up The Plantation: Live! includes single “Needles and Pins” featuring Stevie Nicks.
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Tom Petty and the Heartbreakers – Mojo (2010)
FLAC (tracks) 24 bit/48 kHz | Time – 01:04:58 minutes | 743 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Reprise
Tom Petty has been fronting the Heartbreakers off and on (mostly on) for over 30 years now, and he and his band have been delivering a high level of no-frills, classy, and reconstituted American garage rock through all of it. Petty often gets lumped in with artists like Bruce Springsteen, whose careful and worked-over lyrics carry a kind of instant nostalgia, but Petty’s songwriting at its best cleverly bounces off of romance clichés, often with a desperate, lustful drawl and sneer, and he’s usually been more concerned with the here and now than he is about musing about what’s been abused and lost in contemporary America, although he’s certainly not blind to it. Petty has always been more immediate than that — until now, that is. Mojo is Petty’s umpteenth album, and technically the first he’s done with the Heartbreakers since 2002’s sly The Last DJ. This time out he’s tackling the blues, trying to graft the Heartbreakers’ (Mike Campbell on guitar, Scott Thurston on guitar and harmonica, Benmont Tench on keyboards, Ron Blair on bass, and Steve Ferrone on drums) patented 1960s garage sound to the Chicago blues sound of Chess Records in the 1950s. Sonically it certainly works, mostly because this is a wonderful band, but then it all seems a little tired, worn, and exhausted, too, and not a single song here has that certain desperate, determined defiance that Petty has always delivered in the past with a knowing sneer and a little leering wink. The opener, “Jefferson Jericho Blues,” is a case in point. It starts by being a song about Thomas Jefferson’s dalliance with one of his black maids, and it could have been a scathing indictment of an out-of-date Southern attitude, contemporary racism, and so much more. Instead, it tumbles unfocused into, well, a song about missing a girl and how time moves slow, and one can’t help but wonder why Petty dragged Thomas Jefferson and his maid into any of it in the first place. Petty has never sounded so emotionally drained and detached as a vocalist as he does on this album, and while it’s nice to hear the Heartbreakers flirt with the blues — and to hear Campbell’s clear, precise slide guitar playing — there’s no excuse for not having solid songs to scaffold it. There’s a worn-out, regretful, and boringly meditative tone to so many tracks here — this is not what one expects from a band that rocks as fine as this one can. Again, the playing is solid, but one wishes Petty & the Heartbreakers had simply covered some of those old Chess classics rather than trying half-heartedly to write their own — it would have made for an album closer to intent.
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Tom Petty And The Heartbreakers – Damn The Torpedoes [2010 Deluxe Edition] (1979/2010)
FLAC (tracks) 24 bit/96 kHz | Time – 01:06:33 minutes | 1,41 GB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Geffen
One of the most highly acclaimed albums of the 1970s, Damn the Torpedoes remains a steadfast on plenty of “all time greatest” lists. Rolling Stone ranked it in their “500 greatest albums of all time” and MOJO placed it in their “70 from the 1970’s” list. Widely regarded as the band’s magnum opus, the album spent 7 weeks on Billboard’s chart and yielded two massive singles: “Don’t Do Me Like That” and “Refuge.” At last, the album is given a much-deserved full reissue treatment, including 96kHz/24bit remastering and a bonus disc including previously unreleased studio material (including the gem “Nowhere”), two B-sides, demos, and three searing live tracks from a 1980 performance at London’s Hammersmith Odeon. Even if you know every one of these iconic masterpieces by heart, to hear this stunning remaster/reissue is to experience one of rock & roll’s all-time greatest albums for the first time.
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Tom Petty and The Heartbreakers – Mojo
Artist: Tom Petty, The Heartbreakers | Album: Mojo | Style: Classical Rock | Year: 2010 | Quality: DVD-Audio (PCM 5.1 48kHz/24Bit, PCM 2.0 48kHz/24Bit) | Bitrate: lossless | Tracks: 15 | Size: 4.36 Gb | Recovery: 3% | Covers: only front | Release: rip and authoring to DVD-Audio by zzayyazz from Blu-Ray Reprise (PET49407), 2010 | Note: Not Watermarked
Tom Petty has been fronting the Heartbreakers off and on (mostly on) for over 30 years now, and he and his band have been delivering a high level of no-frills, classy, and reconstituted American garage rock through all of it. Petty often gets lumped in with artists like Bruce Springsteen, whose careful and worked-over lyrics carry a kind of instant nostalgia, but Petty’s songwriting at its best cleverly bounces off of romance clichés, often with a desperate, lustful drawl and sneer, and he’s usually been more concerned with the here and now than he is about musing about what’s been abused and lost in contemporary America, although he’s certainly not blind to it. Petty has always been more immediate than that — until now, that is. Mojo is Petty’s umpteenth album, and technically the first he’s done with the Heartbreakers since 2002’s sly The Last DJ. This time out he’s tackling the blues, trying to graft the Heartbreakers’ (Mike Campbell on guitar, Scott Thurston on guitar and harmonica, Benmont Tench on keyboards, Ron Blair on bass, and Steve Ferrone on drums) patented 1960s garage sound to the Chicago blues sound of Chess Records in the 1950s. Sonically it certainly works, mostly because this is a wonderful band, but then it all seems a little tired, worn, and exhausted, too, and not a single song here has that certain desperate, determined defiance that Petty has always delivered in the past with a knowing sneer and a little leering wink. The opener, “Jefferson Jericho Blues,” is a case in point. It starts by being a song about Thomas Jefferson’s dalliance with one of his black maids, and it could have been a scathing indictment of an out-of-date Southern attitude, contemporary racism, and so much more. Instead, it tumbles unfocused into, well, a song about missing a girl and how time moves slow, and one can’t help but wonder why Petty dragged Thomas Jefferson and his maid into any of it in the first place. Petty has never sounded so emotionally drained and detached as a vocalist as he does on this album, and while it’s nice to hear the Heartbreakers flirt with the blues — and to hear Campbell’s clear, precise slide guitar playing — there’s no excuse for not having solid songs to scaffold it. There’s a worn-out, regretful, and boringly meditative tone to so many tracks here — this is not what one expects from a band that rocks as fine as this one can. Again, the playing is solid, but one wishes Petty & the Heartbreakers had simply covered some of those old Chess classics rather than trying half-heartedly to write their own — it would have made for an album closer to intent. (more…)
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