After a nearly 20-year career, Tom Petty has proved himself to be a durable, respected rocker. On his current Warner Bros. release, the double-platinum “Wildflowers,” Petty moves into middle age with more than the usual amount of grace.
Although “Wildflowers” is Petty’s second solo release, the album includes some able-bodied help from guitarist Mike Campbell, pianist Benmont Tench and bassist Howie Epstein, all members of Petty’s longtime back-up band, the Heartbreakers. Produced by American Recordings honcho Rick Rubin-in collaboration with Petty and Campbell-“Wildflowers” moves from the country lilt of “Time To Move On” to the bracing, stripped-down rock of “You Wreck Me.”
While “Wildflowers” isn’t a classic, there’s enough snap, tension and clarity to make it a fine song cycle. Eschewing heavier, synthetic production, Rubin keeps the proceedings moving between raw grit and organically warm sounds. As a lyricist, Petty refines his eye–more subtle observations about life and love infuse “Wildflowers” with a weight that’s never heavy-handed.
Ever since he came on the scene in 1976, Petty has borrowed heavily from his musical idols. His nasal vocals recall both Bob Dylan and the Byrds’ Roger McGuinn, while his music has always reflected heavy doses of the Rolling Stones, the Beatles and the Byrds. As sincere as his love for those influences are, and as exhilarating as some of his music has been, Petty as an artist has never achieved anything close to the lasting impact or importance of his influences.
And although as a heartland rocker Petty has demonstrated a consistent force in his music, his albums frequently fall far short of the resonance of both Bruce Springsteen’s best work and John Mellencamp’s singularly ecstatic, if erratic, triumphs. Petty’s occasional personal attempts at expressing eccentricity – a dopey past dalliance with a Mad Hatter look, the obnoxious video for “Mary Jane’s Last Dance” where he plays a weirdo obsessed with the corpse of Kim Basinger–have come off as forced.
Despite that, Petty has survived through the years with a large degree of artistic credibility. He’s managed to leap across age boundaries. His relevancy to a younger generation is reflected on “You Got Lucky,” a Petty tribute album by a passel of young, alternative bands. He has worked with the Traveling Wilburys, which included Bob Dylan, George Harrison, Jeff Lynne and the late Roy Orbison.
“Yeah, the world would swing if I were king/Can I help it if I still dream time to time,” Petty observes on “It’s Good To Be King.” Petty isn’t a king, but at times he can be an admirable prince. With an increasingly mature focus and the ability to still rock with grit, Petty proves on “Wildflowers” that even if his dream is unattainable, it’s still a worthwhile one.
Tom Petty and the Heartbreakers appear Wednesday at the United Center.
Other concerts of note
Amy Grant, Friday at United Center: Infusing featherweight pop with light R&B strains, Grant is musically headed straight down the middle of the road and vocally set on cruise control. Her voice is clear and on-key, but that less-than-head-turning skill can be found in hundreds of anonymous singers hawking cars and tacos on TV. On her latest release, “House of Love,” Grant sings a duet with country superstar Vince Gill on the title track, and together they recall a low-rent version of Peaches and Herb. Even though there’s a little faux growling on Grant’s part, rest assured nobody involved broke a sweat.
Joe Diffie, Friday at Star Plaza: A singer with more than a few vocal tricks pulled from the George Jones catalog, modern honky-tonker Diffie is generally one of the more consistent pleasures on country radio. He’s got an exceptional way with a ballad, and although he frequently succumbs to more mechanical Music Row fare, he really can bang uptempo hits like “John Deere Green” and “Third Rock From the Sun” into the sky.
Loose Diamonds, Friday at Schubas and Saturday at FitzGerald’s: Like many Austin acts, Loose Diamonds mixes a lot of different influences into a sound that can best be described as American roots rock. The band’s 1993 album, “Burning Daylight,” was the NAIRD “Rock Album of the Year,” and on their latest dos release “New Location,” the band melds hard-edged folk and jangly country rock into a grittier, propulsive blend. With distinctive lead vocals and songwriting duties ably split between guitarists Troy Campbell and Jud Newcomb, Loose Diamonds achieves a stronger, tougher focus than many other roots-rock bands.
Jon Secada, Sunday at the Chicago Theatre: A protege of Latin pop diva Gloria Estefan and her manager-husband Emilio Estefan, the Cuban-born, Miami-reared Secada sold more than 6 million albums worldwide with his eponymous 1992 debut album. A smoothly romantic bilingual singer, Secada works contemporary R&B and pop with a fairly adept hand on his latest release “Heart, Soul & a Voice.” While his balladry is a mixed bag, either soaring with gusto or bogging down in predictable blandness, Secada does pull off some remarkably funky and aggressive rhythms on songs like “Whipped” and “Fat Chance.”
Joe Ely, Thursday at FitzGerald’s: Texas stalwart Ely is a veteran of many scenes. Along with Jimmie Dale Gilmore and Butch Hancock, Ely was a member of the Flatlanders in the early ’70s. A gritty country-rocker in his own right, Ely toured with the Clash, proving he understood the raw spirit of punk. Although he’s been around the world, Ely has never spiritually drifted far from the hard, wide-open visions of his native Lone Star state. Currently at work on an acoustic solo album, Ely also appears next March 10 at Schubas.
Jason and the Scorchers, Thursday at the Double Door: Although roots-rockers Jason and the Scorchers emerged in Nashville in the early ’80s, the band made little headway in the commercial country market. Recently reformed and touring behind a new release on Mammoth, “A Blazing Grace,” Jason and crew continue to kick out muscular rock and roll with little regard for mainstream niceties.
