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The Waiting
Date Performance: 1981, Running Time: 4:00
Comments: Recorded at Sound City, Van Nuys, CA and Cherokee Studios, Hollywood, CA. Mixed at Cherokee Studios, Hollywood, CA (MCA Records) "I remember being half asleep," Benmont says. "The phone rang and it was Mike or Tom or somebody saying, 'We want to do Yeah Yeahs for the background on 'The Waiting,' can you come down, are you asleep? 'Never mind' I said, 'No, I'll be there,' and I got in the car and drove down to Cherokee and me and Stan went Yeah, Yeah a couple of times and we were done. That's what I remember." Luckily Tom remembers more. He remembers getting the basic riff for that song and driving his family crazy for a week, walking around the house playing it, waiting for inspiration. Understandably, the chorus that finally emerged was, "The waiting is the hardest part." He then walked around singing and playing that until the verses arrived. "The lines people most often come up and quote back to me on the street are 'I won't back down' and 'The waiting is the hardest part'," Petty says. "Roger McGuinn tells me over and over that he gave me that line. I went to see the Byrds - Clarke, Hillman, and McGuinn - in '78 or '79 and he says he said to me backstage, 'The waiting is the hardest part.' But I don't remember that. I do remember that he also told me he was living in a condo in Century City. That really stuck in my mind because I hated Century City. I had to go there every day for these legal things and I couldn't imagine living there. I'll give him credit for 'Century City,' but I think if anything, 'The Waiting' was inspired by something Janis Joplin said that I'd read in Life magazine: 'I love being onstage and everything else is just waiting.'" The promotional music video was directed by Jim Lenahan. |
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A Woman In Love (It's Not Me)
Date Performance: 1981, Running Time: 4:24
Comments: Recorded at Sound City, Van Nuys, CA and Cherokee Studios, Hollywood, CA. Mixed at Cherokee Studios, Hollywood, CA (MCA Records) "I loved that song," Ben says. "I believe Michael had a demo where he had played the instruments to a drum loop and it was an entirely different feel. It was really fun to break it down and mess with it until it had got to where there was virtually nothing in the verses. Duck Dunn came out and played bass on that. The groove was really interesting, all the space and the openness was really nice." "Ron Blair had started to be absent more and more from the studio and was kind of drifting away," Petty explains. "So I brought Duck in and he created a whole different thing, because he allowed all that space for the vocal. The bass on that song is so amazing. It's a live vocal with him playing along, not really sure where I'm going to go. He just hangs right behind it so well." Whatever you do, don't mention to Petty how that single got stepped on by the simultaneous release of "Stop Draggin' My Heart Around" by Stevie Nicks with Tom Petty and the Heartbreakers. "What a dirty trick!" Petty snaps. "We were so pissed off. Stations couldn't be expected to play two records of mine. Here they had one with Stevie too, and they were gonna go for it." The promotional music video was directed by Jim Lenahan. |
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The Nightwatchman
Date Performance: 1981, Running Time: 3:58 |
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Something Big
Date Performance: 1981, Running Time: 4:45
Comments: Recorded at Sound City, Van Nuys, CA and Cherokee Studios, Hollywood, CA. Mixed at Cherokee Studios, Hollywood, CA (MCA Records) "Tom played electric piano," Benmont says. "I played organ. That's just a really cool song. I remember noticing the weird tuning Michael got on the guitar. The song was centered around the rhythm he played on electric piano." "I actually wrote the lyric all in one go and then put it to the piano," Tom says. "I like that song a lot. Dylan told me that was one of his favorites, he reckons that's one of my better songs. I took that as high praise." |
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Kings Road
Date Performance: 1981, Running Time: 3:21 |
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Letting You Go
Date Performance: 1981, Running Time: 3:22 |
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A Thing About You
Date Performance: 1981, Running Time: 3:33
Comments: Recorded at Sound City, Van Nuys, CA and Cherokee Studios, Hollywood, CA. Mixed at Cherokee Studios, Hollywood, CA (MCA Records) "I like the guitars on that song a lot," Mike Campbell says. "I really like the interplay between Tom and me. I love playing guitar but I get bored playing solos. I like the way Tom plays, he plays like John Lennon, a very rhythmic lead with a lot of feeling. But I don't want to encourage him too much." "That was actually a hit on the country charts with a band called Southern Pacific," Petty says. "They did a country version with Emmylou Harris, very different from ours." |
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Insider
Date Performance: 1981, Running Time: 4:23
Comments: Recorded at Sound City, Van Nuys, CA and Cherokee Studios, Hollywood, CA. Mixed at Cherokee Studios, Hollywood, CA. Additional recording at Goodnight, L.A. (MCA Records) Stevie Nicks appears courtesy of Modern Records. "'Insider' was really fun," Benmont recalls. "We were messing around and it was just me and Tom, organ and guitar and vocal, that's the way I remember it. And there was something about the vocal performance and the feel of it that we really liked. So everybody else overdubbed to it. Eventually Stevie (Nicks) wound up singing harmony on it. We overdubbed everybody on it and the reviews came out and I think it was Roiling Stone made some disparaging comment about the drumming on it. Poor Stan! Tom and I were speeding up and slowing down because there were no drums!" Benmont cracks up laughing. "It was our fault and Stanley got saddled with it." The promotional music video was directed by Jim Lenahan. |
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The Criminal Kind
Date Performance: 1981, Running Time: 3:55 |
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You Can Still Change Your Mind
Date Performance: 1981, Running Time: 4:17
Comments: Recorded at Sound City, Van Nuys, CA and Cherokee Studios, Hollywood, CA. Mixed at Cherokee Studios, Hollywood, CA. Additional recording at Goodnight, L.A. (MCA Records) Stevie Nicks appears courtesy of Modern Records. "I love that," Benmont says. "That's one of Michael's tracks that he brought in and showed everybody how it went. He made me play the keyboards which I thought that he should do - partly out of laziness and partly because of his feel and his chords. It's a real heavy Beach Boys number. I think we had Phil Jones playing what may have been a bongo. Phil and Stan together made up the 'Caroline No' type rhythm that's being played. We cut it pretty much live and then overdubbed a few things, slowed the tape down, sped the piano up to do a few little flash things toward the end that you can barely hear, then got Stevie and Sharon in to sing on the back of it. I love that song, I think it's absolutely beautiful." "That's sort of Mike's tribute to Brian Wilson," Tom adds. "I loved it and worked really hard on that track. No one could hear it as a single. People had a mental picture of what we should sound like and if you played them something that didn't sound like 'Refugee' or 'American Girl' or 'Even the Losers', they were puzzled. I still go through that." |
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Mike/Michael Campbell (Songwriter), Mike/Michael Campbell (Songwriter), Tom Petty (Songwriter), Tom Petty (Songwriter), Joel Bernstein (Photography), Dennis Callahan (Photography), Henry Diltz (Photography), Lynn Goldsmith (Photography), Ben(mont) (M.) Tench(, III) (Photography), Ben(mont) (M.) Tench(, III) (Photography), Tom(my) Steele (Art Direction), Tom(my) Steele (Design), Greg Calbi (Mastering), Brad Gilderman (Assistant Engineer), Tori Swenson (Assistant Engineer), Tom(my) Steele (Cover Design), Jimmy Iovine (Produced By), Tom Petty (Produced By), Tom Petty (Produced By), Shelly Yakus (Engineered By), Joe Gastwirt (Remastering), Shelly Yakus (Mixed By), Joel Bernstein (Cover Photo), Joel Bernstein (Collage), Dennis Callahan (Collage), Henry Diltz (Collage), Lynn Goldsmith (Collage), Ben(mont) (M.) Tench(, III) (Collage), Ben(mont) (M.) Tench(, III) (Collage), Joel Bernstein (Inlay Photography), Christine Cano (Repackaging) |
