On Tom Petty's twelfth album, there is something for everybody. Those who
sing along in the car will dig "Walls," yet another superb single in
Petty's canon; those looking for new sounds will be wowed by the gentle
percussive sway of two versions "Angel Dream" and the peach-fuzz crunch
of
"Change the Locks." And moviegoers can even take in the film that features
some of the music.
She's the One is the second film by the young director Ed Burns
(The Brothers McMullen). It's a moderately engaging film about two
brothers, how they love and live, fight and make up. Burns called Petty
and asked him to score the film. Petty agreed.
For any mid-40s rocker, soundtrack work seems inevitable, especially so
close on the heels of a greatest hits collection and a six-disc box set.
But Petty's recent work, from "Mary Jane's Last Dance" to the
multi-platinum splendor of Wildflowers, reveals an artist as
restless as he is uncontrived, and one at or near the top of his game.
Petty even makes videos that are as good as the songs: who else can make
that claim? He remains one of the few artists who can capture the
attention of younger fans with each new release.
The songs on She's the One are broad enough that they don't hinge
entirely on the germane scenes from the movie; the flexibility is such
that the album could stand on its own, with no film.
"Walls (Circus)" leads off, and contains hints of past collaborations with
producer Jeff Lynne. It sounds a bit like a circus, with the ring of a
slightly syncopated hollow-body guitar and a beat that's perhaps too
steady. But the kicker, if not in the que sera sera verses ("Some days
are
diamonds/Some days are rocks"), is in the singalong chorus ("You've got
a
heart so big it could crush this town/And I can't hold out forever/Even
walls fall down").
For the big fun and silliness of the first version, Petty and the
Heartbreakers also recorded a more businesslike version for general
consumption, "Walls (No. 3)." Performed at a slightly quicker clip, it's
not only more natural, but also embodies everything typical of Tom Petty
to begin with: it's catchy without being fluffy, straightforward without
being obvious, poetic but not pretentious. Moreover, in under three
minutes, Petty dishes out a song that easily bridges any generation gap.
The beat on this version is far more relaxed than on the first, the
production minimal, so things open up considerably. Instruments rightfully
take a back seat to Petty's warm and understated vocal-the real key to
the
song. Infectious, substantive, and wonderful.
After Into the Great Wide Open, Petty moved toward making albums
that are less produced, relying more on playing than on the sounds. "Zero
From Outer Space" is a good compromise between the two styles, an
echo-laden rave-up that recalls his and the Heartbreakers' stage rendition
of the Count Five's "Psychotic Reaction." Distorted guitars and calm yet
defiant-sounding vocals make Lucinda Williams' "Change the Locks" a
full-tilt rocker. The Heartbreakers, making their second album without
longtime drummer Stan Lynch, sound remarkably cohesive. Session drummer
Curt Bisquera keeps good time without complicating matters.
So how does the music relate to the movie? The music doesn't really play
a
central role. It's more of a score than a soundtrack. Bits of the plot
may
come back when hearing "Supernatural Radio." Judging from the lyrics,
Petty was certainly engaged with the movie when he wrote the song, but
then added his own quirks.
She's the One features three songs that Petty recorded for
Wildflowers but left off. Given the sources for songs, their
incarnations, and trying to keep track of whether a song appears only in
the film or only on the album, initial listenings were confusing. That
faded.
The songs here are mostly first-rate and engaging. The movie is an added
bonus, and gives a bit more context to the instrumental tracks. Beyond
that, hearing parts of songs through a sophisticated ten-speaker theater
system was the only other treat.
This album stands on its own, with two speakers and no film.