UCR: Tom Petty albums, ranked worst to first

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Tom Petty Albums, Ranked Worst to First
by Bryan Wawzenek

Tom Petty and the Heartbreakers

Compiling our list of Tom Petty Albums, Ranked Worst to First, wasn’t easy. After all, his steady reliability over the last few decades has made him a rock ‘n’ roll rarity.
Whether you picked up a Tom Petty album in the midst of punk, the zenith of grunge or the apex of EDM, you knew you were going to get melodic, thoughtful songcraft built on the granite foundation of ’50s and ’60s rock. That said, staying locked in this glorious tradition may have prevented Petty and the Heartbreakers from exploring new creative avenues.
They’ve constructed fewer blinding works of genius than their heroes Bob Dylan and the Rolling Stones, but they also haven’t contributed nearly as many clunkers as those guys. So an exercise like this, in which we attempt to rank Petty’s studio albums in order of quality, can become a bit of a challenge. In many cases, one edged out another because of a slightly more tuneful highlight or moderately less-dated production. Even the lowest-ranked records offer some great music.
We should note that all of his studio albums (whether co-credited to the Heartbreakers or to Tom as a solo act) are included in our list of Tom Petty Albums, Ranked Worst to First. Now, damn the torpedoes and full speed ahead!

16
‘The Last DJ’ (2002)

For years, Petty has had his clashes with record companies, but it wasn’t until the 21st century that his anger boiled over into the songs. On ‘The Last DJ,’ the songwriter seems so focused on his anti-corporate outrage that he often forgets to pair his diatribes with decent tunes. The title track’s a spiffy little rocker and ‘Dreamville’ is a nostalgia creampuff, but many of these songs are unfortunately nondescript. One that doesn’t float past is ‘Joe,’ in which Petty takes on an acerbic, Roger Waters-like howl to perform role of a music industry CEO. It’s an ugly song, and probably not in the way Petty intended.



15
‘Long After Dark’ (1982)

‘You Got Lucky’ combines Benmont Tench’s throbbing synthesizers, Mike Campbell’s lonely street corner guitar licks and Petty’s menacing vocal into a midnight masterpiece. It easily ranks with the Heartbreakers’ best singles. The rest of the record isn’t so lucky. Although the playing is sharp and new member Howie Epstein’s harmony vocals add the perfect glisten, most of the songs lack the punch of the band’s first four records. Petty disliked the record, mostly because co-producer Jimmy Iovine prevented him from including ‘Keeping Me Alive’ on it. Petty was right. The rootsy tune is better than anything here, save ‘Lucky’ and ‘Straight Into Darkness.’



14
‘Let Me Up (I’ve Had Enough)’ (1987)

After having enough of the bone-crushing problems that occurred during ‘Southern Accents’ (found later on our list of Tom Petty Albums, Ranked Worst to First), the plan for this record was not to have a plan. Songs weren’t too carefully considered and the tracks were supposed to sound like they were recorded live. The raw aesthetic comes through on the highlights, including the Stonesy crunch of ‘Jammin’ Me’ and the acoustic, Far East-meets-Western stunner ‘It’ll All Work Out.’ Of course, "stripped down" had a different connotation in the ’80s, and there’s still way too much gloss wrapped around the ballads ‘Runaway Trains’ and ‘My Life/Your World.’ In any era, however, it comes down to songwriting. Figuring it out in the studio may be a good method for establishing a sound, but not for writing fantastic songs.



13
‘Southern Accents’ (1985)


This could have been amazing. Conceived as a concept album about the South (where Petty, Campbell and Tench come from), the record and its themes got derailed by the inclusion of three songs Tom wrote with Eurythmics mastermind Dave Stewart. One of those tunes was ‘Don’t Come Around Here No More’ – a huge hit and trippy idiosyncrasy in Petty’s heartland catalog which, nevertheless, had nothing to do with Petty’s vision of the Southern U.S. And so, ‘Southern Accents’ became an unhappy marriage of clever, compelling songs about the South (the blazing overture of ‘Rebels,’ the sly snarl of ‘Spike,’ the heartfelt title track) and startlingly new wavey collaborations with Stewart. In the process – actually while struggling to record ‘Rebels’ – Petty hit a wall so hard that he broke his left hand in multiple places. It was, and remains, a frustrating album.



12
‘Into the Great Wide Open’ (1991)

Following the blockbuster success of his solo debut, Petty brought together his band and ‘Full Moon Fever’ producer (and fellow Traveling Wilbury) Jeff Lynne. ‘Into the Great Wide Open’ finds Petty in supreme storytelling mode, most notably on the album’s two big hits, ‘Learning to Fly’ and the title song, but also on the less-heralded ‘Two Gunslingers.’ If there’s a problem with this enjoyable record, it’s that a band with such fiery a lead guitarist shouldn’t be so mired in mid-tempoville. (The perfunctory rockers ‘Out in the Cold’ and ‘Makin’ Some Noise’ are as close as they get to letting loose.) Lynne’s soft-focus production helped the roots rock of ‘Full Moon Fever’ conquer pop radio. But on ‘Into the Great Wide Open,’ it keeps listeners at arm’s length from a solid batch of songs.



11
‘Mojo’ (2010)

'Mojo' serves as both the most distinctive detour in the Heartbreakers' long career and a sort of creative rebirth. They wade waist deep into Mississippi mud to find the blues roots that were always buried in the sound of this Florida-by-way-of-California band. A late-career decision to play a bunch of blues jams sounds like an idea borne of creative bankruptcy, but the robust 'Mojo' is quite the opposite. For the first time in at least a decade, the Heartbreakers sounded like they were having fun on a studio album. 'Mojo' is playful but strong, both expansive in its sound and tightly crafted in its instrumentation. The Heartbreakers located the groove and, in keeping with the title, rediscovered their mojo.



10
‘You’re Gonna Get It’ (1978)

Petty and the Heartbreakers' second album hardly qualifies as a sophomore slump, yet it doesn't sparkle as brightly as the albums that bookended it (that exciting debut on one side and the ebullient 'Damn the Torpedoes' on the other). While the Heartbreakers remain a tightly focused outfit with a '60s jangle and a punky edge, the band seems a bit low on great songs this time out. Side One unfolds without a memorable melody, though thankfully the project's second half features the glistening 'Listen to Her Heart' and the blistering 'I Need to Know' (each sizable pop hits). In addition, 'Baby's a Rock 'n' Roller' is one of Petty's overlooked gems. The spacey closer, with its keening vocals, is built on a chunky boogie that would make Marc Bolan jealous.



9
‘Hypnotic Eye’ (2014)

Few bands so long in the tooth can sound as muscular as Petty and the Heartbreakers do on ‘Hypnotic Eye.' After rebooting with the blues jams, the band plants itself firmly in the garage -- streamlining the ‘Mojo’ meanderings into tightly focused rock songs featuring a rumble that would shake Link Wray. If nothing else, the album is a showcase for Campbell's skill, taste and tone. You want to call songs like ‘All You Can Carry’ and ‘U Get Me High’ “vintage Heartbreakers,” but even the group’s earliest recordings were never this raw and beefy. If the hooks aren’t quite as plentiful as in the past, the songs still tell smart stories. Kickoff track ‘American Dream Plan B’ is as good a song that’s been written about modern America: “My success is anybody’s guess / But like a fool, I’m bettin’ on happiness.” With a band that sounds like this, why not?



8
‘Songs and Music from 'She’s the One" (1996)

This kinda-sorta soundtrack to Ed Burns' largely forgotten film is routinely dismissed by Petty as a hodge-podge of leftovers from the 'Wildflowers' sessions. With outtakes this good, what's wrong with that? 'She's the One' finds the Heartbreakers at their most freewheeling, from the goofy rave-up 'Zero From Outer Space' to a snarling cover of Lucinda Williams' 'Change the Locks' to the jangle pop of 'California.' Short instrumentals display a side of the Heartbreakers rarely glimpsed on record, while repeated tracks ('Walls' and 'Angel Dream' each appear twice) show how a slightly different approach can completely change a song. Just compare the steady-rocking 'Walls (No. 3)' to the swaggering 'Walls (Circus)' with its merry-go-round keyboards, sweet strings and yelping backing vocals from Lindsey Buckingham. Petty's sour opinion surely can't hold out forever.



7
‘Highway Companion’ (2006)

Tom's third solo effort is a fantastic collection of songs and sounds – ones that pay tribute to some of Petty's greatest influences. The ominous 'Jack' would be at home on the Who's 'Tommy.' 'Flirting with Time' packs a jangly glee suitable for AM radio. 'Big Weekend' is a country-rock shuffle worthy of Bakersfield. Meanwhile, 'Square One' is one of Petty's best songs, as spare and weary as it is beautiful and life affirming. Considering that Rock 'n' roll so often deals in absolutes, it's jarring to hear a song that discusses equal measures of winning and losing in the same lyric. Thankfully co-producer Lynne (working alongside companions Petty and Campbell) doesn't slather the album in sonic frosting. 'Highway Companion' is crisp and clear, placing the emphasis on great music.



6
‘Tom Petty and the Heartbreakers’ (1976)

The songs on this album, particularly the irresistible chug of 'American Girl' and the moody cool of 'Breakdown,' have so ingrained themselves in the rock canon that it's difficult to realize how fresh the Heartbreakers debut was when released in 1976. The self-titled record remains an excellent introduction to this band, which never tried to recreate the sounds of British and American '60s rock as much as it attempted to harness the excitement of that music. There's a youthful exuberance that infects every song, from a tune about being stupid and in love with rock ('Anything That's Rock 'n' Roll') to a tune about being stupid and in love with the wrong girl ('The Wild One, Forever').



5
‘Hard Promises’ (1981)

Following the blockbuster success of 'Damn the Torpedoes,' this album proved that Petty still had a wealth of tunes in the tank – about tough luck and sad sacrifices, rough romance and hard promises. Sure, the hits are brilliant (with equal parts jangle and spitfire, 'The Waiting' is in the running for best Heartbreakers song ever). So are the album tracks: the chiming 'A Thing About You,' the slightly funky 'Nightwatchman,' the disillusioned country-folk tune 'Insider' (featuring Stevie Nicks). If it's not quite the galvanizing listen delivered by 'Torpedoes,' 'Hard Promises' gives us a more varied experience, with rootsier tinges that sat comfortably amidst gleaming power pop. And Petty fought to prevent his label from charging fans an extra buck for this album. What a bargain.



4
‘Echo’ (1999)

Petty has expressed disdain for ‘Echo,’ because of the unhappy circumstances under which it was made. He was going through a nasty divorce during the creative process, allowing the ugly feelings to infect his songwriting. As the Heartbreakers went into the studio, it became clear that Epstein was succumbing to his drug addiction. Whether it’s due to discomfort or dislike, the band rarely plays any tracks from ‘Echo’ in concert. That’s a shame, because this album contains some of the best and most personal songs Petty has ever written. The emotional rawness of the mournful title track, the raging sarcasm ‘Free Girl Now,’ the palpable desperation contained every moment are what makes this a fascinating listen. It’s his ‘Blood on the Tracks.’ He might be losing his wife, his life and his mind, yet Petty still pairs winning melodies with every track, delivered with razor-blade intensity by the Heartbreakers and overseen by master producer Rick Rubin.



3
‘Damn the Torpedoes’ (1979)

We can only imagine how much work went into making ‘Damn the Torpedoes’ sound so easy. This album is the epitome of record-crafting – from the snap of Stan Lynch’s drums to Benmont Tench’s perfectly calibrated keyboard flourishes to Petty making use of every character in his voice. The big, clean sound would bulldoze lesser bands (and often did), but the Heartbreakers’ restless intensity thrives on it, incorporating punky attitude, rockabilly heart and country soul into the AOR package. Of course, Petty’s best batch of songs (until, possibly, ‘Full Moon Fever’) only boosts the record to legendary status. ‘Refugee,’ ‘Even the Losers,’ ‘Don’t Do Me Like That’ and ‘Here Comes My Girl’ are rightfully established as classics, but ‘Shadow of a Doubt (Complex Kid),’ ‘Century City’ and ‘Louisiana Rain’ are equally deserving. Petty sings about the highs and lows of love on a record that has no lows.



2
‘Full Moon Fever’ (1989)

From one blockbuster to another. Ten years after ‘Damn the Torpedoes’ legitimized the Heartbreakers as rock stars, ‘Full Moon Fever’ made Petty a pop phenomenon. In the pursuit of a slightly different vision for his music, Petty cut the Heartbreakers loose for the first time (although Campbell remained his partner in crime, and Tench and Epstein each contributed to the album). Jeff Lynne became Tom’s go-to guy here, co-writing many of the songs, playing a lot of bass and co-producing the album. In fact, Lynne’s glossy keyboards and Beatle-esque harmonies (some from actual Beatle George Harrison) have something to do with the album’s popularity, although it was the top-notch songwriting that won over listeners. ‘Full Moon Fever’ is an embarrassment of melodies: ‘Yer So Bad,’ ‘I Won’t Back Down,’ ‘The Apartment Song,’ ‘Love is a Long Road.’ Campbell’s finest recorded moment may be the diesel-burning riff and hair-raising solo on ‘Runnin’ Down a Dream.’ Speaking of dreams, Petty finds a new lyrical gear in surrealism; ‘Free Fallin’’ is all the more enchanting for its dreamlike nostalgia. With success like this, it’s no wonder Tom went “solo” again.



1
‘Wildflowers’ (1994)

A Heartbreakers record in everything but name, ‘Wildflowers’ was approached by Petty, Campbell and co-producer Rick Rubin as a solo record to allow them the creative freedom to do anything they wanted. It turned out that Petty wanted to make his most ambitious album with the help of his bandmates (save drummer Lynch, who’d soon be replaced by Steve Ferrone, anyway). ‘Wildflowers’ is the singer’s most stripped-down and rootsy affair and also his most ornate outing, featuring orchestral backing on certain tracks and horn sections on others. Give Rubin credit for quality control and helping all of this make sense in the context of one record. Give Campbell credit for being able to play anything with strings, including acoustic, electric and slide guitars as well, as a sitar. Give Petty credit for delivering songs that range from thunderous garage rock (‘Honey Bee’) to wistful folk-rock (‘Time to Move On’) to barroom sing-alongs (‘You Don’t Know How it Feels’) to highway-blazing demons (‘You Wreck Me’). During the 63-minute journey, Petty drops little crumbs of wisdom, like “Most things I worry about never happen anyway” on ‘Crawling Back to You,’ self-loathing at its most gorgeous. Soulful, exciting, thoughtful, beautiful, mysterious, intriguing – most records are lucky to be one of those things. ‘Wildflowers’ is all of it. The top entry in our list of Tom Petty Albums, Ranked Worst to First, sounds as good as the day it was released, two decades ago.


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