"I'm old enough to have lived in a country where, if you were willing to work hard, you could have a fairly nice life. You could support your family, and even get a shot at owning your own home. But you never thought you'd get a swimming pool. Now culture has hypnotised people into thinking they're really nothing if they're not wealthy and a Kardashian" - Tom Petty
Rockin' Around With You/Breakdown/Hometown Blues/The Wild One/Forever/Anything That's Rock 'n' Roll/Strangered In The Night/Fooled Again (I Don't Like It)/Mystery Man/Luna/American Girl
Tom Petty & The Heartbreakers came on to the scene in 1976, after a few years gigging as Mudcrutch, and because of the time they emerged, they were considered punk. I guess they had a swagger and wore leather jackets, but they were no Ramones. They were, quite simply, a Southern States US rock band, albeit with a penchant for short, concise, sometimes fast-paced rock songs. Their influences were The Byrds, The Rolling Stones and even 60s pop bands like The Searchers.
Their debut album has a rough-edged rudimentary sound and kicks off with the Beatles-ish Rockin' Around (With You) and then we get the bluesy, organ-led slow rock of Breakdown, which remained a favourite for years. It is the second best track on the album.
Strangered In The Night was a slab of Bourbon-soaked rock with a vague bit of punk attitude, sort of Lynyrd Skynyrd meets the Patti Smith Group. The thing about US punk was that bands like these, Patti Smith, Richard Hell, Television, Blondie and so on were considered punks. They were quite different from their UK equivalents.
Fooled Again (I Don't Like It) has a Stonesy sneer to its vocal delivery and a rumbling, down n dirty slow-paced rock feel.
The album’s jewel in the crown is, of course, the mighty American Girl with its wonderful guitar intro and similarly impressive extended guitar ending. The song was also used to great effect in the film The Silence Of The Lambs. Listening to that intro now, it just makes we think again that this album could really do with a remastering. Tracks from it (American Girl, The Wild One, Breakdown and Hometown Blues) are given a bit of a clean-up on the Anthology compilation, where they are clearer and certainly bassier, which is good to hear. It makes them sound better tracks.
Much as this album is a reasonably pleasant listen an is pretty nostalgic for 1977, I have to say it is nothing special. The band were to produce much better.
When The Time Comes/You're Gonna Get It/Hurt/Magnolia/Too Much Ain't Enough/I Need To Know/Listen To Her Heart/No Second Thoughts/Restless/Baby's A Rock And Roller
After a quite successful debut album from 1976, with some patchy moments, but two copper-bottomed Petty classics in Breakout and American Girl, the Florida band were back with more of the same Southern, vaguely punk-associated bluesy rock.
The first thing that hits me, though, is that eighteen months between the albums, the sound quality has improved immeasurably (or is it just the remastering?).
On to this album, though, Magnolia is a laid-back piece of country-ish rock with a nice hook and Too Much Ain't Enough is a fast-paced number that would have kept the punks happy - who inexplicably claimed Petty as one of their own in 1977-78. This Southern States rock was always slightly incongruous among gig listings for The Ramones, The Stranglers, Talking Heads, The Clash, Stiff Little Fingers and The Jam but it was accepted as part of the “new wave”. It was the attitude, I guess. It just seemed to fit the times. The Heartbreakers were an honest, hard-working band with no pretensions or “rock star” mannerisms, so that would appeal to the “sweep the decks clean/back to basics” punk ethics.
I Need To Know is a piano-driven rocker that is so reminiscent of a lot of the Bruce Springsteen session tracks from 1977-78 that appeared on Tracks and The Promise, while my favourite from the album, Listen To Her Heart has such as Searchers/Needles And Pins intro it’s untrue. Great song, however.
These early albums were all somewhat short, all over in about half an hour. All enjoyable though, but no works of genius. I prefer this to the debut album, however, it has a fuller sound and is generally more polished.
Refugee/Here Comes My Girl/Even The Losers/Shadow Of A Doubt (A Complex Kid)/Century City/Don't Do Me Like That/You Tell Me/What Are You Doin' In My Life?/Louisiana Rain
This was the album that “broke through” (to paraphrase Petty) for Tom Petty & The Heartbreakers. After two short but occasionally impressive albums, they really got their whatever together for this one. The first thing that hits you is how much better the sound is. It is now full, defined, powerful and with the bass given the oomph it needed. If only the debut album had been recorded like this, I am sure I would view it differently.
The quality is there right from the off with the rousing, fist-pumper, Refugee, with Petty on fine vocal form, far stronger than previously, and a killer hook. When you think it couldn’t get any better, it does, with the anthemic rocker, Here Comes My Girl. It was 1979 by now and punk sensibilities didn’t matter so much (not that they ever did to Petty, he just got lumped in with it all, by default). It was ok to produce solid Southern States rock and the public wanted it.
Century City sounds a lot like Springsteen’s Pink Cadillac, speeded up, in places. It is another great rocker, though. You get the impression this is a band who have got it exactly as they want it now. This is as perfect as the debut album was frustrating.
The mysterious You Tell Me is slow-paced, slow-burning slice of Southern bluesy rock. Some great guitar and swirling organ backing. The subtle, melodic bass is finally given the mastering it deserves on this album, too. Most noticeable on this track. Love this one.
The Waiting/A Woman In Love (It's Not Me)/Nightwatchman/Something Big/Kings Road/Letting You Go/A Thing About You/Insider/The Criminal Kind/You Can Still Change Your Mind
Tom Petty & The Heartbreakers albums, by now, 1981, were becoming trustworthy, more of the same impressive fare offerings. 1979's Damn The Torpedoes had established Petty and his band as a solid outfit worthy of respect from both the rock and the new wave fraternities. After the slightly dodgy sound of the band's first two albums, this, their fourth outing, finds a better quality of sonic delivery.
There is not too much analysis that can be given to these Petty albums - he was a deceptively good rock songwriter and his band could play. The first two tracks are the ones that instantly stand out - The Waiting, which became the album's fan favourite, and the anthemic rock of A Woman In Love (It's Not Me). The former is one of those archetypal Petty upbeat rock songs, full of anthemic hooks and killer guitar riffs and the later is a fine example of his slower, but equally punchy numbers.
Nightwatchman has a sort of funky rock vibe about it. Something Big is a brooding, Stonesy slow burner and Kings Road sees the riffiness return on a typical Petty rocker. Presumably, judging by the lyrics, it is about a visit to the legendary London street.
A Thing About You rocks as hard as anything on the album, with hints of River-era Bruce Springsteen and Graham Parker in the song. Check out that great guitar intro.
The thing I find with these albums is that none of the songs, or indeed the album as a whole particularly sticks in your mind, yet at the same time it is still a quality offering. You can't argue with it, not in any way, but neither can you make a case for it being extra special.
A One Story Town/You Got Lucky/Deliver Me/Change Of Heart/Finding Out/We Stand A Chance/Straight Into Darkness/The Same Old You/Between Two Worlds/A Wasted Life
I have read a few criticisms of this 1982 album from Petty and his Heartbreakers, accusing it of being formulaic and tired. I am having none of that - it is a vibrant, rocking enjoyable album. Yes, it betrays some traits of its era, but it still retains a strong rock flavour.
A One Story Town is a riffy opener with a sharp percussion sound and that familiar new wave meets jangly sixties rock vibe to it. It has a very early eighties new wave feeling about it. As it was the eighties, the use of synthesisers is creeping in, and they are certainly there on the admittedly catchy riff of You Got Lucky. Parts of the keyboard break remind me a lot of Billy Joel's All For Leyna.
Deliver Me returns to a more-guitar-dominated Stonesy sound on a nice piece of solid period rock. The drum sound brings to mind much of the material from Bruce Springsteen’s River sessions, not for the first time with Petty. Even more owing a debt to The Stones is the weighty riffery of Change Of Heart. I really like this track. It also has a typical power pop-new wave-style vocal, such as used by The Jags or Graham Parker, again not for the first time.
Liveliness and full-on rock attack continues on Finding Out. There is a bit of typical eighties unremastered tinniness on these tracks, but that doesn't detract from the general overall energy. This one bristles from beginning to end.
We Stand A Chance is a very eighties-sounding mid-pace rocker with some nice sharp riffs and the same can be said for the also chunkier and bassier Straight Into Darkness.
The Same Old You is an attractively lazy-sounding seventies-style number and a clunking piano drives on Between Two Worlds. I do accept that there is a bit of a sameness about these tracks and they are ones that don’t really stick in the mind, but they are still enjoyable to listen to. Some of Petty’s songs have always been a bit like that, which is probably why he never made it properly to the top table.
The final number, A Wasted Life, sees a bit of a change in its sleepy melody and slurry vocal that sounds like a cross between slow Springsteen and slow Stones.
Although the album’s best material comes at the beginning, it is a pleasurable short sharp blast of inconsequential rocking air.
Rebels/It Ain’t Nothing To Me/Don’t Come Around Here No More/Southern Accents/Make It Better(Forget About Me)/Spike/Dogs On The Run/Mary’s New Car/The Best Of Everything
This 1985 Tom Petty album saw him influenced by contemporary sounds, some vaguely country-ish melodies and also, notably, funk and disco, would you believe. In a similar way to The Rolling Stones in the eighties, he managed to successfully merge his trademark riffy rock sound with rhythms borrowed from popular dance music. This makes this a surprisingly fresh and innovative album. It is one of my favourites of his.
Rebels has a nice bassy riff underpinning it, and is full of atmosphere, but the main body of the song is frustratingly muffled and Petty’s vocal sounds as if he has just got up with a serious hangover, being equally indistinct. Despite these sonic problems, however, I still like the song.
It Ain’t Nothing To Me is a classic piece of Stonesy funk rock that brings to mind Dance (Part One) from their 1980 Emotional Rescue album. The bass line reminds me of Queen’s disco dabbling and there is a Mike Garson on Aladdin Sane-inspired piano break too. It boils with white funk grooves, disco-ish horn breaks and razor sharp riffs and is a most unusual departure from the usual for Petty. I love it.
The big popular track from the album that dominated the airwaves was the anthemic and stately Don’t Come Around Here No More. There is not much to be said other than it is simply a great track, why, I even love the synthesiser breaks. The Free Bird-esque up in tempo at the end is rousing too. Get a load of that wah-wah guitar at the end.
The tempo drops on the sombre but balefully appealing Southern Accents, which sees Petty getting all emotional about the Southern States. A real favourite of mine is the superbly frothy Make It Better (Forget About Me), which bubbles over with poppy funk in another serious change of style for Petty. It reminds me of Southside Johnny’s brassy, dancey stuff in the eighties.
Spike is a brooding, swampy serving of country-influenced rock and soul. It has a captivating backbeat and some Dire Straits style guitar. Dogs On The Run is another gem, loaded with uplifting riffs and breaks and a slurringly enticing Jaggeresque vocal. Talking Of Jagger, Mary’s New Car has a really Stones-like riff and some delicious smoky saxophone breaks underpinning it.
There has not been a sub-standard track on here and the quality continues right up to the end with the typically evocative Petty slowie in the lovely The Best Of Everything. Once more there is a Southside Johnny style brass backing together with a hint of Jackson Browne in the vocal delivery, in places.
This was a great album, maybe Petty and his excellent band’s best, for me, anyway.
Free Fallin'/I Won't Back Down/Love Is A Long Road/A Face In The Crowd/Runnin' Down A Dream/I'll Feel A Whole Lot Better/Yer So Bad/Depending On You/The Apartment Song/Alright For Now/A Mind With A Heart Of Its Own/Zombie Zoo
Tom Petty solo albums are odd things. This was his first one from 1989 and, rather like Bruce Springsteen often used members of the E Street Band on his supposedly solo albums, Petty saw several of his Heartbreakers turning up to appear on this one. I don’t really know why he bothered calling them solo albums, to be honest, if not all the Heartbreakers were there, never mind, some of them were, as was the sound/vibe.
Despite the presence of some eighties synthesisers, the sound is still a rocking one, powered along by those typical jangly guitar sounds. Heartbreakers or no Heartbreakers, the sound sounds indistinguishable to me, really. Therefore, I tend to lump the solo albums together with the Heartbreakers albums.
Either way, this was an extremely successful album. It is a really good one too, without a bad track on it. It rocks from beginning to end in fine, lively, flowing style. Free Fallin’ is an instantly recognisable and seductively slow-burning but anthemic number, as is the charismatic, insistent, singalong I Won’t Back Down. Those were two copper-bottomed Petty classics to kick the album off with. A great start, I have to say.
Both the slightly Billy Joel-ish piano-synth rock of Love Is A Long Road and the understated sound of A Face In The Crowd are both chugging and appealingly competent rockers.
The tempo gets right up with the wonderful riffing of Runnin’ Down A Dream, with its name check for Del Shannon’s Runaway. This a is great track that doesn’t let up for a minute, acoustic and electric guitars merging perfectly. It is quite irresistible.
Petty always loved The Byrds and his cover of I’ll Feel A Whole Lot Better is pretty much definitive. Yer So Bad is an upbeat acoustic-driven folky rocker with wry lyrics about Petty’s sister marrying a yuppie.
Depending On You is a jangly, new wave-ish rocker with hints of Graham Parker about it. The quality really isn’t letting up at all here. The same can be said for the John Mellencamp riff-powered rock of The Apartment Song, which contains a Peggy Sue drum bit in the middle, along with a very T. Rex-influenced riff.
The pace slows on the sleepy acoustic strains of the short Alright For Now. Not to worry, rock fans, though because two fine toe-tappers end this excellent album in the vaguely mid-sixties Dylanesque A Mind With A Heart Of Its Own and the goofy fun of the Elvis Costello & The Attractions-influenced Zombie Zoo.
This was rightly one of the most successful and popular Petty albums. It is packed full of vitality and verve, delivered with an infectious enthusiasm by Petty and whatever he chose to call his band.
Wildflowers/You Don't Know How It Feels/Time To Move On/You Wreck Me/It’s Good To Be King/Only A Broken Heart/Honey Bee/Don’t Fade On Me/Hard On Me/Cabin Down Below/To Find A Friend/A Higher Place/House In The Woods/Crawling Back To You/Wake Up Time
This was Tom Petty’s second ‘solo’ album (several Heartbreakers were involved). It was intended to be a huge, 25 track album but was eventually released as a still bloated 15 song offering. Personally, that is too long an album but that should not detract from the quality of the material on offer. Many consider it to be Petty’s finest piece of work.
It is said to be Petty’s ‘divorce album’ and has many soul-searching, emotional songs as opposed to his usual carefree rockers, making it something of a low-key, indigestible listen.
The title track, Wildflowers, is a deliciously attractive acoustically-strummed number that you expect to kick into full rock mode, but it doesn't and it doesn't matter. It is actually powerful enough anyway. Some nice organ and piano join in to more than enhance it. Great track.
The band is full on for the next one, though, the harmonica and drums-powered dignified thump of You Don't Know How It Feels, with its slow but catchy chorus about rolling another joint. This was another top quality song.
Time To Move On is an upbeat, later-era Springsteen-esque number whose lively drumbeat is in contrast to Petty's sleepy Knopfler-esque vocal.
You Wreck Me is a top class Petty rock classic, full of his trademark riffs and vocals. It is a standout track on the album. It’s Good To Be King is a slow but beguiling number that is full of atmosphere. It features a great guitar solo. Only A Broken Heart is a Beatles meets ELO slow ethereal number.
Honey Bee sees a return to solid riffage on a big, chunky, slow-paced rocker. Don’t Fade On Me is a folky, acoustic number with hints of Led Zeppelin III about it in both its acoustic guitar and Petty’s vocal. Hard On Me continues the laid-back ambience. Both these tracks are ok, but they run the risk of being considered part of a bit of a dull phase in the album. That should not take away from the excellent guitar to be found on the latter in particular.
Cabin Down Below is a shirt but riffily appealing song, the sort of thing Petty could do in his sleep and has indeed been doing for nearly twenty years. To Find A Friend is also a typical Petty song but this time it is an acoustic number.
A Higher Place is a Byrds-ish jangly and catchy rocker that also stands as one of the album’s best. House In The Woods is a bit of a dirge, I have to say, something Petty is occasionally guilty of putting out. It is redeemed by some tough guitar and drum interplay in the middle. The vocal is quite turgid, though, rendering the track interminable.
Crawling Back To You is a gentle piece of Fleetwood Mac-ish mellow, steady-paced rock. It is another of my favourites from the selection. Wake Up Time is a sombre, slow ballad to end on.
I prefer the more concise nature of many of Petty’s other albums (Full Moon Fever And Highway Companion, for example, his two other ‘solo’ ones) as this one does admittedly suffer from CD bloat - a curse of the CD age. When I dip into this album I am tempted to put it on random and play about eight tracks.
Saving Grace/Square One/Flirting With Time/Down South/Jack/Turn This Car Around/Big Weekend/Night Driver/Damaged By Love/This Old Town/Ankle Deep/The Golden Rose
This final 'solo' album from Tom Petty, from 2006, was intended to be a goodbye to the music industry. As it was, Petty didn't retire. It is a pleasant, if not a bit understated, collection of acoustic-electric merged new millennium rock.
Saving Grace is a rhythmic, riffy pice of vibrant bluesy rock to open with. It has a Southern swampiness to it, along with some infectious, insistent riffs. It reminds me of Willy De Ville's White Trash Girl in some places.
The mood immediately changes with Square One, which is a haunting acoustic slow number with a sad vocal refrain. Flirting With Time gets things back up again, slightly, with a solid acoustic and electric rock chugger. It has a catchy chorus too.
Down South is so Dylanesque on the verses to be almost Dylan himself. It reminds me a lot of Love Minus Zero/No Limit on those verses and also has a delicious guitar solo in the middle. It is, despite is derivative parts, a fine song.
Jack is a both melodic and chunkily powerful number with a slight mysterious quality to it. The same applies to the slow and muscular Turn This Car Around.
Big Weekend is a lively piece of country-ish Petty rock. It is a familiar serving of Petty fun. Night Driver is a ghostly, Neil Young-ish slower number with Petty's vocal higher than usual. It features some lovely bass and guitar at the end. The mournful Damaged By Love reminds me of Bruce Springsteen, lyrically. Once more, the guitar is superb on here.
This Old Town has Beatles-ish hints in its production. This is not surprising, as the album was produced by Beatles devotee Jeff Lynne.
Ankle Deep is a sort of Springsteen meets Dylan dignified and attractive rocker. It is my favourite on the album. It is similar to some of the stuff Petty did with The Traveling Wilburys. Petty's guitar is on fire on the solo, again.
The Golden Rose is a Beatles and Dylan type closer with hints of Norwegian Wood in places and a typically anthemic Pretty chorus. Nice bass and guitar feature once more as well as a spacey keyboard ending that is very ELO.
American Dream Plan B/Fault Lines/Red River/Full Grown Boy/All You Can Carry/Power Drunk/Forgotten Man/Sins Of My Youth/U Get Me High/Burnt Out Town/Shadow People
This was Tom Petty & The Heartbreakers’ final album, and it is a deceptively good one. Initially, it sounds a bit harsh and as if it is trying to sound contemporary but a couple of listens in it starts to get to work on you. It is very much a grower. Sure, it is quite a heavy, dark album compared to some of Petty’s past work, but therein lies its slow burning appeal. Those old new wave days seem a long time ago, though.
American Dream Plan B is a chunky, solid, fuzzy and metallic opener. It is quite un-Petty in places, with a dense, tinny, grungy soundscape. It is full of great guitar breaks, however. Far more bassy, though, is the infectious self-analytical Fault Lines, with its delicious extended instrumental intro and behind the main beat funky edge. I really like this one.
Red River is also a strong, industrial strength rocker with vague hints of Bruce Springsteen’s River sessions material.
Full Grown Boy slows the pace down on a slightly jazzy bass-powered sleepy groove. Check out that great jazz guitar solo in the middle too. Crashing riffage is back for All You Can Carry, which is another dense rocker. This is quite heavy, uncompromising stuff.
The deep, slightly menacing Power Drunk ploughs a similar furrow to most of what has been before. It contains some searing guitar and has a sort of grungy psychedelic, garage sound.
Forgotten Man has some echoes of the seventies in Petty’s vocals and it is driven along by a huge drum sound, together with some expertly merged, razor sharp acoustic and electric guitars.
Sins Of My Youth returns to the spacey, jazzy sound of a few songs earlier on a beautifully laid-back number that has a slightly croaky Petty sounding vaguely like an ageing Bryan Ferry. It is a most attractive number.
The Prince-like titled U Get Me High bristles with unsubtle guitar attack. Once more, I find it is a track that really gets into my bloodstream.
The blues finally makes an appearance on the quirky, harmonica-led Burnt Out Town, which features a distant, unusual-sounding vocal and some killer piano from Benmont Tench.
Shadow People was the final track on the final album and a fine one it was too, full of atmosphere and great instrumentation. As it always was.
Thanks to the release, in recent years, of many radio broadcasts, from the seventies and eighties, the market is now awash with Tom Petty & The Heartbreakers live material, with varying quality. Some are excellent, some are understandably a bit hissy. This is an "official" live compilation - a 48 track 4CD monster - and its is by far the best in terms of sound quality. It is a sprawling compilation, however, that does not have any continuity i.e. it doesn't come across like one live gig. Tracks are scattered across the compilation, willy-nilly, with no real connection to each other, as they are derived from many different gigs. Bruce Springsteen's Live 1975-1985 is similar and suffers from a similar lack of continuity. Because of that, it is an album I dip into for short periods. You can't really listen to it in one sitting. Playing it on "random" is a good idea, otherwise you find yourself listening to the same few tracks at the beginning each time you re-visit it.
As I said, there is no chronological nature to the album and there are all sorts of rarities thrown in - covers of Booker T & The MGs' Green Onions, Willie Dixon's I Just Want To Make Love To You, Bobby Womack's I'm In Love, Van Morrison's Mystic Eyes, Thunderclap Newman's Something In The Air and, interestingly, the theme from Goldfinger. Most of the Petty favourites are here - Free Fallin', American Girl, Refugee, I Won't Back Down and Breakdown. A personal favourite is the riffy, rocking Jammin' Me. Good, Good Lovin' is a corker too. Checkout out the beautiful, sad tones of Louisiana Rain as well.
This is an excellent anthology - taking between two and four tracks from each of the albums produced by Florida’s Tom Petty & The Heartbreakers. They were a classic Southern States, soaked in Bourbon guitar-driven bluesy rock band, with clear influences from The Byrds, The Searchers, The Beatles, The Rolling Stones, Graham Parker and Bruce Springsteen. The late Tom Petty (I still can’t really believe I’m writing that) had a unique voice that, at times, was something of a whiny bleat but it did improve and get stronger over time and he was an excellent guitarist. The voice, rather like with Bob Dylan, never really detracted from the appeal of the material. The band, The Heartbreakers, were somewhat faceless, no rock star pretensions, just honest guys would could certainly play. The backing on the songs is always excellent.
This is an attractive album for me because it appears to have been remastered, and has a full, punchy sound that makes room for the often melodious bass lines to be heard. The remastering is particularly relevant on the four tracks taken from 1976’s debut album, which was recorded notoriously badly - tinny and weak. Here, at least there is a bit more “oomph”, which is pleasing, considering that two of the tracks are the iconic pair of Breakdown and American Girl.
The other highlights are the wonderful Don’t Do Me Like That, Refugee, I Won’t Back Down, Here Comes My Girl, Listen To Her Heart, Free Fallin’ and Don’t Come Around Here No More. No place for the rocking Anything That’s Rock n Roll’s Right, which is a shame, however.
This is an excellent compilation box set, largely made up of alternative and "outtake" versions, and live versions, spanning Petty's career with The Heartbreakers, on his own and also some tracks from Mudcrutch (his pre-Heartbreakers band, who re-recorded some of their early material relatively recently). It is not an "anthology" or a "greatest hits" so it is of more interest to hard-core fans as opposed to casual ones, however, listening to it, it is so good that it can be appreciated by anyone, really.
Incidentally, just as an aside, I am sure No Second Thoughts has hints of The Rolling Stones' Factory Girl in it. What Are You Doin' In My Life? is very Springsteen-esque too. Another aside - good old Tom looks far more handsome on the cover drawing than he actually was, bless him.
Overall, this is an invigorating, sonically pleasing, spirit-raising compilation from a much-missed, honest and highly respected artist. Just listening to the "alternate version" of Here Comes My Girl Great stuff. The bass is just beautiful. Regarding the two editions, the full 63-track "deluxe edition" is the one to go for.
Yes, this is another Tom Petty compilation. As others have pertinently said - "do we need one?". Possibly not. Possibly yes. The previous one, American Treasure was an excellent collection of outtakes, alternative versions and live cuts interspersed with some superb remasters of early tracks. This set is more of the "well known" tracks type of release, but it still has a few rarities, a really good Stevie Nicks collaboration track and some impressive tracks from Mudcrutch (the name The Heartbreakers first called themselves from 1970-1975). The important thing, for me, is the outstanding remastered sound, which has still, incredibly frustratingly, not been applied to the first two Heartbreakers albums and Southern Accents and Tom Petty solo albums like Full Moon Fever and Wildflowers. Although you don't get more than one or two tracks from each album, it is great to hear those that are included in superb big, full, bassy sound - at last.
The Anthology set also has a good sound quality too, as does American Treasure. So, do we need another collection? For me, yes - to add to those two and get as much Petty remastered material as possible. It really gives a new life to the songs.
Personal highlights are - You Wreck Me, Mudcrutch's Scare Easy, the previously unreleased For Real, the Springsteen-esque I Need To Know, the pounding rock of Runnin' Down A Dream, Even The Losers, You Got Lucky, Learning To Fly, the riffy, Stonesy Jammin' Me and the Stevie Nicks song Stop Draggin' My Heart Around. Of course, there are many more, including the more famous ones. There is not really a duff track on here, let's be honest.