Paul Zollo

At one point in Conversations with Tom Petty, quoted in one of his new introductions to this expanded 2020 edition, author Paul Zollo asks Tom if he was able to appreciate how much his songs meant to so many people. The reply, after a pause: "I hope so. I remember how much it meant to me" (pg. xxxii). This is one of the book's many great examples of Tom Petty's essence: humble, thoughtful, perceptive, non-reactionary, original, soulful. He remembered how important good rock and roll music was to him as a kid, listening to Elvis and the Beatles, and he remembered how sustaining his own creative endeavours were when he was writing them.

Petty, while not a notable raconteur, is nevertheless eloquent, incisive and entirely gripping when being interviewed by Zollo here, for precisely these reasons. He lived a unique life in rock and roll, that encompassed everything good about it – even some heights, like the sustained songwriting ability and the Wilburys adventure, that many others could never even reach – and that also navigated the lows of that lifestyle with grace. I have tried elsewhere (in my review of Warren Zanes' biography Petty, also on this website) to summarize the enormity of Petty's achievement in music, but Zollo frames it concisely in his own book:

"He gave us way more than anyone has any right to expect. Had he written only one song at the level of 'Free Fallin'' or 'Insider' or 'Southern Accents', he'd be an artist we'd revere forever. But he did so much more. He devoted nearly forty solid years to writing and recording the purest, truest rock and roll he could coax out of his soul. And not once did he let us down." (pg. 428)

Petty's is one hell of an achievement. It is a near-unique combination of genius songwriting ability and a highly-skilled band of musicians who are also lifelong friends; as Zollo notes, "even Dylan rarely had a band of this greatness" (pg. 399) and never for very long. Only the Beatles had that same synergy of songwriting ability and personal intimacy between musicians, and even then it was only for seven years compared to the Heartbreakers' more than forty. Any time you listen to Petty's music, or read about him, or watch a documentary, you start off being entertained and, while still being entertained, you end up fascinated. Consequently, when he speaks about it all, openly, you listen.

I first read this book about twelve years ago, and had been meaning to return to it even before they announced a new expanded edition. I was worried it wouldn't hold up, or, more accurately, that it wouldn't hold my interest; I know all the stories behind the songs by now, all the anecdotes. I listen to the songs nearly every day, had recently watched the Runnin' Down a Dream documentary yet again, and it hadn't been that long since I'd read Warren Zanes' afore-mentioned biography. I was worried the book would, because of Tom's sudden, tragic death, now read like it was under a dark cloud – what Zollo, in his new introduction, calls "the risk of starting this whole show in a minor key" (pg. xvii). I was worried I would be worn out.

Not a bit of it. The book quickly settles into a warm – and, to me, familiar – groove; Petty and Zollo talking freely and at length during "a year of Saturdays" (pg. 418) about life, family, music and songwriting craft. Every time I put the book down I wanted to pick it up again, every page I read I wanted to slow down and savour it, every anecdote I stopped and brought the memory of the song being discussed into my head. And every so often I would realise I had a big healthy smile on my face just from reading it. Like everything else Petty-related, it feels essential, and yet without any sort of obligation. Slow, fast, high, low – whatever it is, you just enjoy the experience.

This, of course, was also true in the original 2005 edition, so it is worth taking a moment to consider what the 2020 version adds. At first glance, nothing essential, though certainly interesting: a new interview with Tom's widow Dana, as well as new introductions, articles and retrospectives, which, whilst quoting liberally from the main text, go some way in processing Tom's death. The layout of the book is much better than the original, though it should also be said there are more than a few typos and proofing errors in the new stuff. (It would be harsh to criticise typos, but the errors include once referring to the Hypnotic Eye album as Hurricane Eye (pg. xxxiii), to Howie Epstein as a founding member of the band (pg. 341), and to Tom's cameo in Waterworld (pg. 426 – he was actually in The Postman).) A review of Hypnotic Eye offers us Zollo's opinions on the songs, but crucially, it is Petty's thoughts we thirst for. There is, however, a serendipitous first-hand review of the Heartbreakers' final concert – with Tom at the top of his game – which is to be cherished.

It is this concert review, written by Zollo and rightly in awe of Petty's presence, that gives us a line which should perhaps form our final image of the man. Tom, basking in the music and the crowd and the virtuosity of his band-members, is comfortable, "always smiling, and never trying to dazzle as much as add more musical kindling to this great blazing rock and roll fire" (pg. 398). We know, now, that Tom was in great physical pain at this time, which contributed to his death just a week later, and yet we can also believe that he was happy, exultant, in his element. The man believed in the redemptive power of music and was undeniably authentic in all he did. The pain could well have melted away in that rock and roll fire. If he looked good on that last night, then he was good.

This, above all, is the key to understanding Tom Petty, whether in Zollo's book or Zanes' book or in Wildflowers or Damn the Torpedoes: his authenticity. "If it all ends tomorrow, I'm fine," Tom says here, on page 321, when talking about the decline of the music industry. "But I just think it's sad that there's such a wonderful thing there, this music thing, and integrity in music and in art should be respected." A fine sentiment, and a lasting message; but the astonishing thing is that, at the highest level, this man lived so resolutely to that creed.… (altro)

An extensive and interesting interview of one of the most consistently successful and prolific singer/songwriters of modern times. This book is not only a deep look into the life and career of a major musician, it is also a rare glimpse into the creative process itself. Not being a professional musician myself, I admit that some of the discussion involving guitar/keyboard chord arrangement was over my head, but oddly that did not detract from the entertainment value of the book. A highly recommended read for anyone involved in music and a must read for any Tom Petty fan.… (altro)

A fascinating history of the early days of Hollywood. Zollo gives us a narrative history of the town (going all the way back to the days of the dinosaurs!) and a location by location run down of important landmarks, but the best part of this book is the longest, the oral histories. Zollo sat down with a wide variety of Hollywoodians: famous actors (Steve Allen, Jonathan Winters, Karl Malden), screenwriters, cinematographers, lingerie models (Fredrick's of Hollywood's first!), bartenders, secretaries, and munchkins. With such a wide scope the book is a little unfocused and there is a lot of repetition and some old-age exaggeration, nostalgia, and crankiness, but for the most part the voices of the interviewees really come through and the combination of kiss-and-tell gossip and evocative descriptions of the old Hollywood of Raymond Chandler couldn't be more engaging. Nicely indexed, but could have had better proofreading.

[full review here: http://spacebeer.blogspot.com/2011/10/hollywood-remembered-oral-history-of.html ]… (altro)