Customer Reviews

Mudcrutch

5 star:		(65)
4 star:		(20)
3 star:		(5)
2 star:		(2)
1 star:		(1)

 

 

I'm amused at the way people say things like "worth the 30 year wait," as though people have been holding their breath for a Mudcrutch reunion. The truth is, this doesn't sound much like the original Mudcrutch, as can be heard on the box set Playback. The original Mudcrutch sounded a lot like the early Heartbreakers, and for good reason: the core of the band, Petty, Campbell, and Tench, were working together. The reunion of Mudcrutch is actually a much more democratic band. Petty was and remains the leader, but he lets Leadon and Marsh take more of the spotlight here. The songs are more countrified and traditionalist, and the album is mixed in a way that allows every instrument its own space, so all five personalities show through very clearly.

What this reminds me of is not so much the original Mudcrutch or Heartbreakers - but the Traveling Wilburys. The Wilburys existed because the musicians involved wanted to enjoy making music in a loose environment, to play without the pressures of their exisiting careers, and to enjoy playing as friends, and that's exactly what we've got here. The best part of this album is the sound of five friends making music for all the right reasons.

It's not a perfect cd. Some of the songs kind of blur together, "Crystal River" is a bit overlong at nine and a half minutes, "Queen of the Go-Go Girls" is kind of weak, and the melody of "Oh Maria" is too much like "Lost Children" from The Last DJ. Still, the criticisms pale in comparison to the virtues: Mike Campbell remains the absolute best guitar player out there, always playing the perfect part for the song. Tench still has that perfect touch on the keyboards. And Leadon and Marsh are no slouches themselves, more than acquitting themselves among their legendary former bandmates.

There are some really good songs here. "Scare Easy" is strong latter-day Petty, and "The Wrong Thing to Do" has lyrics that are absolutely vintage Petty. The main highlights of the album, for me, though, come towards the end. The cover of "The Lover of the Bayou" is probably the closest to what the original Mudcrutch was all about. The Petty-penned "Topanga Cowgirl" is the best on the album, and the Petty/Campbell "Bootleg Flyer" is also a good swinging rocker.

It's clear, especially after having seen the documentary Runnin' Down a Dream, just how much the act of making music means to Petty and the other members of the band. Ultimately, it's this love of making music that made this album happen, and it's that spirit that elevates it from being just some side project. As with the Wilbury CDs, it's the intangible sense of joy that comes through the most, making this another strong entry in the brilliant Petty catalog.

In the early `70s a young band from Gainesville loaded up the van, drove to southern California, got signed, and cut a single that went nowhere. The record company liked the singer though, a skinny bass player, so the band reformulated around him and was rechristened Tom Petty and the Heartbreakers. The rest, as they say...

Recently Petty got the old band together--- moving back to bass, bringing along Heartbreakers Benmont Tench and Mike Campbell, and enlisting original drummer Randall Marsh and singer-guitarist Tom Leadon, and the result is this record. It is a joy, the best one Petty has made in years. Mudcrutch is almost a time capsule, harkening back to that place and time when the Gram Parsons Byrds, Flying Burrito Brothers, and Eagles were inventing Country Rock in the late `60s and early `70s (they cover both the Byrds and the Burritos, and Leadon's brother was an Eagle.)

When the first Petty record came out in '76, the jangle of "American Girl" did indeed have critics making Byrds comparisons (and McGuinn covering the song soon after didn't hurt.) Mudcrutch is far more solidly encamped in country rock than the Heartbreakers were, kind of like an alternate universe without the New Wave flavor. In concert at the Fillmore they were loose and easy, the whole band clearly having a blast, playing the whole record plus 2 Dylan covers and encoring with three classic 50s rockers. And Tom Leadon was the happiest guy west of the Mississippi.

Petty does most, but not all of the singing; Campbell is his usual spot-on perfect self, and he and Leadon manage to rekindle the twin-guitar sound that they surely honed playing dives and topless bars in the early `70s (hence "Queen of the Go-Go Girls.) Tench lays down his honky tonk boogie woogie throughout the record.

There is precedent for this sound in the Heartbreakers early work; songs like "Magnolia" or "What Are You Doing in My Life" could fit easily into the Mudcrutch oeuvre and both point toward this alternate universe, and the Heartbreakers have covered "The Image of Me," also covered by the Burritos, on the Playback box.

In concert, Mudcrutch played "Crystal River" as the second-to-last song of the set. ("This is a song about a river that runs through Florida," said Petty, "and occasionally my mind.") It is a long simmering percolation, a sort of power ballad that feels like it is about to turn into "White Bird" at almost every turn. Petty's bass anchors the groove, while Campbell embarks on some divine exploratory guitar work with Leadon. I've seen others compare this song to the Allman Brothers, but to me the touchstone is Neil Young's "Down by the River." At nine minutes it is the set piece of the record.

The triumph here is simple--- a record that sounds like fun, that you want to put on at your next summer barbeque, that manages to sound straight out of 1974 without sounding retro. It is one of the best records of the year, and I wouldn't object too strenuously at all to Mudcrutch II.

Put in the CD Changer on shuffle with: Desparado, Sweethearts of the Rodeo, The Gilded Palace of Sin, You're Gonna Get It

What I enjoy the most with "Mudcrutch". Is that it feels and certainly sounds as though everyone is having a great time. The music is loose and filled with groove and tasty instinctive playing by Tom Leadon (Bernie Leadon's brother. ie; see The Eagles) and Mike Campbell. While Benmont Tench, Randall Marsh and Tom Petty all lock into a very solid backing rhythm and beat. That sounds as though it is felt. Not just played by numbers. Good musicians playing good music.
There is an optimism in Tom Petty's lyrics throughout. A bar-band feel. But, also a sentiment, a yearning. He is a great, great songwriter.
It is simply a tasty record. There is a freedom to Tom Petty's tone and very satisfied vocal delivery. He just sounds like he is happy and hanging out with some old friends.
I have listened to it repeatedly and I enjoy it more and more as the songs gain familiarity. The Byrds, "Lover Of The Bayou" is great! Benmont takes a lead vocal spot on one of his own tunes, " This Is A Good Street". It is one of my favorites on the record. He has a really cool voice. Tom Leadon also contributed an original in, "Queen Of The Go-Go Girls". His voice is alot like his brother's. Which is good thing.
"Crystal River" is a new classic! It's an emotionally melodic taste of his true southern spirit, like nothing I have heard TP tap into before. With a graceful, Grateful Dead/American Beauty-ish type of flow.
Plus, "Orphan Of The Storm". This tune is like the long lost CCR tune. Randall Marsh swings with a really sweet driven groove and flow. "Shady Grove" is a traditional bluegrass number that is spun off here with exactly the type of back-porchy type of feeling it was first conceived on a long, long time ago somewhere far away. But, not too far from Gainesville Florida where these guys first found their way.

So far, one of my favorite records of the past 5 years. I repeat, 5 YEARS! And one I have been really excited about hearing upon release. Dig in. I love it!

Mudcrutch - Mudcrutch (2008)

This album comes as a pleasant surprise. Who would have thought that a rock legend of Tom Petty's stature would resurrect a long-forgotten, unknown band from his early woodshedding years? It would be like Bruce Springsteen getting Steel Mill back together or Billy Joel reuniting Attila.
But whether it was a case of nostalgia for his youth or just a desire to play together with some old buddies, Mudcrutch could end up being the "reunion of the year."
Except for a couple of obscure singles and an early version of "Don't Do Me Like That" that wasn't released until many years later, Mudcrutch never recorded an album until now. And what a debut it is too. This could be the most vital music Petty has made in a long time - which is not to take anything away from his recent recordings. But working with these musicians (of which Benmont Tench and Mike Campbell are of course longtime members of the Heartbreakers, the band Mudcrutch morphed into back in the mid-70`s) has clearly inspired him in a big way. All of his contributions on here can stand alongside his older material.
This album sounds like a long-lost country-rock gem, circa 1971. The sound of the late-period Byrds was obviously a huge influence on this album. Not only do Mudcrutch do a spirited cover of "Lover of the Bayou" (from 1970's (Untitled)) but even some of the original songs have titles that sound like they could have come straight from the Clarence White version of the Byrds - "Topanga Cowgirl," "Bootleg Flyer," "June Apple" and "Orphan of the Storm" are all of late-60's L.A. vintage. But there are also other influences on here, including "Crystal River," which sounds like the Byrds if Neil Young and Jerry Garcia had sat in with them and traded guitar solos with Roger McGuinn. Throughout the course of the album, I also hear traces of the Flying Burrito Brothers, 50's music and bluegrass.
First single "Scare Easy" is an instant Petty classic. If there is any justice left in the world, this song will become a big hit. This is probably Petty's most memorable single in at least a dozen years. Of course, it's hard to predict how any album or single will sell these days. The state of radio is more fractured than ever. But it should be a popular download, if nothing else.
The traditional song "Shady Grove," which features co-lead guitarist Tom Leadon sharing lead vocals with Petty, sounds alot like "Matty Groves" by Fairport Convention. Or perhaps Fairport borrowed from "Shady Grove" in the first place? Anyhow, it's a great album opener.
They really stretch out on the spacy "Crystal River" to brilliant effect. A great chorus, excellent guitar playing by Campbell and Leadon and Benmont Tench proves why he is one of the most underrated piano players in rock `n' roll. Tench also takes a rare writing and singing turn on the short, enjoyable "This is a Good Street." Leadon (whose brother Bernie was an early member of the Burrito Brothers, as well as The Eagles) contributes "Queen of the Go-Go Girls," which sounds like some forgotten late-60`s country-rock gem.
The old trucker classic "Six Days on the Road," rocks along nicely. "Oh Maria" has a sweet, laid-back feel to it and the instrumental "June Apple" sounds like a tribute to the late, great Clarence White. It also features some excellent organ work from Tench.
This album, which was recorded in two weeks, has a raw, unpolished feel to it, which really suits these songs. Petty, who plays bass for the occasion and sings superbly, is clearly having fun here. They all are. This sounds like a well-seasoned bar band playing for the love of it, without worrying whether the album will sell a million copies or not. It took them over 30 years to finally make a record. Let's hope there's more magic where this came from.

Tom Petty, once and for all, proves he is one of the nicest guys in rock. After all, who do you know would call up old friends you'd lost touch with over 30 years and say "let's make a record." Which is, basically, what the three-decades-in-the-making "Mudcrutch" is. Drummer Randall Marsh and Guitarist Tom Leadon (brother of Eagle Bernie Leadon) join Heartbreakers Benmont Tench and Mike Campbell for a reunion that is Petty's loosest record since he sat in with The Traveling Wilburys.

Recorded over 10 days and arranged on the fly, "Mudcrutch" owes a lot to Gram Parsons and the Grateful Dead (think American Beauty or Workingman's Dead), with an easy groove that sounds warm and friendly. Petty switches over to his old instrumant, bass, allowing Campbell and Leadon to trade leads. Both Leadon and Tench get a lead vocal shot (used to great effect on the opener, "Shady Grove") and the whole album has the flow of a band that has been together for a long time. Which is peculiuar, considering that they last played together in the mid-seventies.

The album also is reminiscent of the best Grateful Dead in that four of the songs are choice covers. Country/Boogie band staple "Six Days On The Road" (tying back to the Flying Burrito Brothers, who also covered it) gets a workout, as does Roger McGuinn's "Lover of The Bayou." Then once these guys finally find a groove they can really lock into, they chow down and make the delicious swirling jam of "Crystal River." It's the centerpice of "Mudcrutch" and alone justifies getting the CD.

Add that there are plenty of other great songs here (Tench's "This is a Good Street" being a personal favorite), "Mudcrutch" joins The Racountours' harder rocking Consolers Of The Lonely as the kind of loose free-flowing rock records recorded on the quick and sounding all the better because of it.

Last year, for me, it was Alison Krauss and Robert Plant's collaboration. This year, it might just be "Mudcrutch." Someone will have to work hard to come up with something better.

Rock and roll isn't dead as long as Tom Petty's around. He's back on the bass and it's like he's come home. Hard to believe this group hasn't played together for many years--it's like they just came home. To me, it also sounds like they're having fun playing.

Best of the CD: "Shady Grove", "Scare Easy," and "Topanga Cowgirl." I also like "Orphan of the Storm" their tribute to Katrina. That's after my first couple of passes. I suspect this CD isn't going to leave my changer anytime soon. I'd put "Mudcrutch" up with the Traveling Wilburys collections anytime.

One final plus: Mudcrutch has given us 14 songs with a running time of 56.7 minutes. I'm happy to see that since a couple of the CDs I've bought recently have been only 10 songs, which seems rather brief to me.

Rebecca Kyle, May 2008

For an album made in 10 days it has good sound quality and the music is also of good quality, what more could you ask for? A little bit of the "Heartbreakers" sound is there but what I hear is something more down to earth almost like a great garage band playing and the neighbors are opening their windows instead of closing them.

Having been a long time follower of Tom Petty and the Heartbreakers, I was excited about the release of this album, mainly for nostalgic reasons. And then something curious happened... the day before the release, I lost the excitement. You see, I'm among the few Petty fans that feel his latter work blows away his more commercially aimed music of the seventies and eighties. That's right, I'll take Echo over Damn the Torpedos. There. I said it.

To me, Petty's lyrics have improved with time, and the quality of production has been much more interesting in the past 10-15 years. Because I hold this opinion, I began to fear Mudcrutch would be a throwback to his seventies style of music. But much to the contrary, Mudcrutch DOES NOT sound like mudcrutch from the seventies, but rather like a band of sometimes rowdy, sometimes bluesy, experienced rockers from the swamps of Florida. And that they are.

Bootleg Flyer and Lover of the Bayou seep and bleed with raunchy southern stomp and swagger, while Crystal River is a luscious, delightful trip on a lazy summer day. Ledon and Cambell play off each other like they've been doing this together for years. The album is full of unexpected gems like Ledon's "Queen of the go-go girls" and Tench's "This is a good street". Perhaps most impressive is the bands hoppy rendition of June Apple, delivered with an Allman-esqe style held up by the delightful shuffle of Marsh's Snare. All five musicians shine on this album, but none more than Petty whose sneering vocal on "Scare Easy" is filled with more attitude than anything he's done since "Honey Bee".

I bought the album worried I might be disappointed. Now, as I listen to it for the 100,000th time, I'm worried they won't make another one. This is album of the year for me, and I hope and pray they release another. It would also be really nice to see them play here in Georgia...

After a successful 30 year career, Tom Petty felt the time was right to reunite his pre-Heartbreakers band, Mudcrutch. Benmont Tench and Mike Campbell followed Petty to fame and fortune, while guitarist Tom Leadon and drummer Randall Marsh did not stay for the ride. Regarding his erstwhile band mates in an interview, Campbell said "I wonder if they can still play?"

Not only can these guys PLAY, they play very well, thank you. The disc starts off with the traditional "Shady Grove", a perfect vehicle for a Florida band. The Byrds are an obvious favorite of Petty's, as "Lover of the Bayou" illustrates. That song and "Crystal River" feature Campbell and Leadon, very reminiscent of Roger Mcguinn and the late Clarence White.

"Six Days on the Road" is the Dave Dudley trucker's anthem popularized by the Flying Burrito Brothers, but Mudcrutch does this number justice. "Oh Maria" features some of Petty's best singing ever, while "This is a Good Street" and "Wrong Thing to do" are back to back rockers.

"Queen of the Go-go Girls" is the most countrified performance here, while "June Apple" allows the band to stretch out Allmans style, especially the guitars and keyboardist Tench.

Mudcrutch is an obvious labor of love for Petty, and his band has produced vital rock music as well as a reunion of kindred spirits.

good early and mid-70's country rock! really good guitar players, good rhythm section, and good original material!