In his latest memoir titled "Heartbreaker," Mike Campbell recounts an incident from the early '70s when Tom Petty—his bandmate in Gainesville, Florida-based cover group Mudcrutch—played one of his compositions. While Petty was playing the chords for what would later become an FM hit with "Don’t Do Me Like That," Campbell remarked to Petty, "If only I could pen a tune like this, I'd sacrifice anything."
At the time, Campbell was an exceptionally talented guitarist brought up by his mother alone, striving fiercely to lift himself out of poverty through professional music. He had been juggling demeaning low-paying jobs when he crossed paths with Petty and was even contemplating joining the armed forces. "My aim was always to play guitar just so I could dodge regular employment or signing up for the Air Force," states Campbell. "If someone offered me money to perform, then that’s exactly what I intended to pursue." Besides playing, Campbell composed tunes—decent but not outstanding ones. Conversely, Petty demonstrated both prolificacy and proficiency in songwriting. Recognizing Petty's exceptional potential early on, well before their breakthrough with the Heartbreakers, Campbell resolved to put effort into honing his skills efficiently. Determined to stick beside Petty, who stood out among others, Campbell committed wholeheartedly to this journey.
Campbell emerged as one of rock's premier backup musicians—the person consistently positioned to Petty's left throughout the Heartbreakers' more than four-decade-long tenure. This included their last performance at the Hollywood Bowl on September 25, 2017, just days before his passing. Petty’s death At 66, it was a part he had been nurturing for many years.
Heartbreaker" narrates the story of perseverance and patience being duly compensated. Quickly enough, Petty evolved into Tom Petty himself, whereas Campbell transformed into a legendary guitarist. Known for crafting impeccable guitar parts, Campbell’s resonant solos remain etched in our memories just like Petty’s whimsical vocals. Their collaboration was so seamless that whenever Petty ventured out to create individual projects apart from their band, he brought in Campbell to compose, produce, and perform music. "When you encounter someone and take either a slight detour to one side or another, it could shape your entire existence," remarks Campbell from his residence in Woodland Hills. "Had I not crossed paths with Tom, or if I had walked away during tough times, who knows which direction my life might have taken.
For many years, things remained challenging for the musicians of Mudcrutch, as members came and went, and the band tirelessly toured through countless bars throughout the Southern states, seeking that perfect blend which set them apart from all the other top-notch cover bands in Florida. One notable venue was Dub’s, an expansive bar located in Gainesville, where they performed consecutively night after night over extended periods; during these sets, they sporadically introduced some of Petty’s distinctive tunes infused with The Byrds’ influence. As Campbell recounts, "At that time, everyone aimed to emulate the Allman Brothers' style. No one focused much on crafting brief tracks featuring delicate harmonies paired with grandiose choruses."
The group performed for intoxicated and irate motorcyclists, who often participated in wet T-shirt competitions. There were also heated arguments with profit-driven venue managers. Frustration led some disheartened musicians to leave the band; however, Campbell understood what he needed. He realized that Petty could be his key opportunity. "In our youth, we held onto a vision," states Campbell. "Though we didn't truly believe success was guaranteed, dreaming about it kept us going."
As per Campbell’s account, Petty, just 19 years old at the time, emerged as a complete package. Boisterous, assured, and brimming with concepts, Petty consistently thought several steps ahead of his fellow band members. "Petty possessed both the aspiration and determination to achieve greatness without getting distracted or settling," notes Campbell. "In numerous respects, our personalities aligned closely, particularly concerning our musical preferences." It was Petty who persistently approached record labels armed with nothing but a demo tape until he caught the attention of Shelter Records’ President Denny Cordell, leading to their formation. "There would be no rivalry between us over leadership roles; instead, my role was to support him—filling in where needed. My job was to push him towards excellence," states Campbell.
More than anything else, "Heartbreaker" serves as a guide on functioning within a musical group led by a dominant individual. Campbell mastered the art of being a peacemaker and negotiator—learning when to overlook minor complaints, mend fences for the collective benefit, and avoid letting selfish desires obstruct the broader vision. Despite his volatility and unpredictability—Petty understood his role as the driving force—he consistently motivated Campbell to compose music.
"Tom was incredibly self-assured," according to Campbell. "Since I also had my own compositions, I decided to follow him and put in my best effort." Instead of pushing his material onto the band, Campbell opted for a softer approach by giving Petty cassettes containing basic chord structures or catchy refrains and choruses, hoping that Petty might develop these ideas into full-fledged songs. This collaborative technique led to masterpieces, though Campbell approached it with considerable hesitation.
“I initially had doubts about my writing,” states Camb Campbell. “I enjoy refining my work before sharing it with others, not even showing it to my spouse. Sometimes, Tom would take considerable time before giving feedback on what I shared; however, his insights often turned out to be remarkable. This approach suits me better than having an immediate face-to-face critique session.”
In 1976, Petty and the Heartbreakers rose to fame with their self-titled debut album, which included the iconic tracks "American Girl" and "Breakdown." However, as the pressure intensified both internally and externally, Campbell worked tirelessly to keep things from spiraling out of control and prevent the band from crumbling under mounting expectations.
In 1979, "Damn the Torpedoes" marked the beginning of their series of highly successful albums, yet it nearly led to the group's dissolution. According to guitarist Mike Campbell’s autobiography, producer Jimmy Iovine and sound engineer Shelly Yakus subjected the entire team to intense pressure during recording sessions, making them feel as though they were enduring mental combat. The band's drummer at the time, Stan Lynch, faced the most severe strain; he frequently walked out of the studio multiple times, with others unable to match his performance levels until he returned (Lynch ultimately departed from the band in 1994).
Campbell remembers recording "Refugee" for at least 70 times. The track started out as a Campbell guitar lick before getting approval from Iovine, Yakus, and Petty. He states, "This wasn’t an effortless process since Tom was quite straightforward and wouldn't tolerate incompetence; he would generally speak his mind." Campbell adds, "'We faced immense pressure to deliver outstanding performances.'"
The matter of finances was also significant. Initially, the Heartbreakers’ first manager, Elliot Roberts, made things clear: Petty would get 50% of the earnings, while the rest would be divided among the band members. According to Campbell, this setup caused tension for many years, particularly with Heartbreakers keyboard player Benmont Tench. During the "Tompetty" sessions, an argument arose when Campbell sought a bigger share due to his contributions; however, upon hearing these demands, Petty simply said, “I’m Tom Petty,” effectively ending the conversation.
To be honest, Tom offered me a significant contribution on 'Full Moon Fever,'" states Campbell regarding Petty’s platinum-selling 1989 solo album. "He also had a very giving nature.
Moreover, Petty and Campbell collaborated on writing tunes that have become familiar to millions, such as "You Got Lucky," "Refugee," and "Here Comes My Girl." With Petty encouraging more song contributions from Campbell, his skill as a writer flourished, leading him to expand outside their group. He jointly penned blockbuster hits like "The Boys of Summer" and "The Heart of the Matter" alongside Don Henley. According to Campbell, "Tom instilled belief in my abilities." They maintained open communication about issues and preserved mutual affection and esteem, which explains their enduring partnership over many years.
This tale initially surfaced in Los Angeles Times .
Post a Comment