That’s pretty vague, but it was a long time ago. I had an electric Dobro, a black thing with a pickup in it, that I played on one song. It was approached pretty much like any tour, the same gear. We just brought the usual arsenal of things we need: a 12-string for this and that, Gibsons, Fenders, Rickenbackers for certain things. I couldn’t even get all the guitars I own into the building. It was just very kinetic.īecause you could wind up playing anything, did you, like, take your entire guitar collection and every pedal you owned? We might change a song or we might do a song we never played before. It was almost like being at a Heartbreakers rehearsal, because anything does go. And the energy of the rehearsals kind of spilled over at the Fillmore. We had some rehearsals and threw some ideas of covers and deep tracks we could try. You can feel the ghosts in that room of all the players that came before you Mike Campbellĭid you prepare for it any differently than you would for a tour, knowing that it was likely to be an anything-goes type of situation? The Fillmore has a very special spirituality to it, which we picked up on. And the crowds were amazing, the sound was amazing. You can feel the ghosts in that room of all the players that came before you. And the Fillmore has a very special spirituality to it, which we picked up on. You guys sound like you’re having the time of your lives. Mostly that was it – a chance to change the set and play a bunch of songs we don’t get to play in the arena shows.Īnd it worked. So the idea from Tom came up: “Why don’t we go up to the Fillmore? We’ve got a new drummer and it’ll be a good way to get back in touch with why we started playing music in the first place – to a nice crowd in a smaller room change the set every night.” It was during a lull in the routine of touring arenas and recording, and we just felt like we were kind of in a rut. How did the Heartbreakers wind up doing a Fillmore residency in the first place? Petty takes a bow to cheers from an enthusiastic Fillmore crowd. We went through it and earmarked the best things, and I sat down after Ryan had done the initial logging and signed off on the ones I thought were really good. Most of the time, the vocals were good, and when the vocals were good the band was almost always good. The rule was, if the vocal is great then put it on the list if the vocal for some reason is not in the magic zone, we would skip those songs. Basically, I let Ryan Ulyate, the engineer, do a lot of the initial listening. Well, it was a lot of material, and it was emotional, because Tom was not there at the re-listening. What was it like diving into the tapes and making the album? It was a lot of material, and it was emotional, because Tom was not there at the re-listening Mike Campbell When it came time to do it, everybody was onboard. If there’s something I don’t like, I will object to it, but typically we’re all on the same page as far as what the bonus tracks should be and when they should come out.īut the one thing that I really wanted to get my hands on was the Fillmore stuff, ’cause I remembered it being really special. I’m involved in a peripheral overseer kind of role. Tom’s daughter Adria is in charge of cultivating that stuff. There are a lot of reissues of the albums with bonus tracks the estate is taking care of that. Was releasing the Fillmore shows your idea? You’re an integral part of the Heartbreakers’ archive team. But the good memories were a balm as he dug into what Campbell says still ranks as one of the best experiences in his long career. As Campbell acknowledges, putting Live at the Fillmore 1997 together was a labor of love – and a bittersweet experience without Petty around to be part of it. The album is a lengthy look at a highly instinctual band that, while known for its tightly constructed and meticulously produced studio tracks, had the capacity to surprise an audience, and sometimes even its own members.īut the 63 songs on the highly recommended Super Deluxe edition are only part of the story. It was a landmark stand for the band, stretching beyond the Heartbreakers’ own catalog to include a wealth of covers – the album even kicks off with Chuck Berry’s “Around and Around” – ad hoc audibles on the stage, and guest appearances by the Byrds’ Roger McGuinn and John Lee Hooker, who put the Heartbreakers through their improvisational paces during a nearly eight-minute “Boogie Chillen.” Live at the Fillmore 1997 (opens in new tab) (Warner Records) hails from the Heartbreakers’ ground-breaking 20-show residency at the Fillmore Auditorium in San Francisco during January and February of that year. (Image credit: Warner Records)Ĭampbell was also the driving force behind the latest package. Tom Petty and the Heartbreakers' Live at the Fillmore 1997 (opens in new tab) was released in November 2022.
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