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Tom Petty: She's the One

A l b u m D e t a i l s
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	Label:	Warner Bros. Records Inc.
	Released:	1996.08.01
	Time:	51:58
	Category:	Pop/Rock
	Producer(s):	See Artists ...
	Rating:	*******... (7/10)
	Media type:	CD
	Web address:	www.tompetty.com
	Appears with:	Traveling Wilburys, Jeff Lynne, Roy Orbison, George Harrison
	Purchase date:	2001.04.06
	Price in €:	6,99

S o n g s , T r a c k s
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[1] Walls [Circus] (T.Petty) - 4:25
[2] Grew up Fast (T.Petty) - 5:09
[3] Zero from Outer Space (T.Petty) - 3:08
[4] Climb That Hill (T.Petty/M.Campbell) - 3:57
[5] Change the Locks (L.Williams) - 4:56
[6] Angel Dream [No. 4] (T.Petty) - 2:27
[7] Hope You Never (T.Petty) - 3:02
[8] Asshole (B.Hansen) - 3:11
[9] Supernatural Radio (T.Petty) - 5:22
[10] California (T.Petty) - 2:39
[11] Hope on Board (T.Petty) - 1:18
[12] Walls [No. 3] (T.Petty) - 3:03
[13] Angel Dream (No. 2) (T.Petty) - 2:27
[14] Hung up and Overdue (T.Petty) - 5:48
[15] Airport (T.Petty) - 0:57

A r t i s t s , P e r s o n n e l
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Tom Petty and The Heartbreakers:
TOM PETTY - Acoustic & Electric Guitar, Bass, Harmonica, Piano, Harpsichord, Tambourine, Vocals, Producer, Timpani
MIKE CAMPBELL - Acoustic & Electric Guitar, Bass, Piano, Producer, Marxophone
BENMONT TENCH - Organ, Piano
HOWIE EPSTEIN - Bass, Backing Vocals

Additional personnel:
LINDSEY BUCKINGHAM - Backing Vocals
CARL WILSON - Harmony Vocals
RINGO STARR - Drums
CURT BISQUERA - Drums
STEVE FERRONE - Drums
LILI HAYDN - Violin
GERRI SUTYAK - Cello
MICHAEL SEVERENS - Cello
CHRIS TRUJILLO - Percussion

RICK RUBIN - Producer
SYLVIA MASSY - Engineer
JIM SCOTT - Engineer, Mixing
RICHARD DODD - Mixing
STEPHEN MARCUSSEN - Mastering
TOM WINSLOW - Assistant Engineer
RICH VELTROP - Assistant Engineer
GREG FIDELMAN - Assistant Engineer
MARTYN ATKINS - Art Direction, Art Direction, Photography, Photography

C o m m e n t s , N o t e s
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1996 CD Warner Brothers 46285
1996 CS Warner Brothers 46285

Full title: Songs And Music From The Motion Picture She's The One.

On their soundtrack to Edward Burns' film "She's The One," Tom Petty & The Heartbreakers are as sharp as ever, executing smart, expertly crafted pop tunes studded with sparkling hooks and concise, memorable lyrics. The opener, "Walls (Circus)," sets the tone with twangy guitar and staccato '60s-style organ adorning an impossibly catchy song of love and acceptance that is philosophical yet totally unpretentious. From there, Petty and band glide easily from the raucous rave-up of "Zero From Outer Space" to the heart-stoppingly beautiful, acoustic guitar-driven "Angel Dream" (presented in two different versions).

Petty is a connoisseur of rock and roll, and he proves it here with two brilliantly chosen cover tunes: Lucinda Williams' "Changed The Locks" (curiously retitled to the present-tense "Change The Locks") and Beck's "Asshole." Petty stakes his claim to both with the help of his stalwart bandmates. Anyone who has ever appreciated Petty's songwriting gifts and the Heartbreakers' empathic accompaniment should receive this offering with open arms.

CDUniverse.com

Nominally a soundtrack to Ed Burns' film She's the One, Tom Petty's Songs and Music from She's the One plays like an entity of its own, standing up quite well without the movie itself. She's the One is one of Petty's most relaxed efforts — several of the songs feel like they were written and performed quickly, almost as if they were throwaways, but that ramshackle feeling actually works in the albums favor. With its loose ends, repeated songs, covers, brief instrumental bridges, and direct production, She's the One is a ragged listen, but it's a comfortable, engaging and surprisingly eclectic one. Petty goes for a number of different moods, from the circular harmonies of "Walls (Circus)" (which features guest vocals from Lindsey Buckingham) and the hard-rocking "Zero from Outer Space" to the melancholy ruminations of "Grew up Fast." Along the way, he tosses in two excellent covers of contemporary songwriters — Lucinda Williams' slyly sneering "Change the Locks" and Beck's stark, sad "Asshole" — which are performed with affection and vigor. In fact, that vigor is what makes She's the One so charming — Petty sounds like he's having a good time throughout the album. It's not a major statement in his catalog, but it's all the more entertaining because of its simple, direct approach.

Stephen Thomas Erlewine - All Music Guide

If you can't get enough Tom Petty, this album - his first with the Heartbreakers since 1991 - is reasonably satisfying. "Walls (Circus)" is irrepressibly catchy, in that inimitable Petty way. And "Grew Up Fast" finds Petty uncharacteristically examining his childhood for what might have gone wrong. But though he might have been spending time in therapy, he hasn't been spending enough writing good songs. He repeats "Walls" and another song, "Angel Dream," in two different versions on this CD, and includes some dubious sonic experiments ("Zero from Outer Space" and "Hung Up and Overdue"). The standouts on this soundtrack were written by other people. Lucinda Williams' "Change the Locks" is given a heartfelt treatment, though it still doesn't live up to the original. And loser Beck gets a compliment when Petty covers his song "Asshole," about a man in love with a woman who puts him down. Petty sings it with surprising conviction. The Heartbreakers are in fine form, delivering crisp riffs and punchy rhythms that are pure pop delight. They've done their best with a few good songs and a lot of mediocre ones. If you really want to hear the genius of Tom Petty, though, seek out Pete Droge's recent Find A Door (American Recordings). Droge picked up a lot of lessons from Petty while touring with him, and has produced a record more Petty-esque than the man himself can currently muster. ently muster.

Faith Quintavell
Music Wire - August 1, 1996

An unusual move for Tom Petty to score the music for the Edward Burns's film She's the One and then still turn it into a standard Tom Petty release. The inclusions of two versions of "Walls" and "Angel Dream" make it seem more like a movie soundtrack. But, at heart, the material is more classic Petty. "Grew Up Fast" and "Hope You Never" are perfect radio songs and Petty's cover of Beck's "Asshole" proves his anti-punk stance may finally be softening with a little help from producer Rick Rubin, whose ears have given Petty his most appealing production in years.

Rob O'Connor - Amazon.com

...a fine mix of brainy pop and brawny rock that finds Petty synthesizing rather than compartmentalizing these two aspects of his musical persona. SHE'S THE ONE also serves to remind how deceptively effortless good songwriting can be...

4 Stars (out of 5)
Rolling Stone (9/5/96, pp.60-62)

...SHE'S THE ONE may not be the most serious album Tom Petty has ever made, but, in a way, that makes it one of his most enjoyable.

Rating: A
Entertainment Weekly (8/9/96, pp.56-57)

...you don't necessarily have to see the film to pick up on the surreal cinematic vibe wafting through these Rick Rubin-produced sessions....Petty has the kind of warm, friendly voice that's as familiar and inviting as your neighbor's backyard barbecue...

Musician (10/96, p. 82)

"...an album of troubled love songs....Mr. Petty writes tunes that seem to have always existed. Behind the offhand delivery, the songs have the classic virtues of economy and directness."

The New York Times (8/6/96, p.C13)

"...it varies - like Petty's entire career - between barroom stodge...and fabulous, elegiac pop....Best are the centrepieces, `Walls' and `Angel Dream,' both reprised. They're Petty's forte--one big idea...beautifully put..."

4 Stars (out of 5)
Q Magazine (9/96, p.120)

She's The One marks Tom Petty and The Heartbreakers' 20th anniversary in the record making biz. The group hits this milestone with an album not unlike their debut, full of simple, straightforward, well written, well played rock 'n' roll songs. The songs collected here were either written specifically for a film called She's The One or were left over from the Heartbreakers' previous release. The mood swings between the upbeat, catchy "Walls," a typically delightful slice of mid-'60s Byrds-Beatles-Dylan pop, and the sombre, reflective "Grew Up Fast," featuring a particularly ugly guitar sound. Unlike many soundtracks, there is little filler here. Two of the songs are repeated but each version is satisfying in its own way. All but two of the tunes were written by Tom Petty. The guys turn in a rockin' version of Lucinda Williams' "Change The Locks," while Beck's "Asshole" is a bittersweet love song that may or may not reflect Mr. Petty's recent separation from his long-time wife. Over the years Petty's songwriting has remained consistently brilliant. The only change in the band's sound occurs when they change producers. Rick Rubin continues the fine work he started with Wallflowers. It's a guitar-based sound, free of the studio gloss Jeff Lynne and Dave Stewart tried to foist on the band. Check out the brooding piano on "Supernatural Radio," Lindsay Buckingham's chirping background vocals on "Walls," and the tip of the hat both musically and lyrically to the Beach Boys on "Hung Up And Overdue." There's no reason to think they can't keep going for another 20 years. (9)

Marty Duda

CD des Monats. Tom Petty beherrscht also nach wie vor souverän alle Varianten aus dreißig Jahren Gitarrenrock. Der Mittvierziger aus Florida behauptet mit diesem Meisterwerk seine Ausnahmestellung, weshalb man in Abwandlung des Plattentitels ungelogen behaupten kann: "He's The One".

K. Kepler in Stereo 10/96

An unusual venture for Petty and company, this album consists of music from a 1996 movie which was little more than an attempt to launch Jennifer Aniston of "Friends" fame onto the big screen - something that she still has yet to do successfully. But, perhaps a little like the soundtrack from 1980's Xanadu, this is a case where the soundtrack was the only notable thing about the movie.

I got this CD largely because I liked the single from it, Walls (which features a very unique background vocal assist from Lindsey Buckingham, the first trace of him after his 1992 Out of the Cradle solo album). I was also curious as to why Walls didn't appear on Petty's 1998 greatest hits album, but the most likely explanation for that is the same as why ELO's hits from the aforementioned Xanadu rarely, if ever, appear on their compilations - the soundtrack was released by a different label. Even after listening to the entire CD, Walls remains my favorite track, mainly because Buckingham's presence and his signature stereo vocals (he's singing something different in each of the left and right channels) give it a different feel from most other Petty songs.

Tracks 2 through 5 offer the standard southern rock that we've come to expect from the Heartbreakers, with Zero From Outer Space delving into very Dylanesque territory with Petty's half-spoken, half-sung vocals. Things become more interesting with Hope You Never, which sounds more like some of the material from Full Moon Fever, Petty's 1989 collaboration with producer Jeff Lynne. The following number, Asshole (which, from the title, one would most likely suspect to be another fast-paced country fried rock tune), has almost Beatlesque lyrics and instrumentation, with some excellent harmonies. Another standout track, a short instrumental version of Walls listed as Hope On Board, precedes a second, more acoustic (and Buckingham-less) mix of Walls.

Overall, a good effort from Petty and friends to liven up a movie conceived and bred in corporate Hollywood. The music would probably be better remembered if its bad-idea-from-the-start film namesake hadn't bombed.

TheLogBook.com

Tom Petty has more lives than a one-eyed alley cat. No question, the head Heartbreaker has cut some of the most inspired and infectious music of the last two decades, but he's also released his share of relative duds. Just when you're ready to count Petty out, though — just when you think he's going to turn as boring as Bob Seger — he bites back: after all, the lifeless Long After Dark was followed by Petty's most adventurous and heartfelt album, Southern Accents, while the mindless and sloppy "Let Me Up (I've Had Enough)" was succeeded by the irresistible Full Moon Fever.

The unlikely source of Petty's latest comeback — which comes on the heels of the muddled Into the Great Wide Open and the lightweight and uneven Wildflowers — has the ungainly title Songs and Music From the Motion Picture She's the One. It's not a soundtrack in the traditional sense, though: there are only a pair of brief instrumentals, and the songs that fill out the album fit more neatly into Petty's oeuvre than they do into the plot of Ed Burns' film.

In fact, for longtime Petty fans, She's the One will play like a stroll down memory lane. The "circus" version of "Walls," the album's first single, recalls the spacey, Dave Stewart-produced cuts on Southern Accents, while another version of the same song is as crisp as anything on Full Moon Fever. The breezy "California," meanwhile, sounds like an outtake from one of Petty's first two albums, and the folksy "Angel Dream" has the wistful flavor of Hard Promises' best numbers. Other highlights include a bluesy cover of Lucinda Williams' "Change the Locks" and the Beach Boys-styled original "Hung Up and Overdue," featuring harmonies from Carl Wilson and Fleetwood Mac's Lindsay Buckingham and some distinctive drumming by Ringo Starr.

What She's the One lacks — what keeps it from competing with Petty's best work — is the full sonic force of the Heartbreakers attack. There's no danger here, no sustained sense of urgency; the album has a loping, laid-back feel that's underlined by the Beach Boys' and Beatlesque touches applied by producer Rick Rubin. But, in their forties now, Petty and the Heartbreakers can be forgiven for no longer damning the torpedoes and rocking full speed ahead. With a collection of songs this rewarding, three-quarters speed will do just fine.

Jeff Schwager, WallofSound.go.com
Copyright © 2001 ABC News Internet Ventures.

L y r i c s
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WALLS (CIRCUS)

Some days are diamonds,
Some days are rocks.
Some doors are open,
Some roads are blocked.

Sundowns are golden,
Then fade away.
And if I never do nothin',
I'll get you back some day.

'Cause you got a heart so big it could crush this town.
And I can't hold out forever; even walls fall down.

And all 'round your island
There's a barricade.
It keeps out the danger,
It holds in the pain.

And sometimes you're happy,
Sometimes you cry.
Half of me is ocean,
Half of me is sky.

But you got a heart so big it could crush this town.
And I can't hold out forever; even walls fall down.

Yes, they do.

Oh!

And some things are over,
Some things go on.
And part of me you carry,
Part of me is gone.

But you got a heart so big it could crush this town.
And I can't hold out forever; even walls fall down.
Baby, you got a heart so big it could crush this town.
And I can't hold out forever; even walls fall down.

Yeah, I guess they do.

Yes, they do,

They fall down.

GREW UP FAST

We grew up fast and no one seemed to notice.
We grew up fast and we grew up alone.
Mom and Dad were never what we wanted.
We grew up fast and we grew up alone.
We grew up alone.

Well, you know who I am, so don't treat me like I'm someone else.
Well, you know what I am, so don't treat me like I'm someone else.
You never act like that with no one else.

We grew up mad, when lies were just a fact of life.
We grew up mad 'cause we've never had a home.
We faced the past and forgave the revolution.
We grew up smashed and we grew up alone.
We grew up alone.

Hey my brother, I got no fight with you, I just can't ride down.
Hey my brother, I got no fight with you, I just can't ride down.
No I just can't ride down.
I just can't ride down.

Well, you know who I am, so don't treat me like I'm someone else.
Well, you know what I am, so don't act like I'm somethin' else.
Well, you know who I am, so don't treat me like I'm someone else.
You know where I am, so don't act like I'm somewhere else.

You never talk like that to no one else.
You never scream like that for no one else.
You never suck like that for no one else.
Oh!

ZERO FROM OUTER SPACE

I've been wrapped up in confusion,
Been tied down to my bed.
Sufferin' some illusion, I'm out my fuckin' head.

It's insane, took my brain and ran away.
And now, hey, hey, hey.
I'm a zero
Oh, from outer space.

But I know you think I'm jokin',
I don't mean the things I say.
Like I could, but I won't,
If I would anyway.

It's insane, took my brain and ran away.
Yeah, now, hey, hey, hey.
I'm a zero
Oh, from outer space.

Come on!

Oh!

Yeah!

You think that you're above me,
You think that you're so big.
But I saw you kick that dog
When the wind blew off your wig.

It's insane, took my brain and ran away.
Well, hey, hey, hey.
I'm a zero
From outer space.

Yeah!

Look out!

Oh!

Well, hey, hey, hey.
I'm a zero
Oh, from outer space.

Yes I am!

CLIMB THAT HILL

Somethin' threw me in the dirt.
Kinda got my feelings hurt.
Weed was burnin' somewhere down the wind.

I had to get up
And climb that hill again.

Little Lucy's such a doll,
Like to climb her garden wall.
But she only sees me as a friend.

I got to get up
And climb that hill again.
I gotta bury my pride,
Drag this line
Over that hill
One more time.
Gotta get up in the mornin',
Make my way
Over that hill again.

I gotta bury my pride,
Drag this line
Over that hill
One more time.
Gotta get up in the mornin',
Make my way
Over that hill again.

Tempers flare and words are spoken.
You close one door and another opens.
You hear the music and you wander in.

You got to get up and climb that hill.
Get up and climb that hill.
You got to get up and climb that hill again.

CHANGE THE LOCKS

I changed the lock on my front door
So you can't see me anymore.
And you can't come inside my house,
And you can't lie down on my couch.
I changed the locks on my front door.

And I changed the number on my phone
So you can't call me up at home.
And you can't say those things to me
That make me fall down on my knees.
I changed the number on my phone.

'Cause I changed the kind of car I drive
So you can't see me when I go by.
And you can't chase me up the street
And you can't knock me off my feet.
I changed the kind of car I drive.

I changed the kind of clothes I wear
So you can't find me anywhere.
You can't spot me in a crowd
And you can't call my name out loud.
I changed the kind of clothes I wear.

And I changed the tracks underneath the train
So you can't find me ever again.
And you can't trace my path,
And you can't hear me laugh,
And honey, I'm laughin' all the time.

Oh!

I changed the name of this town
So you can't follow me down.
And you can't touch me like before,
And you can't make me want you more.
I changed the name of this town.

I changed the lock on my front door,
I changed the number on my phone.
I changed the kind of car I drive,
I changed the kind of clothes I wear.
I changed the tracks underneath the train,
I changed the name of this town.
I changed the name of this town.
I changed the name of this town.

Oh!

ANGEL DREAM (NO. 4)

I dreamed you,
I saw your face.
Cut my lifeline when drifting through space.

I saw an angel,
I saw my fate.
I can only thank God it was not too late.

. Over mountains,
I floated away.
Cross an ocean,
I dreamed her name.

I followed an angel down through the gates.
I can only thank God it was not too late.

Sing a little song of loneliness,
Sing one to make me smile.
Another round for everyone,
I'm here for a little while.

Now I'm walkin'
This street on my own.
But she's with me
Everywhere I go.

Yeah, I found an angel,
I found my place.
I can only thank God it was not too late.
I can only thank God it was not too late.
I can only thank God it was not too late.

HOPE YOU NEVER

Hope you never fall in love,
Hope you never get your heart broken.
I hope you never fall in love
With somebody like you.

I hope you never give a damn,
Hope you never lose your perspective.
I hope you never fall in love
With somebody like you.

And I wish you well.
I wish you everything and more.
Forgive my ignorance,
I was starting to ramble on and on.
Starting to ramble on and on.

I hope you never need no one
Hope you treasure your independence.
I hope you never fall in love
With somebody like you.

And I wish you well.
I wish you everything and more.
Forgive my ignorance,
I was starting to ramble on and on.
Starting to ramble on and on.

I hope you never give a damn,
Hope you never get your heart broken.
I hope you never fall in love
With somebody like you.

I hope you never fall in love
With somebody like you.

ASSHOLE

Your brains went black
When she took back her love
And put it out into the sun.

The birds did fly
When the heavens all went dry
And the cigarettes were smoking by themselves.

She'll do anything
She'll do anything.
She'll do anything to make you feel like an asshole.

Call her name,
She looks the same as you,
With question marks stretched across her skin.

She dangles carrots
And makes you feel embarrassed
To be the fool you know you are.

She'll do anything
She'll do anything.
She'll do anything to make you feel like an asshole.

SUPERNATURAL RADIO

If there's gonna be trouble tonight,
You can meet me at the usual place.
If there's gonna be a fight tonight,
Remember what you said to my face.

Oh, and darlin'.
Too many words have been spoken.
I don't want to get my heart broken
Like lovers do.

No more songs tonight,
I'm drivin' to the break of day.
No more words tonight,
We've got enough to throw away.

Oh, and darlin' ,
Now that we two are together,
Don't dream this could go on forever,
Like lovers do.

I can hear you singing
On my supernatural radio.
I hear you singing
On my supernatural radio.

Oh, and darlin'.
Too many words have been spoken.
I don't want to get my heart broken
Like lovers do.

Yeah,
You gotta,
You gotta big signal;
Hundred million watts!
Yeah, I'm getting your signal.
Yeah, it's a hundred million watts.
Raw power.
Hey,
I can hear Jesus singin'
On a supernatural radio.

CALIFORNIA

California's been good to me.
Hope it don't fall into the sea.
Sometimes you got to trust yourself.
It ain't like anywhere else.
It ain't like anywhere else.

It's time to roll,
I'm all done.
It's time we better hit the road
I got work later on,
It's time we better hit the road.

And California's been good to me.
I hope they don't fall into the sea.
Sometimes you got to save yourself.
It ain't like anywhere else.
No, it ain't like anywhere else.

Sundown, red skies,
Nobody's been around.
Sundown, blue eyes,
I kind of like this part of town.

And California has treated me good.
I pray to God that the hills don't flood.
Sometimes you got to trust yourself.
It ain't like anywhere else.
It ain't like anywhere else.
Ain't like anywhere else.

HOPE ON BOARD

Instrumental

WALLS (NO. 3)

Some days are diamonds,
Some days are rocks.
Some doors are open,
Some roads are blocked.

And sundowns are golden,
Then fade away.
And if I never do nothin',
I'm comin' back some day.

'Cause you got a heart so big it could crush this town.
And I can't hold out forever; even walls fall down.

All around your island
There's a barricade.
It keeps out the danger,
Holds in the pain.

Sometimes you're happy,
And sometimes you cry.
Half of me is ocean,
Half of me is sky.

But you got a heart so big it could crush this town.
And I can't hold out forever; even walls fall down.

And some things are over,
Some things go on.
Part of me you carry,
And part of me is gone.

But you got a heart so big it could crush this town.
And I can't hold out forever; even walls fall down.
You got a heart so big it could crush this town.
And I can't hold out forever; even walls fall down.

ANGEL DREAM (NO. 2)

HUNG UP AND OVERDUE

I'm so hung up,
I'm gonna go see her tonight.

I'm so hung up,
I can't get her out of my mind.
Could it be just stars in my eyes?
Could it be this won't happen twice?

We're overdue for a dream come true.
Long time nothing new.
We're overdue for a dream come true.

She said she's goin' to California one day.
Said she's goin' out on safari to stay.
She's tired of her job and the snow.
We both need somewhere to go.

We're overdue for a dream come true.

Long time nothing new.
We're overdue for a dream come true.

I'm so hung up on her now.
I'm so strung out on her now.
A gift from the sun to the moon.
I hope something changes soon.

We're overdue for a dream come true.
Long time nothing new.
We're overdue for a dream come true.

We're overdue for a dream come true.
Long time nothing new.
We're overdue for a dream come true.

Oo, oo,
Oo, oo,
Oo, oo,
Oo, oo.

AIRPORT