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By Chris Moore:

Wow! I can’t remember the last time I posted a Laptop Session video on a day other than Monday! Why, you ask? Well, if you’ve come to the blog over the past year or so, you may have noticed the weekly schedule posted above. It’s pretty clear that Mondays are my day…

Unfortunately, I won’t have Internet service at home until Tuesday evening, and I just don’t have the energy on a Sunday night to type a 750 – 1000 word review on my iPhone, even if it IS based on one of my favorite albums of all time. (Wanna know which album I’m referring to? Check back tomorrow at this time…)

So instead of posting the Weekend Review as per usual tonight, I’m flip-flopping the schedule. Tonight, I present to you for your consideration my acoustic rock cover song performance of a track from the upcoming 2010 Tom Petty and the Heartbreakers album “Mojo.” This is a big deal, as far as I’m concerned, since this will be their first studio album in eight years. That’s a long wait! Mudcrutch was good and I do love Petty’s solo work, but there’s just no substitute for a bona fide Heartbreakers record. It’s been a little over a year since I finally picked up a used copy of “Long After Dark” and thus completed my TPATH (as the band is referred to on their official website’s message board) collection. Just a month ago, I was thinking about how much I’d like to hear a new Tom Petty and the Heartbreakers album…

For a few days now, they’ve been streaming “Good Enough” on their website, and although it is heavily electric — bordering on jam band-esque in fact — I thought I might try my hand at translating it to acoustic guitar. While I had more fun playing it on my Washburn electric, I did eventually record it on acoustic guitar for tonight’s session. As you’ll hear, the song is pretty straightforward. Now, you might be thinking: well, so is every other Tom Petty song. The only difference is that this one sounds a bit different than what you’d expect from the band. In fact, it’s caused some disagreements between fans as to whether it is promising or foreboding for the new release. As for me, I think it’s great — fun, loud, and highlighted by a real killer lead guitar by Campbell. That being said, I certainly hope the whole album isn’t variations on this bluesy style.

I’ll just have to wait for “Mojo” to arrive…

That being said, I hope you enjoy my cover of this brand-new, yet to be released song, and that, if you do, you’ll take the time to listen to the real thing. And don’t forget to hurry back tomorrow for this week’s installment of the Weekend Review.

See you next session!

By Jeff Copperthite:

Good evening and welcome to your Friday edition of “Da Sessions” (as a student of mine put it – well, it could’ve been from Ditka too).  Tonight I bring you another one of those “sorta” new band (solo artist?) songs that we like to break out quite frequently.

Tonight’s song is a Tom Petty classic called “Runnin’ Down A Dream”.  It is from his first solo album called “Full Moon Fever”.  This song is well known as having that really cool riff, with the fuzzy guitar and acoustic guitar and constant rock drum beat.  Well, that doesn’t narrow it down much.  Petty is known for having a lot of kick ass tunes in his library.

Tonight I had a battle with myself.  I had no idea which song to record tonight out of the 5 I have remaining for the year.  I spent about an hour deciding to record this song because I felt it was the least intensive on my voice.

I actually had myself a great day today.  I woke up very early and discovered that I was getting an early start to my weekend.  I do so love snow storms and I love it when we get an unexpected day off to enjoy it.  I ended up doing some decorating around the house for Hanukkah, made pancakes for breakfast, and got to enjoy a lot of different things in Final Fantasy XI today.  Because it didn’t start snowing here until about 11:30, my wife still got to go out to the lunch with her coworkers that she wanted to do, and I got to hit the gym like normal.

Now all I got to do is find a time tomorrow to finish my holiday shopping.  Thankfully my wife took care of most of it .

And I also have tomorrow morning off as well.  Snowstorms do rule.  They’re so good, “It’s like jumping into a foam block pit after being launched off a trampoline 15 feet into the air and you lay there for a while staring up at the ceiling thinking how cool that whole thing just was good”.

Well, tomorrow you can count on Jim to enhance your viewing experience with another acoustic cover song.  I’ll be back on Monday for my next installment.  Seeya then!

By Jim Fusco:

Oh yeah- welcome to the new and improved Laptop Sessions website!  What, you don’t notice a visual difference?  Well, great!

The only thing you should notice is how much faster the site is running and will continue to run.  Our sitemapt program is chugging away and our site will be running at tip-top shape so we won’t have to turn those short-attention-span visitors away.  You know on the Internet crowd only gives you like ten seconds before they get bored and leave.  This morning, while we were still on our other server, I waited 26 seconds for the front page to load.  Now, at least on my machine, it’s almost instant.  And if I want to speed it up even more, I can fully transfer the domain to the new HostGator servers.

On to today’s video!

Chris and I wanted to do this song for so long, but never got a chance until recently.  I love this tune, as I do with all the songs off of “Full Moon Fever”, and thought it would be great with that cool chorus riff and the harmonies on the bridge.  So, of course, this has quickly become one of my favorite Laptop Sessions acoustic rock cover songs and I hope it’s one of yours, too!

I expect to do most of the songs off of “Full Moon Fever” in the future (except for maybe “Zombie Zoo”) because whenever I hear it, it just sounds like “growing up”.  The album came out when I was very little, but we always listened to it in the car alongside the Traveling Wilburys.  No “Wheels on the Bus” for us!

And how about Jeff’s video yesterday?  Impressive, I must say.  His voice was so sweet and it was a really good song, too.  I think what I loved about the video the most was the easy-going flow of the song and Jeff’s performance.

You should really check it out!  Enjoy the newer, faster Laptop Sessions website, as we continue to bring you an acoustic cover song or original song every single day in 2008 in the quest to solidify our spot as the greatest music video blog of all time!

By Chris Moore:

RATING:  4 / 5 stars (with “Candy” & “Takin’ My Time”);  4.5 / 5 stars (without)

There is simply no mistaking a Tom Petty and the Heartbreakers song.

When you hear a single like “Refugee” or “Free Fallin’” on the radio, or in shuffle mode, or in a fast food restaurant, or wherever you may be, the band is recognizable.  Even if something more obscure comes on, say a recent track like “You and Me,” there is no need to call up your Shazam app; there is no mistaking Petty’s distinct nasal twang or Mike Campbell’s hook-laced, jangly guitars.  At worst, they sound like a Byrds cover band fronted by a Bob Dylan impersonator.

At best — and, most often — they are one of the greatest American rock bands of all time.

What does all this have to do with Mojo?

Simply put, Mojo represents a purposeful breakdown (pun intended) of the Tom Petty and the Heartbreakers formula.  This record finds the band more concerned with experimentation via these blues influenced performances, and as such, the individual members of the band, more than on any other release, serve integral roles in the instrumental soundscapes.  Even on “U.S. 41,” perhaps the most stripped down of tracks, each band member has an interesting, shifting role as the song unfolds.  Campbell’s Kay Jimmy Reed Model guitar joins forces with Scott Thurston’s harmonica to rip schizophrenically through the rhythm section.  Benmont Tench switches temporarily to his Tremolo Steinway, relegating himself largely to the background and yet playing a key role in advancing the serious undertones of the words.

Here, as on all the tracks, Petty’s lead vocal is an instrument unto itself, alternating between creaking and crooning where appropriate.

Later, Campbell’s lead guitar on the standout “Running Man’s Bible” acts more as a backup vocal, answering each of Petty’s lines with a lick here, a riff there.  This is one of their best duets, and their energy on the choruses calls to mind the fact that this pair has been on the proverbial road for what is rapidly approaching four decades.

When I read in one article that Mojo was being recorded with a jam band mentality, I faltered in my enthusiasm.  When another article name-dropped the Allman brothers, I outright grimaced.  The Tom Petty and the Heartbreakers I love have always, regardless of what phase they were in, stood for purposeful rock music.  What I mean by this is that they have consistently eschewed the instrumental self-indulgence that regularly pushes tracks by bands like the Allman brothers into the double digit minute range.  The songs on their debut self-titled release rarely cracked the three minute mark; on the first half, only one track did: “The Wild One, Forever,” clocking in at a whopping 3:01.

In short, I feared that looming self-indulgence, a bug that has bitten many a great band.

Tom Petty & the Heartbreakers' "Mojo" (2010)

Instead of a collection of lengthy, live band jams, Mojo instead turned out to be a cohesive trek through a myriad of American milieu.  In many ways, this new record has more to do with their first two records than their most recent ones.  This is not at all to say that they’ve regressed to the simpler arrangements of You’re Gonna Get It! that earned them initial success; this is less a return than a romp through stomping grounds as a more mature, honed group of artists.

Certainly, even the most upbeat tracks on Mojo lack that in-your-face, eager-to-impress youthful energy that characterized their early songs, numbers like “When the Time Comes,” “Listen to Her Heart,” and “American Girl.”

Yet, at the same time, those early tracks lacked the electric mayhem of “Good Enough,” the sinister sneers and downbeats of songs like “I Should Have Known It,” and the beautiful nuances of tracks such as “The Trip to Pirate’s Cove.”

The two songs that leave me aweless are “Candy” and “Takin’ My Time,” the former a snoozer of a blues standard and the latter a lyrically boring, tiring exercise in marching across the speakers.  Each exceeds four minutes in length, and my patience in less than half that.  (Now, the iTunes bonus track “Little Girl Blues,” that’s a song I can get behind, perhaps even as an addition to the album proper.)

Nix these two tracks and this becomes a tightly sequenced thirteen track album.

Despite stretching out instrumentally, many tracks hint at riffs in all the right places, as if to remind the listener that this format is a conscious decision, as opposed to a lack of ability to write songs like they once did.  The lyrics certainly don’t suffer in this venture, “The Trip to Pirate’s Cove” being one of the best ballads the band has ever released and “Good Enough” being one of the best vignettes in their catalog, saying so little yet so much.

Thematically, Mojo is a loose but thoughtfully assembled exploration of American society, particularly the ethics and mores that have shaped our nation over the past hundred years.  The concept is not nearly as clearly defined as on The Last DJ, but it is present all the same: in the “mouths to feed” and preferred isolation of “Don’t Pull Me Over,” the “boss man” and the “wages” and the “food on the table” in “U.S. 41″, and, of course, the sin, glory, and freedom in “First Flash of Freedom.”

“Jefferson Jericho Blues” places us at the precipice, in the mind of a man who knows what is right yet “just can’t let go” of what feels better.  This conflict recurs in “High in the Morning,” with a bottle that belongs to the devil and a woman who belongs to the captain.  If these songs can’t be applied as metaphors for individuals in our society, as well as our nation as a whole, then what can?

In these and so many other ways, Mojo is a success.  It may not be comprised of the tightly packaged pop gems we’ve come to expect of the band, but it is still very much a Tom Petty and the Heartbreakers album, and, after eight long years, a strong addition to their considerable catalog.