“Good Enough” by Tom Petty & The Heartbreakers – Chords, Tabs, & How to Play

Originally posted 2010-02-26 12:30:44. Republished by Blog Post Promoter

“Good Enough”
Tom Petty & The Heartbreakers

INTRO:   Em     Am     C     B     Em     C#m    Bbm   Gm  – F#m  –  Em

Em
She was hell on her mama, impossible to please;
Am
She wore out her daddy, got the best of me.
C                                                  B
And there’s something about her that only I can see,
B               Em                 C  –  B
And that’s good enough.

You’re barefoot in the grass, and you’re chewin’ sugarcane.
You got a little buzz on; you’re kissin’ in the rain.
And if a day like this don’t ever come again,
That’s good enough.

C                                B                                                    A  –  G –  F#
Good enough for me; good enough for right now, yeah.
Good enough for me; good enough for right now, yeah.

SOLO:   Em     Am     C     B     Em     C#m    Bbm   Gm  – F#m  –  Em

God bless this land, God bless this whiskey.
I can’t trust love: it’s far too risky.
If she marries into money, she’s still gonna miss me,
And that’s good enough.  Gonna have to be good enough…

SOLO:   Em     Am     C     B     Em     C#m    Bbm   Gm  – F#m  –  Em  (x2)

OUTRO:                                    Em     C#m    Bbm   Gm  – F#m  –  Em  (x6)

** These chords and lyrics are interpretations and transcriptions, respectively, and are the sole property of the copyright holder(s). They are posted on this website free of charge for no profit for the purpose of study and commentary, as allowed for under the “fair use” provision of U.S. copyright law, and should only be used for such personal and/or academic work. **

Tom Petty & the Heartbreakers’ “Mojo” (2010) – The Weekend Review

Originally posted 2010-07-25 22:45:16. Republished by Blog Post Promoter

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)

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.

“Good Enough” (Tom Petty & the Heartbreakers Cover)

Originally posted 2010-02-28 22:01:35. Republished by Blog Post Promoter

For Tom Petty & the Heartbreakers chords & lyrics, CLICK HERE!

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!