Tom Petty and the Heartbreakers – Classic Rock Review

Into the Great Wide Open by Tom Petty and the Heartbreakers

Into the Great Wide Open by
Tom Petty & the Heartbreakers

June 28, 2021

by Classic Rock Review with No Comment Album Reviews

Tom Petty continued his impressive commercial success as a new decade unfolded with Into the Great Wide Open, the eighth studio album by Petty and The Heartbreakers. This album combined the group’s traditional rock sensibilities, dating back to the mid 1970s, with the mainstream production techniques of his various projects of the late 1980s. With this combination, Into the Great Wide Open received various bits of warm critique to go along with its pop success in 1991.

Petty’s previous album with the Heartbreakers, 1987’s Let Me Up (I’ve Had Enough), received mixed reviews and was the first album by the group not to reach the Top 10 of the US album charts in nearly decade. The following year Petty formed the supergroup The Traveling Wilburys along with George Harrison, Bob Dylan, Roy Orbison and Jeff Lynne and their debut album, Volume One, had great success. Even greater success followed in 1989 when Petty released his debut solo album, Full Moon Fever, which was co-produced by Lynne and included four Top 40 singles. Heartbreakers guitarist Mike Campbell was the only member of the backing group to play on Full Moon Fever.

With expectations very high, Petty once again enlisted Lynne as co-producer for Into the Great Wide Open and the pair employed a methodical, nearly formulaic approach to the compositions. Lynne also played various instruments throughout, which seemed to limit much of the Heartbreakers’ expressiveness and offered the group members sparse moments to shine musically and rhythmically.

Into the Great Wide Open by Tom Petty & the Heartbreakers
Released: July 2, 1991 (MCA) Produced by: Tom Petty, Mike Campbell & Jeff Lynne Recorded: Rumbo Recorders, Studio C, Canoga Park, CA, 1990 – 1991
Track Listing	Group Musicians
Learning to Fly Kings Highway Into the Great Wide Open Two Gunslingers The Dark of the Sun All or Nothin’ All the Wrong Reasons Too Good to Be True Out in the Cold You and I Will Meet Again Makin’ Some Noise Built to Last	Tom Petty – Lead Vocals, Guitars, Keyboards Mike Campbell – Guitars, Vocals Benmont Tench – Piano, Keyboards, Accordion Howie Epstein – Bass, Vocals Stan Lynch – Drums, Percussion

Into the Great Wide Open by Tom Petty & the Heartbreakers

Released: July 2, 1991 (MCA)
Produced by: Tom Petty, Mike Campbell & Jeff Lynne
Recorded: Rumbo Recorders, Studio C, Canoga Park, CA, 1990 – 1991

Track Listing

Group Musicians

Learning to Fly
Kings Highway
Into the Great Wide Open
Two Gunslingers
The Dark of the Sun
All or Nothin’
All the Wrong Reasons
Too Good to Be True
Out in the Cold
You and I Will Meet Again
Makin’ Some Noise
Built to Last

Tom Petty – Lead Vocals, Guitars, Keyboards
Mike Campbell – Guitars, Vocals
Benmont Tench – Piano, Keyboards, Accordion
Howie Epstein – Bass, Vocals
Stan Lynch – Drums, Percussion

The album’s first three tracks were the most radio-friendly. “Learning to Fly” features moderately picked harmonized chords to leave an indelible musical impression, along with with Campbell’s later slide guitar expertly cutting through the pristine soundscape. The song became one of the top hits for Petty and the Heartbreakers. “Kings Highway” follows as a crisp, driving rocker with subtle guitar layers and a simple hook and message with the promise of better days. The album’s title song is a slightly dark folk storyteller with more fine slide guitars and some memorable rudiments that drive the song along.

“Two Gunslingers” is actually a song of peace with much allegory and the lyrical epiphany of “taking control of one’s life”, while “The Dark of the Sun” has a quasi-pop-country feel which morphs into harder rocking later, making for a potent and diverse track. “All or Nothin'” is an intense, dark rocker with Campbell’s slide topping a steady thumping rhythm by bassist Howie Epstein, while “All the Wrong Reasons” leans towards more traditional folk lyrically with Benmont Tench adding some accordion for color and Byrds’ legend Roger McGuinn providing backing vocals.

After the forgettable track “Too Good to Be True”, the album’s second side becomes more interesting starting with the refreshing hard rocker, “Out in the Cold”, featuring Petty’s more expressive and strained vocals. “You and I Will Meet Again” is solo composition with a classic Petty feel that leaves plenty of room for musical chops by each lead player, while “Makin’ Some Noise” features interesting, rockabilly-style riffs that are later contrasted by a short but effective wah-wah fused lead by Campbell. The closer, “Built to Last” has an overall sound different than anything else on the album, rhythmically deadened but pleasant throughout.

Tom Petty and the Heartbreakers

Into the Great Wide Open would turn out to be the final studio release on the MCA label as well as the final with drummer Stan Lynch, who was replaced by Steve Ferrone in 1994. To wrap up their decade and a half with MCA, the group released a Greatest Hits album in 1993, which became their top seller over all and went platinum a dozen times over.

Part of Classic Rock Review’s celebration of 1991 albums.

Echo by Tom Petty & the Heartbreakers

May 12, 2019

by Classic Rock Review with No Comment Album Reviews

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Closing out the century with their tenth studio album, Tom Petty and the Heartbreakers blended folk/rock arrangements with introspective lyrical themes on Echo. The album’s tracks were composed and produced in the wake of Tom Petty‘s divorce from his wife of two decades and his own subsequent bought of depression and the isolation of living alone in a cabin. Petty stated that in this era he didn’t see a lot of people because he wasn’t happy and “didn’t want to lay that on everybody”.

Prior to Echo, Petty had been on a decade-long streak of commercial and critical success. In 1988 he became a member of the impromptu super group The Traveling Wilburys, immediately followed by the phenomenal success of Petty’s 1989 debut solo record, Full Moon Fever. In the 1990s, Petty alternated albums between the Heartbreakers (Into the Great Wide Open in 1991 and She’s the One in 1996) and solo (Wildflowers in 1994), all of which achieved great success in charting and airplay. During this era, the group also released a 1993 Greatest Hits compilation, which reached number 1 on the album charts and went Platinum a dozen times over, as well as Playback, a 1995 six-disc box set.

Echo was produced by Rick Rubin and recorded over the span of 1997 and 1998. Rubin had previously produced Wildflowers and She’s the One and had enlisted the Heartbreakers in backing up the legendary Johnny Cash on his 1996 album , Unchained.

Echo by Tom Petty and the Heartbreakers
Released: April 13, 1999 (Warner Bros.) Produced by: Tom Petty, Mike Campbell & Rick Rubin Recorded: 1997–1998
Track Listing	Primary Musicians
Room at the Top Counting on You Free Girl Now Lonesome Sundown Swingin’ Accused of Love Echo Won’t Last Long Billy the Kid I Don’t Wanna Fight This One’s for Me No More About to Give Out Rhino Skin One More Day, One More Night	Tom Petty – Lead Vocals, Guitars, Harmonica Mike Campbell – Guitars, Vocals Benmont Tench – Piano, Keyboards Howie Epstein – Bass, Vocals Steve Ferrone – Drums

At over an hour of running time, Echo is a 15-song album with the length of a traditional double LP. It is book-ended by tracks which share the common theme of isolation and observation. The opening “Room at the Top” is a melancholy lament of lost love which Petty later described as one of the most depressing songs in rock history”. The closing “One More Day, One More Night” is a bluesy ballad which concludes with Mike Campbell‘s understated blues rock guitar lead. In between these two tracks is an ebb-and-flow of songs of high and low moods and arrangements.

“Counting on You” is a crisp folk-rock track with a fine rotation of sonic ear candy including piercing guitar licks, electric piano and slight fiddle. Harkening back to the group’s late seventies post-punk era, “Free Girl Now” is an upbeat rocker which comes down for a cool third verse with picked electric guitar and choppy organ by Benmont Tench. This song was the lead single from the album and it reached the Top 10 the Mainstream Rock charts. Tench’s country-esque piano introduces the ballad “Lonesome Sundown” which hits some nice chords and features Petty’s vocals at top notch, hitting some of the higher notes in his range. The next track, “Swingin'” is a fine example of Petty’s interpretation of Bob Dylan’s style, while “Accused of Love” is a bright and upbeat acoustic pop song. The title track, “Echo” is a sad acoustic ballad driven by Petty’s melancholy lyrics.

Tom Petty and the Heartbreakers

The album’s latter half features some of its more interesting tunes, “Won’t Last Long” features a blend of driving, double strummed acoustic guitars in the verse and complex vocals patterns in the chorus along with a mid section where everything come down to reveal a subtle, penny-whistle organ. The acoustic “Billy the Kid” is topped off by tremolo guitar and backed with strong drum beat by Steve Ferrone, the newest member of the Heartbreakers. Campbell’s “I Don’t Wanna Fight” is a unique song in the Heartbreaker’s catalog, as this quasi-punk hard rocker is the only one to feature a lead vocal from someone other than Petty, while “This One’s for Me” is a bright and melodic ode to self interest. The sad but beautiful ballad “No More” features strings, percussion and other sweet instrumentation and effects in the arrangement, as the mood comes back up on “About to Give Out”, featuring a country-boogie piano lead by Tench. The album climaxes with the profound “Rhino Skin”, with the sharp lyrics accompanied by deadened guitar accompanied by a moody string arrangement and Howie Epstein‘s sharp bass rhythms.

Sadly, Echo would be the final album Heartbreakers’ album to feature Epstein,, who died in 2003 from a heroin overdose. Due to the painful memories associated with this album, Petty did not listen to this album for many years after its release, but was pleasantly surprised by its quality when his wife insisted they listen to during a long drive together.

Part of Classic Rock Review’s celebration of 1999 albums.

American II: Unchained by Johnny Cash

November 5, 2016

by Classic Rock Review with No Comment Album Reviews

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Building on the momentum of his 1994 comeback album, American Recordings, country/rock legend Johnny Cash decided to do a sequel in what would become a very successful late career series. However, where the first album was sparse, dark folk with just Cash and his acoustic guitar, American II: Unchained features much richer and brighter arrangements due in large part to the musical help of Tom Petty and (three of) The Heartbreakers.

While not a huge commercial hit, American Recordings had much critical acclaim and won a Grammy for Best Contemporary Folk Album. A revitalized Cash said that the reception and response was one of the highlights of his career, which at that point dated back forty years. Later in 1994, Cash recorded a solo cover of Bob Dylan’s “Forever Young” and joined up with Brooks & Dunn for his own “Folsom Prison Blues” to contribute to the AIDS benefit album Red Hot + Country. Cash also revitatlized his acting career by appearing with his wife June Carter on a number of episodes of the television series Dr. Quinn, Medicine Woman.

Along with producer and label owner Rick Rubin, Cash decided to enlist contemporary rock musicians for this follow-up album. Fresh off the success of his solo record Wildflowers, Petty was enlisted along with fellow Heartbreakers, guitarist Mike Campbell, keyboardist Benmont Tench and bassist Howie Epstein, to be the core of the backing band. Other cameos on this album included Lindsay Buckingham and Mick Fleetwood from Fleetwood Mac and bassist Flea from Red Hot Chili Peppers. American II: Unchained is made mostly of cover songs with a few Cash originals sprinkled throughout the album.

American II: Unchained by Johnny Cash
Released: November 5, 1996 (American) Produced by: Rick Rubin Recorded: Sound City & Ocean Way Studios, Los Angeles and The Cowboy Arms And Recording Spa, Nashville, TN, 1995-1996
Track Listing	Primary Musicians
Rowboat Sea of Heartbreak Rusty Cage The One Rose (That’s Left in My Heart) Country Boy Memories Are Made of This Spiritual The Kneeling Drunkard’s Plea Southern Accents Mean Eyed Cat Meet Me in Heaven I Never Picked Cotton Unchained I’ve Been Everywhere	Johnny Cash – Lead Vocals, Guitar Tom Petty – Guitars, bass, Vocals Mike Campbell – Guitars, Mandolin, Dobro Benmont Tench – Piano, Keyboards Marty Stuart – Guitars, Bass Steve Ferroneh – Drums, Percussion

With a fantastic array of acoustic and electric guitars above a moderate classic country beat, the album begins with a cover of Beck’s “Rowboat”. Here, the guitars are delivered in various country and rock styles with Cash’s simple and somber vocals making this an overall sonic treat. “Sea of Heartbreak” is a brighter and more upbeat cover with fine chorus harmonies by Petty. The song was originally a Country hit for Don Gibson and features acoustic guitar by Buckingham and percussion by Fleetwood. Cash’s cover of “Rusty Cage” is the most striking and unique song on American II: Unchained. Originally written and recorded on Soundgarden’s Badmotofinger, Cash’s vocals follow the droning acoustic riff through the first two verses before breaking into an unabashed rock arrangement for the latter half of the song. This hip and timely track ultimately won a Grammy Award for Best Country Album.

Cash returns to form on the pure, classic country of “The One Rose (That’s Left in My Heart)”, which features a fine slide guitar lead by Campbell throughout. “Country Boy” and “Mean Eyed Cat” are two remakes of Sun Studio recordings from the late 1950s and each provide a nice slice of sonic nostalgia to add to the album’s diversity. “Memories Are Made of This” is presented as a bright folk song with upbeat, brushed drums, later joined by fine piano and distant whistle organ by Tench in a very good recording. Next come a couple of spiritual songs, the first of which is simply called “Spiritual”, a somber track which is a little drawn out and melodramatic. Written by several in-laws, The Carters, “The Kneeling Drunkard’s Plea” is a more upbeat cry for redemption as told by a third party observer.

Johnny Cash 1996

The later third of the album features more diverse songs. The inversion “Southern Accents” is presented as a soft acoustic ballad, where the Heartbreakers back Cash on their own song from their album of the same name a decade earlier. “Meet Me in Heaven” is a Cash original and presented brilliantly with a bright acoustic by Petty mixed along with Campbell’s softly picked electric and Tench’s piercing keys. Originally a hit by Roy Clark, “I Never Picked Cotton” is a fun Country classic which changes keys frequently during the two and a half minute duration and features some backing vocals by Petty. The title track “Unchained” is a soft acoustic ballad cover by Jude Johnstone and features some cool Chamberlin strings by Petty and Tench. Wrapping it all up is the fun jaunt “I’ve Been Everywhere”, which completes the album with upbeat rockabilly music and impressive, breathless rap by Cash as he lists the cascade of locations in each of the four main verses.

Although it had much crossover appeal, American II: Unchained was a much bigger commercial success on the Country charts than the Pop Charts. This recipe for success continued with more albums in the “American” series by Cash and Ruben, extending into the early part of the next century.

Part of Classic Rock Review’s celebration of 1996 albums.

Southern Accents by
Tom Petty & the Heartbreakers

July 21, 2015

by Classic Rock Review with 13 Comments Album Reviews

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Tom Petty & the Heartbreakers found a nice blend of mid-eighties pop and their traditional rock sound on 1985’s Southern Accents. This sixth album by the group (and first new release in nearly three years) was put together by a vast number personnel. Along with Heartbreakers’ members Tom Petty and Mike Campbell, three other producers were involved in the production and beyond the five band members, over thirty session players and singers were used in recording this album.

Petty and the Heartbreakers entered the 1980s on a high streak, following the success of their 1979 album, Damn the Torpedoes. However, the follow-up album, Hard Promises in 1981, saw some friction between the band and the record company over pricing policy. Their 1982 album, Long After Dark saw the arrival of bass player Howie Epstein, who had been a member of Del Shannon’s backing band.

Southern Accents was originally conceived as a concept album about the “modern South”. This mission was ultimately abandoned when Eurhythmics founder Dave Stewart contributed some compositions and production techniques which contrasted with the overall concept. Tensions arose among the band members, who each had distinct visions of the album’s musical direction. These frustrations culminated with Petty breaking his left hand after punching a wall during a mixing session.

Southern Accents by Tom Petty & the Heartbreakers
Released: March 26, 1985 (MCA) Produced by: Tom Petty, Jimmy Iovine, Mike Campbell, David A. Stewart, & Robbie Robertson Recorded: Sound City, Village Recorder, & Sunset Sound, Los Angeles and Church Studio, London, 1983–85
Side One	Side Two
Rebels It Ain’t Nothin’ to Me Don’t Come Around Here No More Southern Accents	Make It Better (Forget About Me) Spike Dogs On the Run Mary’s New Car The Best of Everything
Group Musicians
Tom Petty – Lead Vocals, Guitars, Piano, Keyboards Mike Campbell – Guitars, Keyboards, Dobro Benmont Tench – Piano, Keyboards, Vocals Howie Epstein – Bass, Vocals Stan Lynch – Drums, Percussion, Vocals

The album begins with “Rebels”, which features a traditional Tom Petty-style, musical approach with the additional elements of brass and rich backing vocals. Thematically, this track perfectly fits the “Southern Accents” theme and the song also found mainstream appeal by reaching #5 on the Billboard Album Rock Tracks chart. “It Ain’t Nothin’ To Me” is the first Petty/Stewart collaboration and migrates more towards, mid-eighties slick production, But with a funk bass by Epstein and call and response vocals between Petty and a backing chorus, the song is still interesting, especially with Benmont Tench‘s cool new-wave/jazz piano during the long outro.

The album’s biggest hit, “Don’t Come Around Here No More” employs Indian-style sitar by Stewart and repetitive but effective track percussion. The song proper is pleasant and melodic throughout and it breaks out into a full rock jam at the end with a wailing guitar lead by Campbell, thumping bass by Epstein and some “real” drums by Stan Lynch. The song was allegedly inspired by Stevie Nicks break up with Joe Walsh, but is best known for its Alice in Wonderland themed music video.

“Southern Accents” is a Jackson Browne-like piano tune, which is unique for the group, albeit a little bit dragged out and mundane, Still, the track works as a graceful title track which hits on the original theme of the album. “Make It Better (Forget About Me)” is the third and final collaboration between Petty and Stewart and employs a full-fledged, upbeat Motown vibe which is executed finely. Oft forgotten in the Petty catalog, this song reached the Top 20 of the Modern Rock charts.

The rest of the second side features an eclectic mix of lesser-known songs. “Spike” is down-home country with cool, chanting lyrics, brush drums and Tench’s electric piano to carry the day. “Dogs On the Run” was co-written by Campbell and returns to old Heartbreakers-style rock for the final time on the album. “Mary’s New Car” has a late-seventies funk/pop vibe (almost disco), along with interesting sounding lead vocals and a subtle, reverb-drenched sax lead. Like the first side, the second side ends with a piano ballad. “The Best of Everything” contains better melodies and good brass to close out the album with style.

Southern Accents reached the Top 10 in the US and the Top 40 in several other countries. The subsequent concert tour spawned the live album Pack Up the Plantation in late 1985 before the band toured with Bob Dylan through the next couple years.

Part of Classic Rock Review’s celebration of 1985 albums.

Damn the Torpedoes by Tom Petty and the Heartbreakers

Damn the Torpedoes by
Tom Petty & the Heartbreakers

December 27, 2014

by Classic Rock Review with 2 Comments Album Reviews

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The major label breakthrough by Tom Petty and the Heartbreakers, the 1979 release Damn the Torpedoes, scored both commercial success and critical acclaim. This was accomplished in spite of the fact that there were some legal issues surrounding Petty’s new contract with MCA over the publishing rights to the songs he wrote. Once the album was released, it rose to #2 on the American album charts where it remained for several weeks.

In the early 1970s, Tom Petty started a rock band known as Mudcrutch in his hometown Gainesville, Florida along with future Heartbreakers, guitarist Mike Campbell and keyboardist Benmont Tench. After the group migrated to Southern California, they decided to split in separate ways as Petty initiated a solo career and Tench formed his own group with bassist Ron Blair and drummer Stan Lynch. Petty heard this group and instantly took to their sound and eventually this new group, along with Campbell, became the “Heartbreakers”, backing up Petty on his “solo” endeavors. The group released an eponymous debut album in 1976, the 1978 follow-up You’re Gonna Get It!, which had some commercial success.

Not long after the release of the second album, the group’s independent label was sold to MCA Records and Petty soon struggled to free himself from the publishing aspects by sending himself into bankruptcy. After all was settled and Petty retained his publishing rights, the group was committed to work on this third album in a short time. They worked with producer Jimmy Iovine and chose an album title that references a famous quote by Admiral David Farragut.

Damn the Torpedoes by Tom Petty & the Heartbreakers
Released: October 19, 1979 (MCA) Produced by: Jimmy Iovine & Tom Petty Recorded: Sound City & Cherokee Studios, Los Angeles, 1978–1979
Side One	Side Two
Refugee Here Comes My Girl Even the Losers Shadow of a Doubt (A Complex Kid) Century City	Don’t Do Me Like That You Tell Me What Are You Doin’ in My Life Louisiana Rain
Group Musicians
Tom Petty – Lead Vocals, Guitars, Harmonica Mike Campbell – Guitars, Keyboards, Accordion Benmont Trench – Piano, Keyboards, Vocals Ron Blair – Bass Stan Lynch – Drums, Vocals

Petty composed most of the music on this album independently, with the only exceptions being the first two tracks which were co-written by Petty and Campbell. “Refugee” provides a potent and dramatic start to the album with plenty of atmosphere forged by the keys, guitar, and Petty’s voice, all of which are unique but catchy and strong. The lead section seems like a bit of unorganized chaos which somehow all comes together to help build the intensity and made this song a Top 20 hit in the early 1980. “Here Comes My Girl” is another upbeat and atmospheric song, this time with the simple rock beat of Lynch in conflict to Campbell’s seemingly slow and disjointed guitar pattern, but it all jives beautifully nonetheless. Petty barks out the first couple of lines in each verse in a quasi-rap while hitting melodic harmony during the chorus hook resulting in ear candy bliss.

The bright and jangly opening riff of “Even the Losers” leads to a classic Petty melody in this third pop/rock classic to start off Damn the Torpedoes. Here Campbell’s lead uses some classic rock technique, while the subsequent bridge features some deep Hammond organ by Tench beneath more rapidly delivered vocals. Lyrically, the theme looks for optimism and wisdom in the face of adversity and is analogous to a band’s struggle to find recognition. The first less than excellent track on the album, “Shadow of a Doubt (A Complex Kid)” is a slightly upbeat “lover’s lament” tune which lacks the succinct delivery of much of the rest of the album’s material. The side one closer “Century City” is more of a pure rocker where Petty’s vocals are slightly strained in excited energy.

Tom Petty and the Heartbreakers

The second side kicks off with the indelible “Don’t Do Me Like That” which was composed years earlier by Petty when he was in the group Mudcrutch. You won’t find a more straight-forward, hard rocker (and this album is full of these) with it’s slow, choppy guitar riff complemented by a fast rocking piano throughout and simple, catchy hook. The first single from the album, it went on to become the band’s first Top 10 hit. The remainder of side two tilts more towards blues/rock. “You Tell Me” has an almost funk approach with the music being guided by a pointed bass riff of guest Donald “Duck” Dunn. “What Are You Doin’ in My Life” features a cool slide guitar and some honky-tonk piano, while “Louisiana Rain” closes things up at a more moderate and moody pace with heavy Southern rock influence.

Damn the Torpedoes was a Top 5 album in the US and Canada and has sold over four million copies worldwide. It also sparked Tom Petty & the Heartbreakers success throughout the 1980s and beyond.

Part of Classic Rock Review’s celebration of 1979 albums.

Top 9 Rock Festivals of All Time

August 17, 2014

by Ric Albano with 11 Comments Special Features

This week Classic Rock Review joins the celebration of the 45^th Anniversary of the historic 1969 Woodstock Music Festival. In conjunction with Top 9 Lists, we present a list of the Top 9 Rock Festivals of all time, along with a bonus list of Top 9 Single Day, Single Location Concerts.

1. Woodstock

August 15-18, 1969
Bethel, New York
This remains the mother of all music festivals, held at a 600-acre dairy farm owned by Max Yasgur. A series of coincidental events unfolded which effected the location and operation of this festival, which grew to become a “free” event for over 400,000 attendees. Regarded as a pivotal moment in popular music history, 32 acts performed during the rainy weekend, starting with Richie Havens, and concluding with a memorable performance by Jimi Hendrix as the crowd dispersed mid-morning on Monday, August 18^th. Woodstock was immortalized in a later documentary movie as well as a song by Joni Mitchell, who was one of many major acts that did not attend by later regretted it.

Woodstock Performers: Richie Havens, Sweetwater, Bert Sommer, Tim Hardin, Ravi Shankar, Melanie, Arlo Guthrie, Joan Baez, Quill, Country Joe McDonald, Santana, John Sebastian, Keef Hartley Band, The Incredible String Band, Canned Heat, Mountain, Grateful Dead, Creedence Clearwater Revival, Janis Joplin with The Kozmic Blues Band, Sly and the Family Stone, The Who, Jefferson Airplane, Joe Cocker and The Grease Band, Ten Years After, The Band, Johnny Winter, Blood, Sweat & Tears, Crosby, Stills, & Nash, Paul Butterfield Blues Band, Sha Na Na, Jimi Hendrix and Gypsy Sun Rainbows

Buy Woodstock soundtrack
Buy Woodstock: Three Days of Peace & Music DVD

2. Monterey Pop Festival

June 16-18, 1967
Monterey, California
Credited as the event which sparked the “The Summer of Love”, The three-day Monterey International Pop Music Festival had a rather modest attendance but was soon recognized for its importance to the performers and significance to the sixties pop scene. The lineup consisted of a blend of rock and pop acts with memorable performances by The Who and Jimi Hendrix Experience.

Monterey Pop Performers: Jefferson Airplane, The Who, The Jimi Hendrix Experience, Janis Joplin, Otis Redding, Booker T. & the MG’s, Ravi Shankar, The Mamas and the Papas

Buy Monterey Pop Festival Live album

3. Live Aid

July 13, 1985
London and Philadelphia
Still the largest benefit concert 30 years on, Live Aid was a also the first live multi-venue event, with over 70,000 at London’s Wembley Stadium and close to 100,000 at JFK Stadium in Philadelphia. Organized by musician Bob Geldof of the Boomtown Rats as relief for the Ethiopian famine, the concert evolved from Band Aid, a multi-artist group who recorded “Do They Know It’s Christmas?” in 1984. Live Aid was also one of the largest worldwide television broadcasts, with an estimated audience of 1.9 billion in about 150 nations. Memorable performances and moments included those by Queen, U2, Dire Straits, a reunited Black Sabbath, and a loose reunion by members Led Zeppelin, the first since their breakup in 1980.

Live Aid Performers: Status Quo, The Style Council, The Boomtown Rats, Adam Ant, Spandau Ballet, Elvis Costello, Nik Kershaw, Sade, Sting, Phil Collins, Branford Marsalis, Howard Jones, Bryan Ferry, David Gilmour, Paul Young, U2, Dire Straits, Queen, David Bowie, Thomas Dolby, The Who, Elton John, Paul McCartney, Band Aid, Joan Baez, The Hooters, Four Tops, Billy Ocean, Black Sabbath, Run–D.M.C., Rick Springfield, REO Speedwagon, Crosby, Stills and Nash, Judas Priest, Bryan Adams, The Beach Boys, George Thorogood and the Destroyers, Simple Minds, The Pretenders, Santana, Ashford & Simpson, Madonna, Tom Petty and the Heartbreakers, Kenny Loggins, The Cars, Neil Young, The Power Station, Thompson Twins, Eric Clapton, Led Zeppelin (announced as “Jimmy Page, Robert Plant, John Paul Jones, Tony Thompson, Paul Martinez, Phil Collins”), Duran Duran, Patti LaBelle, Hall & Oates, Mick Jagger, Eddie Kendricks, David Ruffin, Tina Turner, Bob Dylan, Keith Richards, Ronnie Wood, USA for Africa

Buy Live Aid DVD

4. Isle of Wight Festival

August 26-30, 1970
Isle of Wight, UK
In sheer numbers, the 1970 Isle of Wight Festival may be the largest ever, with estimates of over 600,000, which is an increase of about 50% over Woodstock. Promoted by local brothers Ronnie, Ray and Bill Foulk, the 5-day event caused such logistical problems (all attendees had to be ferried to the small island) that Parliament passed the “Isle of Wight Act” in 1971, preventing gatherings of more than 5,000 people on the island without a special license. Memorable performances included late career appearances by Jimi Hendrix and The Doors, and The Who, who released their entire set on the 1996 album Live at the Isle of Wight Festival 1970.

Isle of Wight 1970 Performers: Judas Jump, Kathy Smith, Rosalie Sorrels, David Bromberg, Redbone, Kris Kristofferson, Mighty Baby, Gary Farr, Supertramp, Howl, Black Widow, The Groundhogs, Terry Reid, Gilberto Gil and Caetano Veloso, Fairfield Parlour, Arrival, Lighthouse, Taste, Rory Gallagher, Chicago, Procol Harum, Voices of East Harlem, Cactus, John Sebastian, Shawn Phillips, Joni Mitchell, Tiny Tim, Miles Davis, Ten Years After, Emerson, Lake & Palmer, The Doors, The Who, Sly & the Family Stone, Melanie, Good News, Ralph McTell, Heaven, Free, Donovan, Pentangle, The Moody Blues, Jethro Tull, Jimi Hendrix, Joan Baez, Leonard Cohen, Richie Havens

Buy Message to Love, The Isle of Wight Festival DVD

5. Ozark Music Festival

July 19-21, 1974
Sedalia, Missouri
Ozark Music Festival stage “No Hassles Guaranteed” was the motto of the Ozark Music Festival, held at the Missouri State Fairgrounds in 1974. While this festival offered an impressive lineup of artists as well as a crowd upwards of 350,000 people, the Missouri Senate later described the festival as a disaster, due to the behaviors and destructive tendencies of the crowd.

Ozark Music Festival Performers: Bachman–Turner Overdrive, Aerosmith, Premiata Forneria Marconi, Blue Öyster Cult, The Eagles, America, Marshall Tucker Band, The Nitty Gritty Dirt Band, Boz Scaggs, Ted Nugent, David Bromberg, Leo Kottke, Cactus, The Earl Scruggs Revue, Lynyrd Skynyrd, Electric Flag, Bob Seger & the Silver Bullet Band, Joe Walsh and Barnstorm, The Souther Hillman Furay Band, The Ozark Mountain Daredevils, Charlie Daniels Band, REO Speedwagon, Spirit

6. US Festival

May 28-30, 1983
Devore, California
Steve Wozniak’s US Festivals were staged on two occasions in September 1982 and May 1983. The second of these was packed with a lineup of top-notch eighties acts who performed in an enormous state-of-the-art temporary amphitheatre at Glen Helen Regional Park.

1983 US Festival Performers: Divinyls, INXS, Wall of Voodoo, Oingo Boingo, The English Beat, A Flock of Seagulls, Stray Cats, Men at Work, The Clash, Quiet Riot, Mötley Crüe, Ozzy Osbourne, Judas Priest, Triumph, Scorpions, Van Halen, Los Lobos, Little Steven & the Disciples of Soul, Berlin, Quarterflash, U2, Missing Persons, The Pretenders, Joe Walsh, Stevie Nicks, David Bowie

7. The Crossroads Guitar Festival

June 4-6, 2004
Dallas, Texas
Starting in 2004, the Crossroads Guitar Festivals have been held every three years to benefit the Crossroads Centre for drug treatment in Antigua, founded by Eric Clapton. These concerts showcase a variety of guitarists, with the first lineup at the Cotton Bowl stadium in 2004 featuring some legends along with up-and-comers hand-picked by Clapton himself.

2004 Crossroads Guitar Festival Performers: Eric Clapton, Johnny A, Vishwa Mohan Bhatt, Ron Block, Booker T. & the M.G.’s, Doyle Bramhall II, JJ Cale, Larry Carlton, Robert Cray, Sheryl Crow, Bo Diddley, Jerry Douglas, David Honeyboy Edwards, Vince Gill, Buddy Guy, David Hidalgo, Zakir Hussain, Eric Johnson, B.B. King, Sonny Landreth, Jonny Lang, Robert Lockwood, Jr., John Mayer, John McLaughlin, Robert Randolph, Duke Robillard, Carlos Santana, Hubert Sumlin, James Taylor, Dan Tyminski, Steve Vai, Jimmie Vaughan, Joe Walsh, ZZ Top, David Johansen

Buy Eric Clapton: Crossroads Guitar Festival 2004 DVD

8. Live 8

July 2, 2005
Locations world wide
Held 20 years after he organized Live Aid, Bob Geldof’s Live 8 was even more ambitious, being held in nine different locations around the world on the same day. Timed to coincide with the G8 conference in Scotland that year, the goal was to raise money to fight poverty in Africa. The most memorable moment from the concerts was at Hyde Park in London where the classic lineup of Pink Floyd reunited for the first time in over two decades.

Live 8 Performers: U2, Paul McCartney, Annie Lennox, Mariah Carey, R.E.M. The Killers, The Who, UB40, Pink Floyd, Elton John, Bob Geldof, Velvet Revolver, Madonna, Coldplay, Robbie Williams, Will Smith, Alicia Keys, The Black Eyed Peas, Kanye West, Linkin Park, Jay-Z, Rob Thomas, Sarah McLachlan, Stevie Wonder, Maroon 5, Deep Purple, Neil Young, Buck Cherry, Bryan Adams, Mötley Crüe, Brian Wilson, Green Day, a-Ha, Roxy Music, Dido, Peter Gabriel, Snow Patrol, The Corrs, Zola, Lucky Dube, Jungo, Pet Shop Boys, Muse, The Cure

Buy Live 8 DVD

9. Woodstock ’94

August 12-14, 1994
Saugerties, New York
Organized to commemorate the 25^th anniversary of the original Woodstock festival, Woodstock ’94 was promoted as “3 More Days of Peace and Music”. in fact, this concert took place near the originally intended location of that first show and other similarities such as common performers, similar crowd size, rain, and mud.

Woodstock ’94 Performers: Blues Traveler, Candlebox, Collective Soul, Jackyl, King’s X, Live, Orleans, Sheryl Crow, Violent Femmes, Joe Cocker, Blind Melon, Cypress Hill, Rollins Band, Melissa Etheridge, Crosby, Stills, & Nash, John Sebastian, Nine Inch Nails, Metallica, Aerosmith, Country Joe McDonald, Sisters of Glory, Arrested Development, Allman Brothers Band, Traffic, Santana, Green Day, Paul Rodgers Rock and Blues Revue, Spin Doctors, Porno For Pyros, Bob Dylan, Red Hot Chili Peppers, Peter Gabriel

Read more on Woodstock ’94 from our recent Comebacks and Reunions special feature

Bonus Top 9 List: Best Single Day, Single Location Shows

1. The Concert for New York City October 20, 2001. New York, NY
2. The Band’s Last Waltz November 25, 1976. San Francisco, CA
3. Atlantic Records 40^th Anniversary Celebration May 14, 1988. New York, NY
4. Concert for Bangladesh August 1, 1971. New York, NY
5. Knebworh Festival June 30, 1990. Knebworth, UK
6. Texxas Jam July 1, 1978. Dallas, TX
7. Farm Aid September 22, 1985. Champaign, IL
8. Canada Jam August 26, 1990. Bowmanville, Ontario
9. Altamont Free Concert December 6, 1969. Tracy, CA

Ric Albano