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DISCID=98095e0c
DTITLE=Tom Petty / Full Moon Fever
DYEAR=1989
DGENRE=Rock
TTITLE0=Free Fallin'
TTITLE1=I Won't Back Down
TTITLE2=Love Is A Long Road
TTITLE3=A Face In The Crowd
TTITLE4=Runnin' Down A Dream
TTITLE5=Feel A Whole Lot Better
TTITLE6=Yer So Bad
TTITLE7=Depending On You
TTITLE8=The Apartment Song
TTITLE9=Alright For Now
TTITLE10=A Mind With A Heart Of Its Own
TTITLE11=Zombie Zoo
EXTD=Originally Released April 29, 1989\n\nAMG EXPERT REVIEW: Although
EXTD= Let Me Up (I've Had Enough) found the Heartbreakers regaining th
EXTD=eir strength as a band and discovering a newfound ease at songcra
EXTD=ft, it just didn't sell that well. Perhaps that factor, along wit
EXTD=h road fatigue, led Tom Petty to record his first solo album, Ful
EXTD=l Moon Fever. Nevertheless, the distinction between "solo" and "H
EXTD=eartbreakers" is a fuzzy one because Full Moon Fever is essential
EXTD=ly in the same style as the Heartbreakers albums; Mike Campbell c
EXTD=o-wrote two songs and co-produced the record, and he, along with 
EXTD=Benmont Tench and Howie Epstein, all play on the album. However, 
EXTD=the album sounds different from any Heartbreakers record due to t
EXTD=he presence of former Electric Light Orchestra leader Jeff Lynne.
EXTD= Petty co-wrote the lion's share of the album with Lynne, who als
EXTD=o is the record's main producer. In his hands, Petty's roots rock
EXTD= becomes clean and glossy, layered with shimmering vocal harmonie
EXTD=s, keyboards, and acoustic guitars. It's a friendly, radio-ready 
EXTD=sound, and if it has dated somewhat over the years, the craft is 
EXTD=still admirable and appealing. But the real reason Full Moon Feve
EXTD=r became Petty's biggest hit is that it boasted a selection of so
EXTD=ngs that rivaled Damn the Torpedoes. Full Moon Fever didn't have 
EXTD=a weak track; even if a few weren't quite as strong as others, th
EXTD=e album was filled with highlights: "I Won't Back Down," the wist
EXTD=ful "A Face in the Crowd," the rockabilly throwaways "Yer So Bad"
EXTD= and "A Mind With a Heart of Its Own," the Byrds cover "Feel a Wh
EXTD=ole Lot Better," the charging "Runnin' Down a Dream," and "Free F
EXTD=allin'," a coming-of-age ballad that could be Petty's best song. 
EXTD=Full Moon Fever might have been meant as an off-the-cuff detour, 
EXTD=but it turned into a minor masterpiece. -- Stephen Thomas Erlewin
EXTD=e\n\nAmazon.com essential recording\nTen years had passed since P
EXTD=etty's last solid outing (Damn the Torpedoes in 1979), and Full M
EXTD=oon Fever fully resuscitated the artist's career, which--some wou
EXTD=ld say "arguably"--had been losing steam. With the album's four m
EXTD=ajor hits and rave reviews from the critics (these things do not 
EXTD=always go hand-in-hand), Petty must have breathed a sigh of relie
EXTD=f. He left the Heartbreakers behind, hooked up with musician, wri
EXTD=ter, and producer Jeff Lynne, and rocked out with "Runnin' Down a
EXTD= Dream," got mellow and introspective on "Free Fallin'" and "A Fa
EXTD=ce in the Crowd," and paid tribute (finally) to the Byrds with a 
EXTD=cover of "Feel a Whole Lot Better." He perfected the sing-along g
EXTD=uitar-pop song on "Yer So Bad" and had a wild time on "Zombie Zoo
EXTD=." Pure Petty perfection! --Lorry Fleming \n\nAMAZON.COM CUSTOMER
EXTD= REVIEW\nOutstanding Work From Petty - With the Help of Some Wilb
EXTD=urys, October 11, 2006\nReviewer: L.A. Scene (Lawrenceville, NJ U
EXTD=SA)\n\nAs the music scene progressed in the 1980s, things began t
EXTD=o change in the pop music landscape. The synth-pop sound that had
EXTD= dominated the 1980s was now being replaced by a more "natural" g
EXTD=uitar-laden sound. This trend was promoted by such artists like J
EXTD=ohn Mellencamp and John Fogerty who would enjoy commercial succes
EXTD=s as well as critical acclaim. Five musicians in the 1980s would 
EXTD=also find themselves at the center of this movement on the music 
EXTD=landscape. Jeff Lynne of ELO was working with George Harrison on 
EXTD=his "Cloud Nine" album. At the same time Lynne was working with R
EXTD=oy Orbison.. The story goes that Lynne, Harrison, and Orbison all
EXTD= agreed to sing on Orbison's song. They needed a place to record,
EXTD= so they contacted Bob Dylan to use his studio. Meanwhile word is
EXTD= that George's guitar was with Tom Petty (who was also working wi
EXTD=th Lynne). The rest is history and a supergroup called "The Trave
EXTD=ling Wilburys" was born. The Wilburys would enjoy enormous succes
EXTD=s. While some people felt that Lynne was the weak member of the W
EXTD=ilburys, he was the man who also brought them all together. As me
EXTD=ntioned, Lynne was also working with Tom Petty at the time on a "
EXTD=solo project". That project would turn out to be his highly succe
EXTD=ssful 1989 album, "Full Moon Fever". "Full Moon Fever" not only e
EXTD=ncapsulates the guitar-laden sound that had now taken over the la
EXTD=ndscape, but it also brings 3 of the 4 other Wilburys (the except
EXTD=ion being Bob Dylan) into the fold. \n\nThe Traveling Wilburys wo
EXTD=uld release two albums - "Volume 1" and "Volume 3". There was no 
EXTD="Volume 2". However over the years, "Full Moon Fever" has unoffic
EXTD=ially become "Volume 2". In fact there is a Russian Import versio
EXTD=n that actually labels "Full Moon Fever" as "Volume 2". As mentio
EXTD=ned this was technically a "solo album" by Tom Petty. For years, 
EXTD=Petty had recorded with his band - "Tom Petty and the Heartbreake
EXTD=rs". While this was a "solo album", there are many of the Heartbr
EXTD=eakers that are present on this album. Howie Epstein lends backgr
EXTD=ound vocals to two songs - "Love is a Long Road" and "I Won't Bac
EXTD=k Down". Benmont Tench lends his piano for "The Apartment Song". 
EXTD=Finally, Mike Campbell - possibly one of the most sought after mu
EXTD=sicians in the business contributes throughout the whole "Full Mo
EXTD=on Fever" collection - including guitars, mandolin, bass, and key
EXTD=boards. \n\nWhen Tom Petty and the Heartbreakers burst on the mus
EXTD=ic scene - they appealed to a wide variety of musical styles incl
EXTD=uding Classic Rock, New Wave, and even Punk. However, I feel that
EXTD= Petty's roots were still in Southern Rock. "Full Moon Fever" def
EXTD=initely isn't rooted in Southern Rock, but it does have a strong 
EXTD=incorporation of the guitar-laden sound mentioned. This isn't an 
EXTD=album where you are going to hear horns or a string section. Whil
EXTD=e you hear some keyboards, it will be the guitars that are going 
EXTD=to be the story of this album - whether it's electric or acoustic
EXTD=, every song will make an integral use of the guitar. On top of t
EXTD=hat, given Petty's unique voice - this really becomes something s
EXTD=pecial. I give a lot of credit to Lynne for putting this all toge
EXTD=ther. It's kind of ironic that Lynne was able to pull off produci
EXTD=ng both "Full Moon Fever" and the Traveling Wilburys. Lynne was k
EXTD=nown for his intricate orchestral arrangements with ELO, yet Lynn
EXTD=e finds a way to make the natural guitar-laden sound work for Pet
EXTD=ty on this collection. \n\n"Full Moon Fever" is known for the "hi
EXTD=ts" that were spurned off this album - these songs being: "Free F
EXTD=allin", "I Won't Back Down", and "Runnin' Down a Dream (to a less
EXTD=er extent "Yer So Bad" and "A Face in the Crowd" were also hits).
EXTD= These are good songs, but surprisingly, I found the "other songs
EXTD=" to be the strong points of this collection. Songs such as "Love
EXTD= is a Long Road", "Feel a Whole Lot Better", "Depending on You", 
EXTD="The Apartment Song", "Alright for Now", "A Mind With a Heart of 
EXTD=It's Own", and "Zombie Zoo" were the albums strongest songs. Any 
EXTD=of these songs could have easily been released as singles and cou
EXTD=ld have achieved a high level of commercial success. \n\nAs menti
EXTD=oned, three of the Wilburys make contributions to this album Roy 
EXTD=Orbison lends his background vocals to "Zombie Zoo". George Harri
EXTD=son lends Acoustic Guitar and Background Vocals to "I Won't Back 
EXTD=Down". Lynne, while lending his hand at co-producing this album w
EXTD=ith Petty and Mike Campbell also lends Vocals, Bass, Guitar, and 
EXTD=Keyboards to the effort. Who can forget the terrific vocal jam be
EXTD=tween Petty, Harrison, and Lynne on "I Won't Back Down" - i.e. th
EXTD=e classic "Hey Baby!". While Harrison didn't directly contribute 
EXTD=to the track "Feel a Whole Lot Better", I'd like to think he had 
EXTD=some influence on the cover of the Byrds' "Feel a Whole Lot Bette
EXTD=r". This cover gives the song a distinct Beatle-sque quality. I g
EXTD=ive Petty a lot of credit for being able to pull this off. At the
EXTD= same time, Petty also remains true to his Southern Rock roots. "
EXTD=A Mind With a Heart of It's Own" definitely sounds like something
EXTD= Petty would have done with the Heartbreakers. Finally, if you wa
EXTD=nt to hear Tom Petty do a lullaby, listen to "Alright for Now". \n
EXTD=\nPerhaps the most interesting part is when Petty puts an interru
EXTD=ption prior to the start of "Feel a Whole Lot Better". This inter
EXTD=ruption tells CD listeners to "wait" until LP or Cassette listene
EXTD=rs are able to flip over their media on their player - most humor
EXTD=ous. \n\nThe liner notes do include all of the lyrics and all of 
EXTD=the musician credits and acknowledgements. Overall, fans of Tom P
EXTD=etty and the Wilburys will not be disappointed with this effort. 
EXTD=Although this collection does have a guitar-laden sound, it will 
EXTD=have a lot of appeal to the mainstream. This is one collection I 
EXTD=highly recommend.\n\nAMAZON.COM CUSTOMER REVIEW\nPrime Petty ... 
EXTD=a definite desert island disc, February 28, 2006\nReviewer: Dr. E
EXTD=mil Shuffhausen (Central Gulf Coast)\n\nTom Petty has produced ma
EXTD=ny masterpieces (so far) in his long and brilliant career, but no
EXTD=ne more enjoyable than this rocking collaboration with producer a
EXTD=nd fellow Travelling Wilbury Jeff Lynne. It sounds so effortless 
EXTD=and breezy, yet FULL MOON FEVER was a sales and airplay titan fro
EXTD=m 1989-1991, and remains a staple of classic rock radio to this d
EXTD=ay. \n\nListening to it, one is amazed that this is not a "greate
EXTD=st hits" collection, but a studio CD recorded over a relatively b
EXTD=rief period of time while Petty and Lynne were also working on th
EXTD=eir Traveling Wilburys VOLUME ONE project, on the Roy Orbison MYS
EXTD=TERY GIRL album, Del Shannon's ROCK ON album, and numerous other 
EXTD=sidelines. Petty, in his book CONVERSATIONS, says that he and Lyn
EXTD=ne were writing non-stop and recording a song a day in order to b
EXTD=eat Lynne's travel deadlines. That sense of speed and urgency, co
EXTD=upled with Petty and Lynne's close friendship and unique chemistr
EXTD=y, give this album a sense of sponteneity and fun that keeps it f
EXTD=resh every time you hear it. \n\nMike Campbell and Benmont Tench,
EXTD= two of Petty's colleagues from The Heartbreakers also contribute
EXTD=d significantly to FULL MOON FEVER. Campbell, in particular, demo
EXTD=nstrates why he is one of the most respected guitarists in rock a
EXTD=nd roll with a brilliant, monster, "one-man Skynyrd" solo in "Run
EXTD=ning Down a Dream," a searing, atmospheric rocker that was a majo
EXTD=r hit single. \n\nOther enduring hits include the ubiquitous and 
EXTD=perfect acoustiCali-pop of "Free Falling," and the bluesy "I Won'
EXTD=t Back Down," which has become something of an anthem for anyone 
EXTD=who believes in their cause. "Love Is a Long Road" was another cu
EXTD=t that garnered significant airplay, with it's stuttering keyboar
EXTD=d and guitar interplay. \n\nBut the "famous" songs are not all th
EXTD=ere is to this long-play master work. There's the witty and sprig
EXTD=htly "Yer So Bad," and the punky "Apartment Song," and the folk-r
EXTD=ock "Feel a Whole Lot Better," which outflies the Byrds' original
EXTD=. "Alright for Now" is a gorgeous, spare lullabye, while "A Mind 
EXTD=With a Heart of Its Own" rocks and rolls and tumbles with a Bo Di
EXTD=ddley-esque jump. "A Face in the Crowd" aches with loneliness and
EXTD= longing while the giddy bounce of "Zombie Zoo" belies its own me
EXTD=lancholy core. \n\nIn short, what's not to like? It's as good a f
EXTD=olk-rock-pop confection as has ever been wrought, drawing on Pett
EXTD=y's and Lynne's deep appreciation and experience with Brit-pop, C
EXTD=alifornia country-folk-rock, and even a touch of Southland swamps
EXTD=. \n\nWithout question, this is an absolutely essential recording
EXTD= for fans of all of the above. T Petty belongs in the pantheon of
EXTD= great singer-songwriters in the tradition of B Dylan, B Springst
EXTD=een, B Seegar, J Mellencamp, N Young, J Cash, K Kristofferson, an
EXTD=d W Nelson. \n\nIf you like this CD, you should also check out th
EXTD=e Tom Petty & the Heartbreakers CD entitled INTO THE GREAT WIDE O
EXTD=PEN, also produced by Jeff Lynne, and the upcoming Spring 2006 Pe
EXTD=tty/Lynne collaboration. Of course, the Traveling Wilburys VOLUME
EXTD= ONE and VOL. 3 recordings are a must, as is the Roy Orbison MYST
EXTD=ERY GIRL record. Finally, I highly recommend the book, CONVERSATI
EXTD=ONS WITH TOM PETTY by Paul Zollo, which is a great read filled wi
EXTD=th revelations and great stories on every TP song. \n\n\nAMAZON.C
EXTD=OM CUSTOMER REVIEW\nA golden oldie showing its age, November 19, 
EXTD=2003\nReviewer: A music fan\nMaybe this CD is worth re-evaluating
EXTD= 14 years after being a big hit. This is where a lot of Tom Petty
EXTD= fans started out, though it's hard for me to imagine having disc
EXTD=overed him at this late stage in his career. Now that he's reache
EXTD=d an even later phase, maybe it's possible to put this CD into pe
EXTD=rspective. I guess nobody under 40 can imagine Tom Petty having b
EXTD=een considered a hard rocker - even if they listen to his older m
EXTD=aterial, it may fit into the same "pop" category to them as this 
EXTD=CD - but to me, the Amazon reviewer had the gist of it right. The
EXTD=re was this great rock artist who hadn't made a solid record sinc
EXTD=e "Hard Promises" in 1981, and was losing steam as his youth fade
EXTD=d.\nThen along came the Traveling Wilburys, and Petty got to join
EXTD= those even-older greats in recording some simple, fun, silly, th
EXTD=rowaway music. The experience let him stop posturing as a rock st
EXTD=ar past his prime and to focus on just having fun, writing and si
EXTD=nging songs with good musicians. I imagine the inspiration for th
EXTD=e songs on this CD grew out of that experience. It has the same s
EXTD=ound, and there are a lot of silly throwaway songs in addition to
EXTD= the hits that had some substance. At its best, there are fun sum
EXTD=mer songs like "Running Down a Dream" or anthems like "I Won't Ba
EXTD=ck Down". This CD is extraordinarily consistent good pop music, a
EXTD=nd seemed like perfection in 1989. Among the guilty pleasures are
EXTD= Tom Petty covering a Byrds song and the nod to Buddy Holly noted
EXTD= by one of the other reviewers.\n\nAfter all this time, I rarely 
EXTD=listen to this CD, though. For people who liked the hit songs her
EXTD=e, the Wilburys, and Petty in general, "Full Moon Fever" probably
EXTD= is an essential recording. Personally, I overplayed and got over
EXTD= the same-sounding Jeff Lynne-produced CD's that came out around 
EXTD=this time: the two Traveling Wilburys CDs, the two Tom Petty CD's
EXTD=, George Harrison's "Cloud 9", and Jeff Lynne's "Armchair Theater
EXTD=". It's all very melodic, has no rough edges, and is technically 
EXTD=perfect to a fault. Much of it is overproduced fluff, though. "Fr
EXTD=ee Fallin'", which gets a lot of praise here, is an overrated and
EXTD= overplayed video-and-radio-driven song that doesn't begin to sta
EXTD=nd up to the heartfelt lyrics of much of Petty's earlier and late
EXTD=r work. I'd generally rather listen to less perfect Petty CD's th
EXTD=at are less about hooks and more about feeling ("Wildflowers" and
EXTD= "Echo"), or to the earlier material that has more of an edge to 
EXTD=it ("Damn the Torpedoes" or "Hard Promises"). For those who liked
EXTD= the hit songs but aren't Petty fans otherwise, the greatest hits
EXTD= compilations probably suffice. A great CD for its time; one star
EXTD= off for not aging any better than I have.\n\n\nHalf.com Details 
EXTD=\nContributing artists: Benmont Tench, Del Shannon, George Harris
EXTD=on, Howie Epstein, Jeff Lynne, Mike Campbell, Roy Orbison \n\nAlb
EXTD=um Notes\nPersonnel: Tom Petty (vocals, acoustic, electric, 6 & 1
EXTD=2 string guitars, keyboards, tambourine, handclaps, sound effects
EXTD=); George Harrison (acoustic guitar, background vocals); Mike Cam
EXTD=pbell (guitar, slide guitar, mandolin, keyboards, bass); Jeff Lyn
EXTD=ne (guitar, keyboards, bass, handclaps, sound effects, background
EXTD= vocals); Benmont Tench (piano); Jim Keltner (drums, maracas, tam
EXTD=bourine); Phil Jones (drums, percussion); Alan Weidel (handclaps)
EXTD=; Kelsey Campbell, Del Shannon (sound effects); Howie Epstein, Ro
EXTD=y Orbison (background vocals).\n\nProducers: Jeff Lynne, Tom Pett
EXTD=y, Mike Cambell.\nEngineers include: Mike Cambell, Don Smith, Bil
EXTD=l Bottrell.\nRecorded in Mike Campbell's Garage, Los Angeles, Cal
EXTD=ifornia.\n\nThere is a "special message" between tracks 5 and 6 w
EXTD=hich is found exclusively on the CD.\n\nThis album is just damn g
EXTD=ood fun--a great collection of easy-going rock songs, crafted not
EXTD= to change the world, but certainly to make it just a little brig
EXTD=hter. Petty's first solo project (without the Heartbreakers), FUL
EXTD=L MOON FEVER shares the goodtime feel of the Traveling Wilburys' 
EXTD=contemporary "Handle With Care." This is not altogether surprisin
EXTD=g; Jeff Lynne co-produced and George Harrison and Roy Orbison gue
EXTD=st. The only non-Petty composition is a version of Gene Clark's "
EXTD=Feel A Whole Lot Better," while "Zombie Zoo," a bewildered parent
EXTD='s diatribe on the kids of today, comes perilously close to socia
EXTD=l commentary.\n\nIndustry Reviews\nRanked #92 in Rolling Stone's 
EXTD=100 Greatest Albums Of The 80s survey.\nRolling Stone (11/01/1989
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