Review Summary: A new classic from a band of old pros; after 34 years, this band has finally found their perfect chemistry. Mojo is worth every minute.
Mojo by Tom Petty & The Heartbreakers
After eight years of solo projects and the death of bassist Howie Epstein, the gang is back with some new tunes. But don't expect this album to be just another Heartbreakers album. Tom Petty said that, "It's blues-based. Some of the tunes are longer, more jammy kind of music." What exactly does that mean? We're about to find out.
Track 1. "Jefferson Jericho Blues"
This song is just a burst of energy to start the album. The groovy melody of Mike Campbell's guitar and bluesy riffs makes this a very enjoyable track. Meanwhile, the harmonica of Scott Thurston keeps the song at a steady pace, making sure it never gets off track. And of course, Steve Ferrone's drums are soft, but keep the song's rthym throughout the track. 5/5
Track 2. "First Flash Of Freedom"
With an opening riff that was obviously inspired by Jimi Hendrix, Mike Campbell once again proves his case why he just might be the most underappreciated guitarist of all-time, as he seems to have took a page from Jimmy Page and David Gilmour in this track. The instrumental part is very reminiscient of the Allman Brothers Band circa-1970. 5/5
Track 3. "Running Man's Bible"
This track is very bluesy, with the smooth melodic guitar riffs and steady organs and drums making it very enjoyable to listen to. It's great to hear that sudden burst of energy when Petty sings the chorus, and then hearing it quickly fade back to the running beat. It's an excellent transition. The track is cool, yet upbeat at the same time. A legendary set of songs to start off the album. 5/5
Track 4. "The Trip To Pirate's Cove"
Unlike the first three songs, this song doesn't automatically grab you as something noteworthy; you have to listen to the details. Tench's accents on the electric piano are stunning and sly, and makes for an eerily intuitive road trip reverie. It may not be there at first, but give it time and a few listens, and you'll be hooked on this song, just like most of the other songs on this album. 5/5
Track 5. "Candy"
This song is appropriately named, as it sure is sweet. Wonderful riff, wonderful guitars, no-nonsense drumming from Steve Ferrone and humorous lyrics make this a great song. The song surely has the atmosphere of the "In Memory Of Elizabeth Reed" to it, and it keeps up the slow tempo of the previous tracks. It lacks the charisma of the first four songs, but not much else. 3.5/5
Track 6. "No Reason To Cry"
There's nothing wrong with this track; the drums are steady, the piano rythmic, the guitars smooth and melodic. It's a slow song, which makes for a great transition into the next track. However, there is a flaw: the song ends perfectly at 2:07. But there's a problem: it drags on for another minute. This extra, unnecessary minute of can make this track a bit of a romantic snoozer. 3/5
Track 7. "I Should Have Known It"
Armed with his steady weapon, a '59 Les Paul Sunburst, Mike Campbell is excellent on this track, which contains a heavy Yardbirds-style rave-up and is very Led Zeppelin-influenced. This performance is a natural knockout - cocksure grooves, pithy knife-play guitars and little overdub fuss. On an album that should have been Grammy-nominated, this is the "Best Rock Performance". 5/5
Track 8. "U.S. 41"
With the opening riff, you just expect Bob Dylan to start whaling out one of his country songs. But the song quickly builds up energy, and becomes a legitimate country rock track. The song tells the tale of a man that's been running from the law, and this song just takes Petty's superb storytelling ability to the next level; a true Dylan-esqe tale of hardships and a great melody. 4/5
Track 9. "Takin' My Time"
This song sounds like an well-oiled treble-armored vehicle built for bruising, driven with all hands on the wheel. The funky, grinding fuzz bridge will take your breath away. In an album full of songs worthy of a Greatest Hits album, this is definitely up near the top. For most bands, a song like this would be a lifeline; for the Heartbreakers, it's just another fun song to play. 5/5
Track 10. "Let Yourself Go"
In the first second, the track immediately hooks you with an organ bass line that reminds the listener of "Barbara Ann". But this track is anything but Beach Boys, as the organs fade into bluesy guitar riffs and bellowing harmonica that has Muddy Waters written all over it. It makes you want to pick up a guitar and pluck it until your fingertips bleed and ears ache. 4/5
Track 11. "Don't Pull Me Over"
Wow. A reggae song from Tom Petty & the Heartbreakers. That's different. As always, Mike Campbell's guitar work is amazing. But the song is boringly repetitive, and resembles a Sublime-type track. It's a great track, but on an album full of great tracks, this one just doesn't cut it for me. It would be great on another album, but on Mojo, it doesn't fit the rythm of set of songs. 2.5/5
Track 12. "Lover's Touch"
Ahh, this song is refreshing. The extra beat of smoldering silence before the chorus line is a kind of cool you just can't create with Pro Tools or Auto-Tune. This track totally sounds like something that would be featured on the Heartbreakers' 1981 album Hard Promises. Steve Forrone and Ron Blair's blues-train shuffle is captivating, as is Mike Campbell's bluesy guitar work. 5/5
Track 13. "High In The Morning"
This song is Jerry Garcia-meets-the-Allman Brothers during the instrumental, and it contains all of the bluesy-swaggerring goodness of the Rolling Stones' Exile On Main St. bottled up in one excellent song. As the song fades out, you try to grab it to make it come back, as the song's length - 3:38 - is way too short. On an album chock-full of good music, it seems a little chincy to me. 3/5
Track 14. "Something Good Coming"
While the three cords are as unoriginal as possible (reminds you of "Free Fallin'" a little bit, don't you think?), this song is amazing. At 4:20, it clocks in at the perfect amount of time. The best slow song on the album, it's an excellent transition from the bluesy "High In The Morning" to the high-energy of the album's closing track. After one listen, the tune will remain in your head. 4.5/5
Track 15. "Good Enough"
While the track is simply called "Good Enough", it might as well be called "Outstanding". The lead single from the album, it doesn't disappoint. The beginning of the song strongly resembles "Shine On You Crazy Diamond", but compounds into of set of Led Zeppelin slow-blues, and slowly evolves into The Beatles' "I Want You (She's So Heavy)". Terrific end to Mojo. 5/5
Choice Cuts
Wow, so many wonderful tracks to choose from. When the legendary band finally calls it quits, Track 1 ("Jefferson Jericho Blues"), Track 2 ("First Flash Of Freedom"), Track 3 ("Running Man's Bible"), Track 4 ("The Trip To Pirate's Cove"), Track 7 ("I Should Have Known It"), Track 9 ("Takin' My Time"), Track 12 ("Lover's Touch") and Track 15 ("Good Enough") will all be known as some of the band's prime cuts from one of their best albums.
Overall
With their lethal garage-rock sound mixed with pop-heavy hooks, the band has always had the potential to record an album like Mojo: everybody in one room, going for the master take together and getting it fast. They just took 34 years to work up the nerve. It was worth the wait; Mojo is dynamite. The album is easily one of this group's very best records; a seal on a legendary career. 4.5/5
