"Tom wrote this song around this single-note bass-string lick," Campbell explains, "And I just instinctively doubled it, playing it an octave higher on two strings, doing double-stops. Shooting stinging riffs at one another, Campbell and Petty wring every drop of grime out of Harpo's signature sound.
"Yeah, that's when I really got hooked," the soft-spoken Campbell affirms, "when I heard that 12-string sound of McGuinn's." On Wildflowers, the McGuinn influence is most evident in Campbell's elegant 12-string Rickenbacker picking in "A Higher Place."Ĭampbell's rough riffing on "Honey Bee," which irreverently appropriates large chunks of Slim Harpo's "King Bee," reveals his affinity for gritty blues. His primary influence - Roger McGuinn's ringing chords - is largely responsible for the Byrdsy quality that has become a Heartbreakers signature. An original Heartbreaker, Mike co-produced the LPs, shared songwriting credit with Petty on several songs, and played bass on a few tracks.
#Tom petty honey bee full
While Full Moon and Wildflowers have been listed as Petty solo projects, one of their essential common denominators has been the chiming fills, snarling bends, and overall fretboard finesse of Mike Campbell. On 1989's Full Moon Fever, 1991's Into The Great Wide Open, and the new Wildflowers, Petty, guitarist Mike Campbell, and pals make music that's earthier and ballsier than their early radio-conscious hits like "Breakdown," "Refugee," and "Don't Do Me Like That." Anyone who still spews this viewpoint hasn't paid much attention to the musicians' output over the last five years.
Tom Petty And The Heartbreakers may have sold millions of records, but there's a lingering perception dating back to the mid '80s that their music is overly broad and too eager to please.
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