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Guitarist Mike Campbell had a challenging relationship with Tom Petty, but ‘love and respect’ never wavered

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In his recently published memoir titled “Heartbreaker”, Mike Campbell reminisces about an afternoon in the early 70s. During this time, Tom Petty, who was Campbell’s bandmate in their Florida cover band called Mudcrutch, performed one of his songs. As Petty strummed the chords to what would later become a popular FM radio hit “Don’t Do Me Like That”, Campbell expressed his admiration by saying, “If I could write a song like that, I would gladly give my right arm for it.

At that point, Campbell was an exceptionally talented guitarist raised by a single parent, striving desperately to break free from poverty through professional music. When he crossed paths with Petty, he was juggling dismal minimum-wage jobs and contemplating enlisting in the military. “I wanted to play guitar to dodge getting a real job or joining the Air Force,” Campbell recalls. “As long as someone was willing to pay me a dollar for it, that’s what I was going to do.” Campbell also penned songs, but they were good, not exceptional. Petty, on the other hand, wrote effectively and swiftly. Before either of them had tasted any success with the Heartbreakers, Campbell made up his mind to work diligently and shrewdly: Petty was a remarkable talent, and Campbell would stick by him.

Campbell, over the years, solidified his position as one of rock’s most accomplished backup musicians. He stood to the left of Petty during almost every performance by Tom Petty and the Heartbreakers throughout their career spanning over four decades, right up until their farewell concert at the Hollywood Bowl on September 25, 2017, just a week before Petty passed away at age 66. This role was the result of years of dedicated practice and development.

The story “Heartbreaker” is about perseverance and patience being richly compensated. In no time, Tom Petty turned into the man we all know as Tom Petty, while Campbell earned the title of a guitar deity. Known for his impeccable guitar parts, Campbell’s resonating solos have left an everlasting impression on our minds, just like Petty’s charming smirk. Their collaboration was so harmonious that whenever Petty worked on solo albums outside the band, he would recruit Campbell to compose, produce, and perform. As Campbell puts it from his home in Woodland Hills, “Crossing paths with someone can lead you down a path that shapes your whole life.” If I hadn’t encountered Tom or if I had given up when things got tough, I’m not sure where my life would have taken me.

For a considerable period, musicians cycled through Mudcrutch, making it challenging for the band as they endeavored to find their unique identity amidst numerous other talented cover bands in Florida. They played countless gigs at bars scattered across the South, striving to discover the magical combination that would set them apart. One significant venue was a bar in Gainesville known as Dub’s, where they performed almost every night for weeks on end, occasionally introducing one of Petty’s original tunes, characterized by its ringing, Byrds-influenced melodies. As Campbell recalls from that time, “Everyone was trying to emulate the Allman Brothers back then. No one was making … concise songs with lovely harmonies and large choruses.

The group performed for rowdy and agitated bikers, often alongside wet T-shirt competitions, frequently got into heated arguments with stingy club managers. Some disillusioned band members left; Campbell remained cautious. He recognized Petty as his opportunity for success. “We were young and we harbored a vision,” Campbell explains. “We weren’t entirely convinced we would make it, but we yearned for that success.

As stated by Campbell, Petty, who was just 19 years old at the time, already possessed a fully developed talent. He was brash, self-assured, and teeming with innovative ideas, often outmaneuvering everyone else in the band strategically. According to Campbell, Petty had an unyielding ambition and determination to achieve greatness without getting derailed or settling for mediocrity. Interestingly, they shared similar tastes in music. It was Petty who tirelessly approached record label executives with a demo tape, eventually catching the attention of Denny Cordell, President of Shelter Records, who then launched the band. Campbell acknowledges that he would never challenge Petty for leadership, but rather saw himself as the one who could complement him, push him, and help him improve.

Essentially, “Heartbreaker” serves as a guide on successfully collaborating with a dominant band member, an alpha male, according to Campbell. He mastered the art of conciliation and mediation – allowing minor disputes to pass, smoothing over differences for the collective benefit, and avoiding letting selfishness hinder the overall vision. Despite Petty’s volatile and unpredictable nature – understanding that he was the key ingredient in the mix – he continually motivated Campbell to compose music.

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As I sat down to pen my review, I couldn’t help but reflect on the extraordinary self-assuredness exhibited by Tom, as noted by Campbell. With a repertoire of tunes humming in my mind, I found myself drawn towards him, eager to lend a hand wherever I could. Instead of jamming his songs down our throats, Campbell would subtly encourage Petty with a cassette filled with the bare bones of chord progressions or catchy lyrics – a refrain here, a chorus there. This delicate approach to collaboration bore fruit in the form of timeless classics, yet it was not without its share of apprehension on Campbell’s part.

Initially, Campbell expressed some doubts about his writing. He prefers polishing his work privately, even keeping it hidden from his wife at times. There were instances when Tom would delay reading his pieces, but later on, he’d offer remarkable suggestions. Campbell finds this process more appealing than facing someone directly in a room.

1976 marked the explosion of Petty and the Heartbreakers when their first album produced hits like “American Girl” and “Breakdown.” However, as the challenges mounted, both internally and externally, the pressure grew significantly. Tom Campbell made every effort to maintain calmness, aiming to prevent the band from succumbing under the burden of expectations.

1979’s “Damn the Torpedoes” was Tom Petty and the Heartbreakers’ first massive selling album, yet it nearly dismantled the group. As told in Petty’s memoir, producer Jimmy Iovine and his assistant Shelly Yakus pushed everyone to their limits in the studio, making it feel like a psychological battlefield. The Heartbreakers’ drummer, Stan Lynch, experienced most of the torment; on several instances, Lynch walked out of the studio, returning only when others couldn’t continue (Lynch eventually departed from the band in 1994).

As I sat down in the recording studio, I found myself replaying at least 70 renditions of “Refugee,” a track that initially sprang from one of my improvisations, before it received the seal of approval from Iovine, Yakus, and Petty. It wasn’t an easy task, as Tom was straightforward, had no patience for mediocrity, and was known to call things as he saw them. There was a heavy weight of expectation to excel hanging over me. “It was not simple because Tom was direct and he didn’t tolerate incompetence,” I recall saying. “He pretty much told it like it was. The pressure to be outstanding was immense.

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This is not the Tom Petty story that I intended to write.

Apart from creative differences, there was another contentious matter – financial distribution. From the start, the band’s first manager, Elliot Roberts, made it clear that Petty would get half of the profits, while the rest would be divided among the band members. This arrangement reportedly led to resentment for many years between the Heartbreakers’ keyboardist, Benmont Tench, and the group. During the “Torpedo” recording sessions, a disagreement arose between Campbell and Petty about Campbell wanting a larger share for his contributions. Petty’s response was concise: “I’m Tom Petty.” And that ended the discussion.

In his words, “Tom Petty was generous with me when it came to ‘Full Moon Fever,’ his hit 1989 solo album.” This shows there was a kind and giving aspect to Tom Petty as well.

As a die-hard cinema enthusiast, I can’t help but marvel at the extraordinary collaboration between Petty and Campbell that has left an indelible mark on music lovers worldwide. Together, they penned timeless tunes such as “You Got Lucky,” “Refugee,” and “Here Comes My Girl,” which have become household favorites.

As more songs flowed from Petty’s pen to Campbell, his self-belief as a songwriter flourished, prompting him to venture beyond the band and co-create with Don Henley the smash hits “The Boys of Summer” and “The Heart of the Matter.” In his own words, “Tom made me believe in myself.” Our bond allowed us to navigate through challenges, always returning to love and respect. This is why our partnership endured for so long.

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2025-03-14 13:31

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