Music Millennium

Reviews:

Tom Petty's pissed off-which is not bad news, considering that someof the California rock vet's best music ("Breakdown," "Refugee,""I Need to Know" and scores of others) has found him positively frothingover indignities and inequities.

On The Last DJ, Petty's 10th studio album with the Heartbreakersand his 12th effort overall, his ire is directed at the music industry. He'sfiring buckshot, too, scattering his anger at the corporatization of rock 'n'roll ("Joe'') and the homogenization of commercial radio (thetitle track) but not letting the fans off the hook, either; ultimately, he positsin "Money Becomes King," we get what we're willing to accept.And "Can't Stop the Sun" warns the executive suite that "There'llbe more just like me/ Who won't give in/ Who'll rise again."

The Last DJ isn't one long rant at the biz, though. A second thematicthread of songs such as "When a Kid Goes Bad" and the prayerful "LostChildren" are Petty's own statements about the youth of the nation,while the resilience of love provides inspiration for "You and Me,""Like a Diamond" and "Have Love Will Travel." The chargedemotions push Petty and the Heartbreakers to equally spirited performances.Co-produced by Petty, guitarist Mike Campbell and George Drakoulias (the BlackCrowes), The Last DJ is the group's spikiest set in years. "Joe"stomps with a righteous, raging clangor. Guitar duels twist in and out of "LostChildren" and "Can't Stop the Sun," while Petty and companyinfuse a bit of twang into "Blue Sunday" and "You and Me."Jon Brion's strings bring a lush, Brian Wilson-esque quality to "Dreamville"and "Like a Diamond," and "Men Who Love Women"-whichfeatures guest vocals from Fleetwood Mac's Lindsey Buckingham-is alightly textured confection. Given these virtues, here's hoping TheLast DJ keeps broadcasting, and that Petty never stops lamenting over hissituation.