Tom Petty
Southern Accents

We are in 1985 and Tom Petty already enjoys an excellent reputation. The blonde singer and musician from Florida, always backed by the loyal Heartbreakers, has already produced a handful of formidable albums, becoming, especially in the United States, one of the most appreciated rock singer-songwriters by both the public and critics. Initially, this album was supposed to be a double album, but the idea changed due to some issues during production, including the rocker breaking a hand when, out of nervousness, he punched a wall.

Despite the now well-established formula working wonderfully, Petty decides to take a risk and try something slightly different. The album doesn't only feature traditional rock, but there is also a growing use of electronics, already used in "You Got Lucky" from the previous album, and for the first time, a horn section makes an appearance.

Alongside some songs that could feature on any previous album, such as the opening and stunning "Rebels," one of Petty's anthems par excellence, and "Dogs On The Run," both rocking with the Heartbreakers in great form, we find tracks that slightly diverge from the band’s classic sound. "Don't Come Around Here No More" is the most convincing episode of the new path: squared-off drums, electronic buzz, a memorable melody supported by a fantastic chorus in the refrain, and an ending that accelerates and becomes pure rock'n'roll. Notable is the music video accompanying this song, one of the most beautiful and unique, featuring our Petty dressed as the Mad Hatter from "Alice in Wonderland."

The slower and more emotional pieces are not missing, like the splendid and melancholic story "Southern Accents" and the concluding "The Best Of Everything" with prominent horns. However, some songs, while remaining good, are somewhat stifled by the arrangement, like "It Ain't Nothin' To Me" with some filtered vocal parts and "Make It Better (Forget About Me)" which could have been a fun and dynamic rock'n'roll. In some cases, electronics and horns harm the group's usual genuine sound. A bit anonymous, though pleasant, "Spike" and "Mary's New Car" are two minor episodes that don't add anything significant. It's unfortunate for the Heartbreakers, underutilized in most of the album, but they will nonetheless enormously improve the pieces of this work during live performances.

Tom Petty is one of the few who has never released a bad album. Here we are certainly not at the level of "Damn The Torpedoes" or "Long After Dark" but "Southern Accents" remains a good transitional work that is perhaps less immediate and thus requires more listens before being fully assimilated. It will take a few more years to find Petty in full form again in his most famous album "Full Moon Fever."