Tom Petty – Full Moon Fever
Label: |
MCA Records – MCA-6253 |
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Format: |
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Country: |
US |
Released: |
|
Genre: |
Rock |
Style: |
Pop Rock |
Tracklist
A1 | Free Fallin' | 4:14 | |
A2 | I Won't Back Down | 2:56 | |
A3 | Love Is A Long Road | 4:06 | |
A4 | A Face In The Crowd | 3:58 | |
A5 | Runnin' Down A Dream | 4:23 | |
B1 | Feel A Whole Lot Better | 2:47 | |
B2 | Yer So Bad | 3:05 | |
B3 | Depending On You | 2:47 | |
B4 | The Apartment Song | 2:31 | |
B5 | Alright For Now | 2:00 | |
B6 | A Mind With A Heart Of Its Own | 3:29 | |
B7 | Zombie Zoo | 2:56 |
Companies, etc.
- Manufactured By – MCA Records, Inc.
- Phonographic Copyright ℗ – MCA Records, Inc.
- Copyright © – MCA Records, Inc.
- Recorded At – M.C. Studios
- Recorded At – Rumbo Recorders
- Recorded At – Sunset Sound
- Recorded At – Devonshire Studios
- Recorded At – Conway Studios
- Recorded At – Sound City Studios
- Mastered At – Future Disc
- Lacquer Cut At – Future Disc
- Pressed By – MCA Pressing Plant, Gloversville
- Published By – Gone Gator Music
- Published By – SBK April Music Inc.
- Published By – Wild Gator Music
- Published By – WB Music Corp.
- Published By – Tickson Music
- Copyright © – Gone Gator Music
- Copyright © – SBK April Music Inc.
- Copyright © – Wild Gator Music
- Copyright © – Tickson Music
Credits
- Art Direction – Tiny Bouchet
- Bass, Guitar, Keyboards, Backing Vocals – Jeff Lynne
- Drums, Percussion – Phil Jones (3)
- Engineer – Mike Campbell
- Engineer [Assistant Engineer], Equipment [Guitar Maintenance] – Alan "Bugs" Weidel*
- Guitar [Solos], Soloist, Mandolin, Bass, Slide Guitar, Keyboards – Mike Campbell
- Illustration [Illustrations] – Awest
- Lead Vocals, Backing Vocals, Acoustic Guitar, Electric Guitar, Twelve-String Guitar, Keyboards [Some], Tambourine – Tom Petty
- Management – Tony Dimitriades
- Mastered By – Steve Hall
- Photography By [All Photos By] – Aaron Rapoport
- Photography By [Back Cover] – Bob Sebree*
- Producer [Produced By] – Jeff Lynne
- Producer [Produced With] – T.P.*
Notes
"⧈-G-⧈" stamped in runouts denotes MCA Pressing Plant, Gloversville, pressing. Remainder of runouts mostly etched.
Issued with custom-printed inner sleeve with lyrics, credits and additional artwork.
LP is packaged in a aqueous-coated cover.
Rumbo Recorders credited as Rumbo Studios.
Future Disc credited as Future Disc Systems.
Inner sleeve:
Recorded at M.C. Studios. Additional recording at: Rumbo Studios, Sunset Sound, Devonshire Studios, Conway Studios, Sound City Studios.
Mastered at Future Disc Systems, Hollywood, CA.
Track publishers on labels:
All selections published by Gone Gator Music (ASCAP) and SBK April Music Inc. (ASCAP) except
A3 published by Gone Gator Music (ASCAP) and Wild Gator Music (ASCAP)
A5 published by Gone Gator Music (ASCAP)/SBK April Music Inc. (ASCAP) and Wild Gator Music (ASCAP)
B1 published by Tickson Music
B3 to B5 published by Gone Gator Music (ASCAP)
Track copyrights on inner sleeve:
A1, A2, A4, B2, B6, B7 ©1989 Gone Gator Music (ASCAP) and SBK April Music Inc. (ASCAP)
A3 ©1989 Gone Gator Music (ASCAP) and Wild Gator Music (ASCAP) All rights on behalf of Wild Gator Music istered by WB Music Corp.
A5 ©1989 Gone Gator Music (ASCAP) and SBK April Music Inc. (ASCAP) and Wild Gator Music (ASCAP) All rights on behalf of Wild Gator Music istered by WB Music Corp.
B1 ©1964 Tickson Music
B3 to B5 ©1989 Gator Music (ASCAP)
Roy Orbison appears courtesy of Virgin Records America, Inc.
George Harrison appears courtesy of Dark Horse Records
Issued with custom-printed inner sleeve with lyrics, credits and additional artwork.
LP is packaged in a aqueous-coated cover.
Rumbo Recorders credited as Rumbo Studios.
Future Disc credited as Future Disc Systems.
Inner sleeve:
Recorded at M.C. Studios. Additional recording at: Rumbo Studios, Sunset Sound, Devonshire Studios, Conway Studios, Sound City Studios.
Mastered at Future Disc Systems, Hollywood, CA.
Track publishers on labels:
All selections published by Gone Gator Music (ASCAP) and SBK April Music Inc. (ASCAP) except
A3 published by Gone Gator Music (ASCAP) and Wild Gator Music (ASCAP)
A5 published by Gone Gator Music (ASCAP)/SBK April Music Inc. (ASCAP) and Wild Gator Music (ASCAP)
B1 published by Tickson Music
B3 to B5 published by Gone Gator Music (ASCAP)
Track copyrights on inner sleeve:
A1, A2, A4, B2, B6, B7 ©1989 Gone Gator Music (ASCAP) and SBK April Music Inc. (ASCAP)
A3 ©1989 Gone Gator Music (ASCAP) and Wild Gator Music (ASCAP) All rights on behalf of Wild Gator Music istered by WB Music Corp.
A5 ©1989 Gone Gator Music (ASCAP) and SBK April Music Inc. (ASCAP) and Wild Gator Music (ASCAP) All rights on behalf of Wild Gator Music istered by WB Music Corp.
B1 ©1964 Tickson Music
B3 to B5 ©1989 Gator Music (ASCAP)
Roy Orbison appears courtesy of Virgin Records America, Inc.
George Harrison appears courtesy of Dark Horse Records
Barcode and Other Identifiers
- Barcode (Text): 0 76732-6253-1 6
- Barcode (Scan, UPC_A): 076732625316
- Rights Society: ASCAP
- Pressing Plant ID (Stamped in runouts): ⧈-G-⧈
- Matrix / Runout (Side A label): MCA-8770
- Matrix / Runout (Side B label): MCA-8771
- Matrix / Runout (Side A runout, variant 1): MCA-8770-FDS-2 FUTURE DISC ⧈-G-⧈
- Matrix / Runout (Side B runout, variant 1): MCA-8771-FDS-1 ⧈-G-⧈
- Matrix / Runout (Side A runout, variant 2): MCA-8770 FDS2 FUTURE DISC ⧈-G-⧈
- Matrix / Runout (Side B runout, variant 2): MCA 8771-FDS2 ⧈-G-⧈
Other Versions (5 of 150)
View AllTitle (Format) | Label | Cat# | Country | Year | |||
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Recently Edited
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Full Moon Fever (CD, Album, Club Edition, Reissue, CRC ) | MCA Records | MCAD-6253 | US | 1989 | ||
Recently Edited
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Full Moon Fever (LP, Album, Stereo) | MCA Records | 255 929-1 | Europe | 1989 | ||
Recently Edited
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Full Moon Fever (Cassette, Album, Club Edition) | MCA Records | CRC MCAC-6253, MCAC-6253 | US | 1989 | ||
New Submission
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Full Moon Fever (CD, Album, Club Edition) | MCA Records | CMCASD 6253 | Canada | 1989 | ||
Recently Edited
|
Full Moon Fever (CD, Album, Club Edition, BMG) | MCA Records | MCAD-6253 | US | 1989 |
Recommendations
Reviews
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Edited 13 days agoAnother proof of ALL these freaks, diddling around how the next mix sounds, and/or if you even will hear anything on a platter, .. and other bull more (no one´s really interested in!!). What counts, only counts, is THE MUSIC! That´s all, ... ... next laughable yuppie gen.
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I was driving home from work in ‘89, and I heard Free Fallin’ on the radio for the first time. I immediately got off the freeway and headed to the nearest Tower Records store in San Diego where I bought my copy. Still sounds awesome.
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Found this in a record store for 30$, it’s easily VG+ and my jaw dropped
Like others have said I can’t believe how silent the vinyl is, and the bass and overall dynamics are outstanding
Not to mention every song is a smash. Might be my favorite album in my collection -
If anyone has a clipped, clean and fully intact hype sticker from this first pressing they'd be willing to sell, please message me. I bought a near perfect used copy years ago when the price wasn't so high, but unfortunately it was lacking that bit of ephemera 🫤
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Edited 2 years agoI always wanted this album on vinyl for years. So I bought a NM OG US Pressing. It sounds good, but, I gotta say, for this particular album, I actually prefer the OG CD because it’s crisper, fuller sounding with more detail and clarity yet with no harshness. The LP is warmer but it’s somewhat lacking in liveliness. And no, it’s not my turntable set up either as I have dozens of albums where the vinyl version betters the CD.
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This sounds fantastic! Was surprised how quiet the vinyl was. Like it was pressed in Japan. Worth getting. Especially since the reissues are about the same price.
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One of my best sounding records. Plays quiet with great dynamics. Really well mastered album, and great music too. Would recommend getting even at current prices.
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With Full Moon Fever touted as Petty’s first solo outing, the album nearly redefines his relationship to rock n’ roll, taking a step back from the power of the Heartbreakers band in order to reestablish the romance surrounding the likes of Buddy Holly, Del Shannon and of course the Byrds … where he incorporates aspects from these and other artists who’ve inspired him, morphing those musical impressions in order to emancipate his sound, taking it to an entirely new and fresh level.
If Petty takes anything away from those aforementioned greats, it’s the ability to unite his vision while establishing parameters that suit him well, infusing a minimalist package that carries a punch, though never knocking the listeners out, preferring to weave a relationship with those folks, allowing them to glide alone with his music, making it very personal and very accessible.
Oddly enough, at the time, MCA Records initially rejected Full Moon Fever, saying that it was too low keyed, a mere shadow of what Petty was doing with the Heartbreakers. Perhaps in many aspects it was outside of what anyone had expected, though that being said, the album delivered no less than five top flight singles, showing that Petty was capable of extraordinary vision, and here with Jeff Lynne, Howie Epstein, Roy Orbison and George Harrison, he was reinventing himself, while dancing along the edges of the Traveling Wilburys.
Full Moon Fever is spacial, with each song being atmospheric and sprawling in its own way, creating a dynamic whole where nothing seems interdependent, with each song being able to stand on its own. In many ways the album feels nostalgic, yet it all comes across as entirely futuristic, making room for something more explorative-ly captivating, and while with twenty twenty hindsight, it might not be Tom’s best album, it sure comes across sounding like a whole lot of fun.
*** The Fun Facts: As to the album’s title, at one time it was a common belief that the full moon could and did induce looney behavior, with many claiming a defense of ‘Moon Madness’ to get them off the hook, a sort of temporary insanity.
The original American compact disc release of the album contains a hidden track in the space prior to Track 6, ”I'll Feel a Whole Lot Better.” This is the section where the cassette or LP would need to be flipped. The track consists of a brief tongue in cheek monologue over a background of barnyard noises. The interlude is not included in other physical versions of the album, though it is mentioned (as "Attention CD Listeners") in the album credits in all versions. This “Hello Listeners …” theme would be repeated again in a different manner on the Heartbreakers album Into The Great Wide Open. All and all, I found this feature to be entirely annoying, perhaps fun the first time, though quickly boring and tiresome thereafter.
Review by Jenell Kesler
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