How to play last dance with mary jane on guitar

Petty, Tom and the Heartbreakers – Mary Janes Last Dance

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Mary Jane's Last Dance

Tom Petty and the Heartbreakers


Each chord gets two beats unless otherwise noted.


Intro: / Am - G - / D - Am - / x4


Am                G

She grew up in an Indiana town

       D                     Am

Had a good lookin' Mama who never was around

          Am                   G

But she grew up tall and she grew up right

          D                  Am

With them Indiana boys on an Indiana night


/ Am - G - / D - Am - / x2


           Am                     G

Well, she moved down here at the age of 18

      D                          Am

She blew the boys away - It was more than they'd seen

Am                       G

I was introduced and we both started groovin'

     D                          Am

She said I dig you baby, but I got to keep movin'


Am     G   D               Am

       on   keep movin' on


/ Am - G - / D - Am - /



Em (2)

Last dance with Mary Jane

                           A (2)

One more time to kill the pain

Em (2)

I feel summer creepin' in and I'm

                     A (1)   G (hold 1)

Tired of this town again


/ Am - G - / D - Am - / x2


     Am                G

Well I don't know  but I've been told

     D                    Am

You never slow down  you never grow old

     Am                    G

I'm tired of screwing up  tired of going down

 D                Am

Tired of myself  tired of this town


Am         G

Oh my my  Oh hell yes

D                  Am

Honey put on that party dress

Am                  G

Buy me a drink and sing me a song

D                           Am

Take me as I come  'cause I can't stay long




/ Am - G - / D - Am - / x4


         Am              G

There's pigeons down on Market Square

D                     Am

She's standing in her underwear

Am                   G

Looking down from a hotel room

     D                 Am

The nightfall will be coming soon


Am        G

Oh my my  Oh hell yes

     D                  Am

You got to put on that party dress

        Am                     G

It was too cold to cry when I woke up alone

   D                      Am

I hit my last number and walked to the road




/ Am - G - / D - Am - / x8


End on last Am


This file is the author's own work and represents his interpretation of this song. It's intended solely for private study, scholarship or research.

"Mary Jane's Last Dance" by Tom Petty and the Heartbreakers

Video lesson

Print-Friendly Song Sheet 4 pages

Follow along with my print-friendly guide for this song! It’s available for purchase at, the web’s leading provider of licensed sheet music.

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Editor’s notes

In this lesson, I’ll show you how to play an acoustic version of Mary Jane’s Last Dance by Tom Petty and the Heartbreakers. I’ll show you the chords needed, explain the intro riff, the hammer-ons, strumming pattern, and some cool riffs & flourish runs you can do to spice things up. This is an approachable song that can be rewarding even for advanced guitarists, so check it out and have fun!

Video timestamps:

  • 0:00 Preview / playthrough
  • 0:54 Lesson overview & tuning notes
  • 1:30 Intro chords & timing
  • 2:39 Intro chords strum pattern
  • 3:05 Intro hammer-on technique
  • 5:00 Verse chords & strumming
  • 5:47 Verse harmonica solo riff
  • 7:03 Chorus chords & strumming
  • 7:54 Chorus fills, riffs, and runs
  • 9:40 Lead guitar riff
  • 11:33 Farewell

A quick note about tuning…

If you want to play along with Tom Petty’s recorded version, you’ll need to tweak your tuner to use ~453hz instead of 440hz (which is the default). But, make sure you keep your guitar in standard tuning (meaning, the strings are E-A-D-G-B-E, from thick to thin). Here’s a video (and some additional notes) where I show how to do this (note, my video lesson above has me in “pitch standard” of 440hz):

Lyrics w/ chords

If you want a print-friendly version of this, with chords written above all the lyrics (in the final verses), get my PDF!

Quick note about guitar tuning

Head’s up, the album version of this song isn’t quite in perfect concert pitch of A4 = 440hz. Instead, it’s tuned to roughly A4 = 453hz, which is slightly sharp. This is likely because the recording was sped up in post-production (raising the pitch), or perhaps they simply all tuned their instruments a bit sharp for some reason. I’m noting this because playing along with Petty’s version (if you’re in standard tuning) won’t sound quite right. My video lesson is in standard tuning, with A4 = 440hz (the normal concert pitch that tuners default to).

Quick note about key

While you might initially guess this song is in the key of A-minor, it’s actually using notes from the A dorian scale, which are A-B-C-D-E-F#-G. In case its helpful, notice these are the same notes used in the G major scale – and you’re simply using “A” as your home note instead of a “G”. The chorus, however, which has that switch to an A-major chord, uses notes from the E dorian scale (E-F#-G-A-B-C#-D)… which are the same notes as A-dorian but adds the C# note (which is the single note making the A-minor chord become an A-major, instead).

How to play the chords

Here are the chords you’ll need to be able to play to pull off this song. Not a lot! And fortunately, no barre chords.

E –––0–––––3–––––2–––––0–––––0––– B –––1–––––0–––––3–––––0–––––2––– G –––2–––––0–––––2–––––0–––––2––– D –––2–––––0–––––0–––––2–––––2––– A –––0–––––2–––––––––––2–––––0––– E –––––––––3–––––––––––0––––––––– Am G D Em A 

Chord progressions

The tempo for Mary Jane’s last dance is 170 beats per minute (bpm), with four counts per each chord. If this seems fast, then cut it in half (85 bpm) – and know the metronome clicks will happen on the “1” and “3” counts only.

For the intro, verse, and interludes – you’ll want to repeat this progression.

See my sheet music for the chord progression diagram. 

For the chorus, you’ll change it up to use this. Note how you’re doing much less chord switching here – instead, you stay on each chord for quite a long time.

See my sheet music for the chord progression diagram. 


Want a basic strumming pattern? Try this. This is what I use for the verse. This uses four equal counts for each chord. You could play the intro with this also, if you wanted…

See my sheet music for my strumming diagram. 

To step things up a notch: I use this fancier strumming for the intro riff.

See my sheet music for my strumming diagram. 

Intro & verse riff hammer-ons

A big part of getting close to the Tom Petty guitar sound is using hammer-ons when you play some of the chords – most notably during the intro to the song. There are probably many subtleties and variations I could write tabs for – but I’ll begin with these two simple versions.

For the A-minor, use your regular left-hand finger positions – put wait until after you strum the chord before bringing down your ring and middle fingers. When you bring your fingers down onto the strings, do it with force and speed. If done right, this will make a new sound, as if you’ve plucked the notes with your pick. See my video for context.

See my sheet music for the tab. 

Same deal with the D-major chord – hammer on the high-E string with your left hand’s middle finger. You could hammer-on all three notes if you wanted to – it’s up to you.

See my sheet music for the tab. 

The full tab I play roughly looks like this:

See my sheet music for the tab. 

If this seems difficult, that’s fine! It’s like that for everyone at first. Keep practicing, session after session. You’ll slowly get better with time. Seriously.

Verse harmonica imitation

It is possible, should you wish, to imitate the notes that the harmonica plays in the album version (between verses). You’ll do it using the tab below. The key here is accenting the highest note (i.e., the note on the thinnest string) for each chord you strum. Also notice how you’re never strumming the high-E string – that would ruin the melodic effect. Watch my video lesson for context.

See my sheet music for the tab. 

Chorus flourish

Here’s how to spice up the E-minor, which is totally optional. I play this by using my pinky and ring finger on the high-E string. These notes map to the vocal melody of the song

See my sheet music for the tab. 

Next, is the A-major. You can spice this up by using simple Asus4 chords (done by adding your pinky down on the 3rd fret of the B string). Play this freely, using whatever strum timing you like.

See my sheet music for the tab. 

Finally, my favorite way to spice up the A-major is as follows. This one is much more tricky – but it creates a very nice ascending sound. The trick here, is to realize that there are only two chord shapes you’re using – even though the frets change on each chord. If you get your left hand’s fingers to memorize the two simple shapes, the only thing left to do is memorizing the anchor fret for each position. See my video for context!

See my sheet music for the tab. 

Lead guitar lick, simplified

Finally, here’s a “simple” way to play the distinctive lead lick you hear during some of the instrumental verses. By “simple” I am keeping this to one string at a time, as opposed to playing 2-3 strings at once (which it sounds like you hear on the album version).

See my sheet music for the tab. 

The story of one song: The story of one song. Tom Petty and Heartless

Tom Petty and the Heartbreakes - Mary Jane's Last Dance (1993)

Read about the song in Vika: Eng

Album alib

It is not known for certain who or what Tom Petty had in mind when writing this little thing - his wife Jane, with whom he broke up a year before, or the very marijuana, the slang name of which in Western countries is this full name.

Anyway, the original title of the song was Indiana Girl, after one of the guitars of Mike Campbell, the guitarist of the Heartbreakers. It was on this instrument, which had a female proper name, that the first chords of the chorus were taken. It happened in Campbell's garage, during one of the spontaneous rehearsals.

A week later, Petty came back to the garage, this time with a finished song, but the chorus now began with "Last dance with Mary Jane". Indiana Girl migrated to main text: "She grew up in an Indiana town..."

This song has a rather funny video, which could well become a cult for today's emo, if they had a modicum of knowledge at least in the recent history of rock. Petty himself plays the role of a mortuary orderly in it, who takes the corpse of a pretty lady to his home - in the role of a corpse, by the way, not someone there, but Kim Basinger herself - dresses the body in a wedding dress, sits it down at the table by candlelight, and after that he also dances this madam.

Album: the story of one song

Album: History of one song

at the end of the plot, he allocates it on his pickup to the seashore and leaves it there to the free swim dark waters. In general, this abyss swallowed her in one moment. And the video received the status of ze best on the MTV channel. For some reason in the category "Best Actor". Although I would give the Basinger prize - already for the mere fact that she agreed to star in this bizarre, unlike Sharon Stone, who did not respond to Tom Petty's offer at all.

Album: The Story of a Song


Album: The Story of a Song borrowed the theme song from Mary Jane's Last Dance for their hit Dani California. Petty refused to sue, saying that the feeling of similarity arises in the listener not because of plagiarism, but because both songs were produced by Rick Rubin, a long-time producer of both teams.

And here's Waiting for the Sun for comparison - not by The Doors, but by The Jayhawks, who played as the opening act for the Heartbreakers on their 1992 tour. The keyboard part for this song was recorded by Benmont Tench himself - one of the founders of the Heartbreakers. So it goes:).

Tom Petty's untold truth | Movie News

The untold truth of Tom Petty

Debra Kelly

The word "legend" gets tossed around a lot, but no one can argue that when Tom Petty passed away at age 66, the world didn't lose the real legend. For all his success, despite his fame, and for all his popularity, one thing everyone who knew him seemed to agree was that he was exactly the person he projected onto the stage. This is reflected in what he once told Esquire magazine, “Do what you really enjoy and hopefully it pays the rent. As far as I understand, this is a success." Wise words. What else do you need to know about it?

He didn't mind when a person plagiarized music

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Even if imitation is the sincerest form of flattery, it's strictly off the hook for most artists and writers. But while Shallow had him share the experience with parts of his music and other hit songs, he didn't seem to be bitter about it. In 2006, headlines in the New York Post (via Rolling Stone) suggested that Small could have a pretty good lawsuit against the Red Hot Chili Peppers. The similarities between "Mary Jane's Last Dance" and "Dani California" were obvious enough for everyone to see, but according to Petty, these things just... happened.

"To be honest, I seriously doubt there are any negative intentions," he said. When asked if he planned to sue, he said he could if it was deliberately taken down note by note, but not in this case. “I don’t believe in many lawsuits,” he added. "I think there are enough baseless lawsuits in this country without people fighting for pop songs."

His carefree attitude to life resurfaced in 2015 when he ended up with writing credit for "Sam Smith Stay With Me" after similarities were noted. Again, he was brilliantly respectful, telling Rolling Stone, “All my years of writing have shown me that these things can happen. … A musical accident, nothing more, nothing less.”

He played in another band under two aliases

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When it comes to supergroups, you can't do much more than wilburys travel has done. In 1988, they got together, a set of organic accidents that brought the shallow together with Bob Dylan, George Harrison, Roy Orbison and Jeff Lynne (pictured in the center). At first they were shaking the wilburys had time and according to Rock and Roll Detective, it was a typo on the guitar pick that gave them the name, they finally stuck.

Each member of the group coined "Wilbury" as a pseudonym, and the minor was originally credited as Charlie T. Jr. Wilbury. Later, when they released Volume. 3, he became a dirty Wilbury. The group's names were inscribed on the picks, and not just the megastar members, who had pseudonyms. Other band members too, with some of their real names still a mystery.

He became addicted to heroin in the 90s

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The first time Petty ever talked about his heroin addiction was for his unauthorized biography Warren skidded. (It was only unauthorized because Petty insisted he wouldn't say he would have brought in what he could include and what he couldn't.) When he spoke with The Washington Post in 2015, the first thing that came to me was a revelation small turned to heroin at 50.

“What happens when there is too much pain,” he said. He added, the little one became depressed and didn't know what to do, and he kept quiet about his addiction because he didn't want anyone to think of him as a viable option for them just because he did. Zanes calmed him down with a cautionary tale revealing that Petty was addicted to heroin at the time he was dealing with divorce, being single, and with the knowledge that there was nothing he could do to make sure his children in the life he wanted for them. "A classic situation from the middle pinning face down to the mat," he was called.

His friendship with George Harrison

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Harrison and the smaller collaborators had already done well during the wilburys travels, but they were much more than just colleagues, they were close friends. When Warren brought the Washington Post talking about how close he was, he said they were the kind of friends only they could understand.

"As trite as it may sound, they were sort of falling in love with each other," he said, going on to add that, at the level of his success, true friendship isn't just difficult, it's virtually non-existent. When Petty and Harrison met and collaborated, he said he was the happiest when he saw him.

When Petty himself spoke with eg, he called Harrison "big brother... who I could go to for my problems and questions" and said he credited Harrison with giving him a sense of spirituality. He was 13 when he first saw the Beatles on The Ed Sullivan Show, but their friendship was instant. He, however, refuses to share specific memories because he has "thousands and thousands" of them.

He was abused by his father

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Everyone has moments from their childhood that define them, and for the little ones, his adult look was shaped by an abusive childhood. He spoke to Men's Magazine in 2013, talking a little about the violence he saw in his father and his grandfather.

Petty's grandfather was born in Georgia, a lumberjack who married a Cherokee woman and (probably) hacked a man to death with an ax for comments about interracial marriages. His father, Earl, was raised in Florida after the family fled, and the little one said he was a vicious drunk who constantly beat him, his siblings, and his devoted mother. His mother introduced him to music, which became a safe haven for him - although Petty suspected that his father hated him so much that his interest in music and art.

Earl Petty's shadow continued to follow him, and he rebelled against the authorities for a long time. After going into therapy, he learned to manage his anger by saying, "I thank everyone who put up with this for as long as they did."

He regrets using the Confederate flag in past appearances

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The Confederate flag and the controversy over its heritage or racism is a hot topic, and a minor flag immediately flew off on his 1985 Southern Accents tour. After South Carolina removed the Confederate flag, in 2015 it performed at Rolling Stone to apologize for its use.

"I always knew it had to do with the civil war, but the South adopted it as their logo," he said. “I was very aware of what that actually meant. … This is how the swastika looks like a Jewish person.”

He related the presence of the flag to his song "Rebels" and said it was the best he knew to illustrate the song's narrator. But she embarrassed him that he even asked people to stop bringing flags to the show. He wasn't who he was or what he stood for, he said, and the fact that he got mixed reactions from the crowd didn't bother him. Instead, he went out of his way to try and set things right. “I went back and removed it from the record. … I still feel bad about it. I have always regretted it. I will never do anything to hurt someone."

His influences include his time as a gravedigger

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In 2011, Petty took part in a Q&A on his own radio show "Tom Petty's Treasure" (via The Hollywood Reporter). Host Meg Griffin asked him listener questions, and when she asked about his influences, he had very eclectic answers.

There was a radio guest, of course, and their first record to buy was the Marvelettes' 1962 Playboy album, bought with cash scraped together from being turned into Coke bottles. One of his early jobs was as a gravedigger, an occupation where he "shouldn't look too edgy". He addressed another rumor that he had planted the University of Florida's "Tom Petty tree." Everything else evoked the creativity of the young small, it was not the University of Florida - the tree did not have it to do at all.

He voiced the character king of the hill

Love him or hate him, the eternal power of the king of the hill is undeniable. When the Chicago Tribune spoke with Judge Mike in 2009, he said that one of his favorite parts of the show was that they received a shallow-voiced character, originally described as "Tom Petty without success." The judge said it was on someone's whim they decided they would try to make it petty to make the voice lucky, adding that they were shocked he had actually done it and then he "just killed at the table to read" . He completed the series regularly for five years, an impressive ambition to do so.

He turned to music after meeting Elvis

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Petty said in a men's magazine that his mother had him growing up, crediting her with "keep[ing] an element of civilization at home." Because of her, his first musical influences were people like Nat King Cole and West Side Story music, songs that never remind him of her. As soon as they got the TV, he began to realize there was a great big world out there, outside of the hellish family life he was trapped in.

“Los Angeles – city television. What has become my exit. When he was 11 years old, he had a brief encounter with Elvis Presley at the Okalu movie shoot, and that was it. He later told Billboard, "It wasn't like meeting Jesus, but it was close." He went home, asked his mother to buy him a guitar from the sears, began to spend his free time at a local record store, and became determined to play the same rock and roll Elvis did. At the age of 14, he formed his first band, on Lezhak, and never looked back.

His marijuana use was fairly constant

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Petty told a men's magazine, "I've been producing marijuana since 1967." While he laughed at the very thought of needing a prescription, he spoke freely about some of his experiences with what he called the "musical drug". As a longtime history buff, he had a tradition every time he was in Washington, DC: head to the Jefferson Memorial late at night, get drunk, and just sit around.

Small and the first really good car he could not buy, a Mercedes 450SL 1979. Even then he just sat there as a small general he was "too stretched" to drive anymore. His last time behind the wheel of a car, he completely believed a swarm of UFOs descended on Malibu, only to spin on the road and in a pack of paparazzi. The silver balloons were indeed there, but they were the balloons Adam Sandler had launched to keep airborne trouble away from his wedding. That same night, Petty drove into another car and figured out what he was doing behind the wheel.

He was anti-corporate vehemently

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Corporate sponsorship is the norm, but Petty stubbornly refused to accept them on any of his tours. When Afishi asked him about it in 2005, he said he decided to go down that path with his business model because he wanted to keep ticket prices down and allow everyone the opportunity to come to the concert. "That's not heroism," he said, going on to say that he refused to let his music in ads. "I don't write [my songs] to be orange juice like that," he said.

That's got him his share of criticism over the years, who told him that he could earn much more than he was. He believed it didn't matter, saying the integrity of the music and the band was more important. Being sold, he felt he was making the music "generic and useless".

In 2014, he was asked by NPR how he managed to reconcile his financial wealth with his views on how money corrupts. According to Petty, the difference is that not only does he come from humble beginnings, but that he doesn't go out of his way to step over people or hurt others to make money - that's where the real problems start.

He predicted his final tour would be his last show

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In hindsight it can be a creepy thing, and it was all a pain when he kicked off the 40th Anniversary Tour. He wasn't shy about saying this could be his last, telling Rolling Stone, "I don't want to waste my life on the road."

This was in December 2016, after a three-year hiatus from touring. It was the longest of them off the stage at 25 years old, but the shallow one said he had other priorities, he thought. There were other ways, he wanted to spend this time, like with his granddaughter. "I would be lying if I didn't say I thought this might be the last big one."

That's not to say there weren't big plans in the works, though. Mike Campbell stressed that the ability to call it quits had nothing to do with conflict or typical drama, saying they still have "the chemistry and telepathy between us saying it's really rare. " At the time, shallow was still, overseeing his own radio station, radio station siriusxm, releasing albums, planning, timing, and tossing around the idea of ​​doing a few gigs based on the Wildflowers album. But the last word is heartbreaking.

He said: “We are well aware that time is limited. At the end of the year, will we be able to say how you feel?’ Then we will know where to go next.”

He fought the record company for $1

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Shallow released Hard Promises in 1981, and it wasn't easy. His massive popularity was great and all, but it also influenced the label's decision on how to promote what they call "superstar pricing". It was CMA's catchy name for putting a higher price on the albums they knew they were going to sell, raising prices on firm promises from the standard 8.9$8 to $9.98.

Having this all nonsense, the petty ones took up a position. He told The New York Times (via Ultimate Classic Rock) that during the CMA were big when it came to sales and promotion, "they don't see the reality of what it's like on the street — they don't see that raising an album's price won't fair. " Smaller doesn't balk, says SMA he'd rather not release the album at all than raise the price. Either it was $8.98, rename eight ninety-eight, or it just won't happen. He didn't want to be alone, which resulted in album prices going up, and although he told Snyder he knew it would happen eventually, he was happy when he won and it wasn't from his album: "It was just really nice for me because it was one situation where the audience actually won over the problem."

He wailed about how he didn't like new music

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Listen to Petty music, and obviously his influence comes from what's the sweet spot in music history, where country and rock 'n' roll were side by side side by side works and changes like the world of thought. Elvis was his inspiration as he worked with the greats like Roy Orbison and Johnny Cash. When it came to new music, he wasn't shy about saying what he thought. When he spoke to Rolling Stone in 2013, he said he couldn't come up with any music he had heard lately that impressed him, but he clarified his remarks on a recent show. He said modern country would be "bad violin rock" and he meant it. “It seems to be missing that magical element that he used to have. ... I don't see George Jones or Dollar Owens or anything fresh coming up," he said.

It's not just the country that annoys him, either. In 2006, Esquire magazine quoted him as saying he would never have been successful if he had to start his career, because "radio won't take any more chances on anything; they are ordered into playlists to the lowest common denominator." Lamenting that people prefer to listen to the same thing over and over instead of something new, he also said that it was a product of that time. With so much focus on school, kids don't have time to be creative and this made it sad.

He hit it big in England in front of the US

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You can't get much more American than Tom Petty and the Heartbreakers, but they were a bit of a US flop while they headed across the pond to to impress the English public with their sound. In 1976, the band released their debut album to poor sales. Rolling Stone said it wasn't until they went to England to tour and open for Nils Lofgren the album started selling. It was only a matter of a few weeks before they were headlining crack first on the UK then the US charts.

It wasn't an easy excursion, either. According to Rolling Stone, Heartbreaker's great popularity has led to serious tensions between Lofgren and the American upstarts. Campbell went on record, as they say, the more reaction they have, the less stage space they have too. As for the petty, he simply called them in a string of expletives.

He believed that music was true magic

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There is something ethereal about the concert, and the small shows were nothing but. He used the word "magic" to describe every part of the musical experience, from saying in an MTV interview about the magical process of songwriting - "it's like an orgasm," once tells the telegraph, "music is perhaps the only real magic that I have encountered in my life. There is not some trick that is connected with it. It's pure and it's real. And she moves and she doesn't heal and he communicates and does all these incredible things. He's been so good to me that I want to be good to him."

Go to a magic show and see some tricks. Head to the concert and you will feel the same mysterious power, without cheating. According to Petty, this is real magic.

He saw the effects of this too, and told public radio that if he thought about the music connection between him and those who listened to it, he felt it was equal parts thrilling and frightening. "Because it's kind of like, 'Did I do it?'" he said. He even claimed that he heard from two people coming out of his song's coma. If this is true, it will indeed be real magic.

He deliberately bankrupted himself

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The music industry is built on bidding, contracts, and dealings, and in 1979 small was enough. The group originally signed with Shelter, but when the Shelter was bought by the CMA, Petty made it clear that he didn't appreciate being part of the deal. History cites him as saying it was like "bought and sold like a piece of meat", and he was dissatisfied with the terms of his contract. To be fair, they are not very good. They already had two major albums selling very well, but they didn't see much in the way of financial gain from it. This is mainly because artists do not receive royalties until they have paid the studio for all of their advances in marketing expenses, studio time, and tour expenses. Shady sound? He thought so too.

The album looming on the horizon was one hell of a torpedo and everyone knows it. Petty sat on it, refused to release it under the contract he was under, and took on all the recording and production costs himself. That put him a whopping $500,000 in debt and he filed for bankruptcy. It was all intentional, as a way to get some leverage in the yard when it came time to claim release from an unfair contract. It worked - the SMA had mercy and the group signed again, and to hell with the torpedoes was a major success.

Broken arm almost finished his career

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Everyone who is familiar with the creative process knows that there are things that come easily and things that come. With a southern accent, came with what ultimate classic rock described as "muddy chaos", and there was some serious insanity amid the pain of the album's labor. Drummer Stan Lynch even said, "Tom was dancing with the devil at that point. … Something very bad is going to happen.” It's not because of the drugs, and he almost ended his career one day, when, a total mess, the little ones ran out of the studio, crashed through the wall, and broke his arm.

“I've been working on the album for a year and I thought I was finally done. ... But I sat down and listened to one of the songs I knew it wasn't like that after all," Petty later said, insisting it wasn't purely Fury that caused the accident. His doctor told him that he may have lost the ability to play the guitar, but when he was questioned in 1985 (via the Chicago Tribune), the only evidence left was a scar.

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