Bad Monkey’s Tom Petty Covers Just Had to Be Cool

As a movie buff with a heart for music, particularly that of the Sunshine State, I must say that Bad Monkey has proven to be an unexpected yet delightful beach oasis for Tom Petty‘s tunes. The moment I heard “American Girl” echoing over a fishing boat sailing along the Atlantic in the premiere, I knew this wasn’t just another run-of-the-mill series but a labor of love for Petty’s music.

As a film enthusiast, I can vividly recall the instant when I sensed that “Bad Monkey” was a tropical paradise for Tom Petty’s music. It could have been as early as the premiere, with the opening of “American Girl,” which unfolded against a breathtaking panorama of a fishing boat sailing along the Atlantic. Alternatively, it might not have been until the end of episode three, when a soulful cover of “Mary Jane’s Last Dance” underscored the series’ most shocking twist yet. Indeed, our television critic aptly dubbed “Bad Monkey” as “Tom Petty noir,” reflecting a unique and refined taste. The heartland rock that Tom Petty, a Florida native from Gainesville, is famous for might not immediately evoke images of sunny beaches, but the showrunner Bill Lawrence and music supervisor Tony Von Pervieux are ardent fans who let their passion guide their decisions, rather than geographical constraints. In essence, they pursued their dream.

“Ever since I dreamed of crafting a show, he’s been at the top of my list to collaborate with. He’s not just on Bill’s playlist, but he’s his favorite artist,” I reminisce. “Three years ago, as we embarked on this project, the question was, ‘How can we set it apart? It takes place in Florida, but not Gainesville. Is there something unique we could bring to the table?’ Bill and I started brainstorming, and he suggested, ‘Perhaps we cover some Tom Petty songs.'”

At first, Von Pervieux aimed to produce ten covers, one for each episode, using Petty’s masters as templates to establish the desired style and setting. However, it expanded beyond expectations. He explains, “It just grew larger and larger. We continued to add more and more.” Eventually, the number of original covers increased from ten to 21. He then contacted musicians whose work he felt aligned with the show’s mood. He had specific artists in mind for each cover, but also gave a few artists the choice to select their preferred cover. Remarkably, every artist approached was enthusiastic and they managed to secure 21 out of 21 agreements.

On his previous projects as a music supervisor, Von Pervieux often had to persuade those he approached. However, in the case of this project, his idea needed minimal convincing, as he puts it, “It was an easy sell to say, ‘We have this unique show and cover experience,’.” He explains, “When I reached out, artists responded with enthusiasm like, ‘Of course! We’re big Tom Petty fans. You don’t need to explain.'” Previously, when seeking cover songs for other projects, he had to approach multiple artists because it was uncertain if they were genuinely interested or if it was more about the money. But this time, it was clear that everyone involved shared a passion for the project.

Mostly, Von Pervieux provided precise instructions about what each scene required, from the specific location and time of day. This resulted in covers that deviated from the usual Petty cover style, such as “Yer So Bad” by Meridian Brothers, which paid tribute to Miami and Latin culture, and “You Don’t Know How It Feels” by Stephen Marley, a reggae-inspired take with an island vibe. Even artists who didn’t initially seem connected to the Florida scene were chosen because of their creativity. As he puts it, “Marcus King, Nathaniel Rateliff, and Weezer might not have ties to Florida, but they perfectly embodied the sound we wanted for that scene and had voices that could bring that scene to life.” Other artists on the list include Jason Isbell and the 400 Unit, Sharon Van Etten, the War on Drugs, and Kurt Vile. These artists are more likely to wear flannel jackets than cabana wear. He says, “The selection criteria was essentially: Who are my favorite artists I’m currently listening to? Who are the most talented artists who could capture a Tom Petty song?”

But even with such enthusiasm from everyone involved, it was still essential that the Petty estate, which is spearheaded by Petty’s daughter Adria, gave their blessing to Bad Monkey. Von Pervieux kept them in the loop “as early as possible” with potential ideas. “I had a little bit of anxiety going through it because you don’t know what you’re going to get out of covers and I didn’t want to make any kind of mockery about the music,” he explains. “I wanted it to be great and special. Sometimes you get that, sometimes you don’t.”

In the process of selecting covers for the project, Pervieux shared demos with Adria of what he felt were the best choices. He recounts their feedback as being positive, such as “We really like this one, great job.” Having conversations with Adria and her approval of the soundtrack’s selection was meaningful to him. She praised the bands for accurately interpreting each cover, and for how well the final product cohesively came together. The only rule the musicians had to adhere to was that Petty’s lyrics couldn’t be altered. Pervieux agrees with this requirement, stating that there was no reason to step over that boundary in the first place.

On October 4th, the official album from “Bad Monkey” titled “Bad Monkey Plays Tom Petty” will be released. This album boasts a total of 29 tracks; 21 are covers of Tom Petty’s songs and 8 are selected scores. This release marks the culmination of a creative period dedicated to celebrating Tom Petty’s legacy, following the success of a country-style covers album released in June. However, it’s important to note that admiration for his music isn’t confined to any particular season. As Von Pervieux states, “Tom Petty is like a balanced diet for everyone. We brought together a group of artists whom we admired and loved, and who also deeply admired and loved Tom Petty in return.”

2024-08-28 19:54

Bad Monkey’s Tom Petty Covers Just Had to Be Cool

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