“Deliver Me” and “Change of Heart” from Long After Dark fully demonstrated his prowress. Those two songs wouldn’t be the same without Epstein’s husky voice going up against Petty’s. Epstein was initially a rhythm guitar player and attacked his bass playing with the Heartbreakers the same way. The Heartbreaker’s were never a flashy band where individuals stood out, but if you relished the songs enough you can hear the subtleties which were huge. Epstein’s voice doesn’t soar to the front of the track, but is almost hidden, adding warmth and clarity when needed. In concert, he complimented Petty’s voice the same way Lennon and McCartney did.
When Epstein died 8-years ago, it seemed almost anticlimactic, as he had been replaced by Ron Blair the year before. However, when I caught he 2007 film Tom Petty and the Heartbreakers: Runnin' Down a Dream it brought the tragedy into focus. Having someone slowly died right in front of you is a tough thing. It didn’t happen overnight but over a period of several years. He was so late for the cover shoot for Echo in 1999 that Petty went ahead without him. One would think that would have woken him up, but it didn’t. He continued down a path of destruction. I didn’t realize it when I saw the band in 1999, his playing was unsullied and still connected the dots for the rest of the band. In the documentary, Benmont Tench offered up the most. I think Petty was saddened by the loss of his friend, but somehow came to terms with it, but Tench, he offered that human touch. You can see the emotions brewing on Tench’s face. He’s holding it back and as we watch him, our hearts break with him. He simply looks down and holds back tears from appearing, but I couldn’t.
One thing Tench pointed out was about how Howie Epstein could still hit those notes in concert even as he battled his addictions and when they showed a clip of “Swingin’”, there he is, flawlessly complimenting Petty and bringing the song to life. Echo is an interesting but hard Petty record to digest. Written and recorded under the strain of a divorce from his first wife, the album lacks focus. Despite the minimalist nature of the recordings, produced by Rick Rubin, the band seems to coast through most of the songs. Don’t get me wrong, there is a lot to like within the context of the record, but “Swingin’” is a last hurrah for the Heartbreakers. They would never sound this good again on record. Epstein adds lush harmonies beneath the monotonous chorus. The same way a tie or colored shirt can bring out your best in an otherwise bland suit, Epstein’s vocal chords take the band into the sunset. He takes what may have been otherwise a all too plain recording and elevates it to what may be the best track on the record. He’s fleshes the song out; adds colors and pulls you inside of it where you appreciate the song for something more.
Side men and studio musicians never get the credit or respect they deserve, but Epstein was a immense talent who gave so much to the Heartbreaker and several other artists he helped produce. It’s so sad to see someone with so much talent to be given the gift to share it with the world, only to have obstacles overtaken them. Epstein is no longer here to hear the screams, feel the intensity of the music, share the warmth or embrace of a friend or lover. That breaks my heart, because here was a man with inestimable capacity who added grand colors to the music of Tom Petty. The best we can do learn from his life, not waste it and smile when you hear his voice side-by-side with Petty’s. That’s one thing no one can ever take away, because the records are here with us forever.
Anthony Kuzminski is a Chicago based writer and Special Features Editor for the antiMusic Network. His daily writings can be read at The Screen Door. He can be contacted at thescreendoor AT gmail DOT com and can be followed on Twitter
