Tom Petty’s beloved radio show, Buried Treasure, was a treasure trove for fans, showcasing not just other artists but also revealing many undiscovered gems from his own extensive catalog.

Among these hidden treasures is the 1982 album Long After Dark, which followed the success of the previous year’s Hard Promises. This album is often seen as the third installment of a remarkable trilogy of releases from Tom Petty and the Heartbreakers during the pivotal years of 1979 to 1982.

Adria Petty reflects, saying, “[Long After Dark] resonates powerfully with our current times. It captures a significant moment of uncertainty and lack of soul,” she shares with UCR. “Exploring the archives, we found it felt like a remedy that Tom left for us, a chance to understand how they navigated that era.”

The beginning of this trilogy, 1979’s Damn the Torpedoes, emerged from a challenging legal struggle that left Petty and his bandmates feeling frustrated and disillusioned. Yet, the turmoil only strengthened their determination and creativity.

The title of the album encapsulated their ethos during that turbulent period, borrowing from the famous quote, “Damn the torpedoes…full speed ahead!” Fast forward to Long After Dark, and Tom and the Heartbreakers were still firing on all cylinders. The recent expanded reissue of Long After Dark serves as testament to this, featuring standout tracks like the ethereal “Never Been You” and “Don’t Make Me Walk the Line,” along with a wealth of previously unreleased material that has finally been liberated from the archives.

This year is a remarkable time for Petty fans. In addition to the expanded release of Long After Dark, fans can now enjoy every episode of the aforementioned Buried Treasure radio show through Petty’s newly revitalized fan club, which now offers free membership. The club promises a continuous stream of exclusive content from the archives, along with early notifications and special surprises. One such surprise was the announcement of the official bootleg release of Live in Edinburgh 1982, which quickly sold out after its launch.

In a recent discussion, Adria Petty and Heartbreakers keyboardist Benmont Tench delved into the significance of Long After Dark, offering insights into what fans can look forward to in the future.

Reflecting on the legacy of Long After Dark
Benmont Tench: Long After Dark holds a special place in my memory, particularly because of Ron Blair’s last contribution with us, “Between Two Worlds,” which remains one of my favorite creations. The entry of Howie Epstein into the band added a fresh dynamic; I was drawn to him from the very start. We were also in a different studio this time, not at Sound City but at the Record Plant, which infused the project with a unique energy.

The recording of all our albums was generally a positive experience. While some, like the legal challenges during Damn the Torpedoes, were frustrating, I can’t recall any similar frustrations during the making of Long After Dark. It was a typical scenario back then where Stan [Lynch] would take a week off, and we’d find ourselves with no tracks. But he’d return, and we’d manage to create two tracks on the day of his return. It was a joyous time overall.

Adria Petty: To me, Tom Petty is simply my dad, a regular guy. Yet, when you view him and the band as a collective that produced music on their own terms for four decades, consistently challenging cultural norms, it becomes something extraordinary. This album stands out, not as an attempt to create a hit with Jimmy Iovine, but as a true representation of the band’s authentic grit. They’ve been performing with relentless passion for seven years, maintaining a powerful momentum.

Each record offers insights and discoveries. In the case of this one, we might have underestimated its revelations regarding the band’s evolution and harmonies. Tom’s acoustic direction during this period, highlighted in the extras from Heartbreakers Beach Party, is particularly noteworthy. He was crafting essential acoustic music with tracks like “Keeping Me Alive” and “Turning Point.” It’s fascinating to realize the duality present in this album, showcasing what some might have deemed a “too country” side.

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Delving into the bonus material from the newly expanded edition of Long After Dark is truly rewarding.
Tench: I cherished the opportunity to have French TV capture our performances. It was fantastic to once again have Phil Jones join us on percussion. The collaboration between Stan Lynch and Phil Jones was something incredibly special, each bringing their unique talents to the table. Jones, though he played drums on Full Moon Fever, had a unique synergy with Stan that was a joy to experience.

Tom consistently brought in remarkable songs. At times, he’d present demos, allowing us to explore them more freely than before. However, on certain tracks like “A Wasted Life,” he had specific ideas in mind. He’d often play something spontaneously, leaving me to figure out how to replicate it. “You can do it,” he’d say, encouraging me to step outside my comfort zone. His prolific songwriting is why we now have so much bonus material. It must have been daunting for him, Jimmy, and Mike to determine what truly belonged on the final album, especially since many of the songs that didn’t make the cut are among our best.

Petty: Tom was incredibly disciplined as a songwriter and as a band leader — he ensured rehearsals were consistent and that we played together frequently. Their output was prolific, consistently aiming for a high standard, and they often achieved it, despite life’s interruptions. For my dad and the band, this period represents a significant moment in their journey. Mike has the chance to revisit songs like “Finding Out,” “Between Two Worlds,” and “You Got Lucky,” recognizing the innovation they contributed at that time. Songs like “Straight Into Darkness” and “Never Be You” highlight Benmont’s contributions, showcasing his haunting piano lines. This album captures a sense of disillusionment, yet it embodies resilience, allowing listeners to sit with those feelings momentarily while knowing they’ll emerge stronger. It feels remarkably relevant today, echoing the uncertainties we face. Revisiting these archives feels like uncovering the healing legacy Tom has left for us.

Watch Tom Petty and the Heartbreakers’ Video for ‘Never Be You’

Benmont, can you share your memories of “Never Be You”? It’s a song with a rich history.
Tench: Absolutely! Rosanne Cash recorded it, and Maria McKee also contributed a beautiful version for the Streets of Fire soundtrack. Tom’s interpretation is particularly special to me because he truly understood the song’s essence. Initially, I had written and recorded a complete demo of it, which I shared with Jimmy. He loved it but suggested that I send it to Tom without the melody and lyrics. I was confused at first, but he recognized something in the instrumental, and I was thrilled for Tom to take it where he wanted. Tom crafted “Never Be You,” and we recorded it together. The end result means a lot to me. I chose not to advocate for it to be on the record, fearing it would come off as egotistical, but I’m delighted with how it turned out and glad it’s finally available.

Seeing the extended footage of the band working on the “You Got Lucky” video in Heartbreakers Beach Party is fantastic. Benmont, how did you feel about experimenting with synthesizers during that time?
Tench: I wasn’t particularly fond of synthesizers initially, as I often struggled to find a musical connection with them. However, when used well, like in Abbey Road by the Beatles, they can be stunning. Mike [Campbell], always intrigued by technology, wrote the track for “You Got Lucky” on a small Yamaha keyboard. We attempted to replicate that sound using an Oberheim synthesizer and a Prophet-5. Since none of us knew how to program a synth, we brought in a specialist to help us achieve the desired sound. Initially, Michael played it on the demo, but I persuaded him to let me take a turn. I ultimately played what he had composed, layering additional melody lines over it. In essence, it was Mike’s creation.

Watch Tom Petty and the Heartbreakers’ Video for ‘You Got Lucky’

Adria, with the release of this Long After Dark set, what can fans anticipate next? There’s a wealth of video content that hasn’t been released digitally, such as the Pack Up the Plantation concert film, the Hard to Handle film with Bob Dylan, and more.
Petty: The honest truth is, we don’t have a clear plan at this moment. I’m incredibly thankful to the Petty Country artists…

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This is an extraordinary release.
Petty: I can only take modest credit for it—George [Drakoulias] and Randall [Poster] did the heavy lifting. This year has seen an influx of around 35 new covers due to Petty Country and music featured in the TV series Bad Monkey. Initially, these were meant to be released over previous years or spaced out. With all this fan material emerging, I want to avoid overwhelming anyone. My team and I aim to provide fans with a meaningful, affordable archival experience this year, something that feels genuinely connected to Tom. I might consider taking a year off next year. The last seven years have been an intense yet rewarding journey, allowing me to deepen my understanding of my father and the significance of his music.

Regarding Hard to Handle and Pack Up the Plantation, fans would love to know if there’s enough material to create a box set from Tom and Bob’s touring.
Petty: There are indeed fantastic recordings. However, I’m unsure about Bob’s plans for them. Tom has an abundance of unreleased material, and it feels essential to explore the music from the ’80s. With the band’s anniversary approaching in 2026, there are countless possibilities. We have an incredible Hyde Park concert from the final tour that we filmed, along with beautiful recordings spanning different eras that require thorough review. We still have tapes to bake and evaluate. I prioritize this process based on the invaluable insights from the Heartbreakers and the dedicated engineers and crew that worked alongside Dad.

I cherish the years spent with them, sifting through this material. It’s crucial for me to value their input. As for Pack Up the Plantation, there’s some truly exciting content there, especially from the Bob Dylan Australian tours. Moreover, there’s a secret record from the ’80s that I’m eager to hear, which I’ve heard about for years. I believe I might take some time to listen and reflect on what our next steps should be. This journey has been relentless, and even during breaks, there seems to be a Record Store Day release or another project popping up. But I don’t regret this, as I often find myself yearning to hear songs like “One of Life’s Little Mysteries” from Angel Dream. Discovering such tracks fills me with motivation and warmth, and I am grateful for the opportunity to unearth these musical gems.

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