Musicians often play not to show off, but because they feel a deep calling. For many, creating music is about harmonizing with fellow band members to bring a track to life in the studio. While Stan Lynch might not have initially fit into the Heartbreakers’ mold as seamlessly as others, Tom Petty considered his drumming on “The Waiting” to be irreplaceable.
When the Heartbreakers began recording their landmark album Damn the Torpedoes, they faced significant challenges with Lynch. Producer Jimmy Iovine, in particular, had strong objections to the drum sounds, leading to auditions for session drummers.
Despite these early setbacks, Lynch’s drumming became crucial to tracks like “Here Comes My Girl” and “Refugee,” contributing significantly to their radio appeal. As the band gained prominence and won their legal battles with their record company, much hinged on the success of “The Waiting” to solidify their status.
From the opening line, “Baby, don’t it feel like heaven right now,” Petty captivated listeners, and Lynch’s distinctive drumming added a unique flavor to the track. While the rhythm may seem simple within the context of the full band, Lynch’s subtle delays and playful approach made each beat compelling. His ability to create anticipation with the rhythm was a stroke of genius, aligning perfectly with the song’s theme.
Even though Petty had some reservations about Lynch in earlier records, he acknowledged the drummer’s unique contribution to “The Waiting.” Petty remarked, “‘The Waiting’ always reminds me of Stan when I hear it because he’s the only drummer in the world who could play it. Nobody could play that song but him. That record is completely him. I mean, it’s all how the drums are played.”
However, their collaboration didn’t always run smoothly. By the time they worked on Wildflowers, Lynch was frustrated with Petty’s mellow musical direction, leading to his departure by the end of the sessions for “Mary Jane’s Last Dance.”
Though Petty later performed the song with Eddie Vedder, the original recording’s spontaneous feel remains unmatched. Emulating Lynch’s drumming is a challenge, as the perfect imperfection of his performance is uniquely embedded in the track.
