Tom Petty’s “Angel Dream (No. 2)” has at all times been one of many hidden gems in his deep catalog—a delicate, soul-searching ballad initially written for the 1996 She’s the One soundtrack. It’s a love tune, certain, however it’s greater than that. It’s a prayer wrapped in starlight, whispered by somebody who’s stumbled out of the darkish and located one thing price holding onto. Protecting a tune like that could be a delicate operation, however Daniel Grindstaff & The Uptown Troubadours don’t flinch. Their brand-new model, the primary single from their upcoming album, doesn’t simply cowl “Angel Dream”—it inhabits it.
URL: https://danielgrindstaff.com/
We’ve heard Petty songs reimagined earlier than. Johnny Money gave “I Gained’t Again Down” the gravity of a ultimate sermon. Norah Jones softened “Time to Transfer On” into one thing spectral. Even bluegrass and Americana artists have dipped into Petty’s effectively—consider Willie Watson’s stark reside renditions or The Notorious Stringdusters’ joyful model of “American Woman.” However what Grindstaff and firm obtain right here is one thing rarer: a respectful transforming that transforms with out diluting.
Stripped of its unique Heartbreakers manufacturing, “Angel Dream” finds new emotional footing on this acoustic, Bluegrass-rooted setting. The tune opens not with keys or ambient guitar, however with the intense, melodic selecting of Grindstaff’s banjo. It’s a sound that instantly repositions the tune—much less California dream, extra Appalachian reverie. And but, the emotional middle holds.
Kevin Richardson’s efficiency on lead vocal is a standout right here. His supply is unhurried and soulful, by no means overwrought. He doesn’t chase Petty’s phrasing or imitate his tone—as a substitute, he lets the lyrics breathe: “Now I’m walkin’ / this road by myself / however she’s with me / in every single place I’m going.” Within the arms of The Uptown Troubadours, these strains really feel like they might’ve been scribbled in a pocket book on a Tennessee entrance porch.
The band’s instrumentation is tight however by no means showy. Grindstaff’s banjo carries melodic weight whereas Kent Blanton’s upright bass offers quiet momentum. Derek Deakins’ fiddle provides a bittersweet, craving layer, particularly in the course of the instrumental breaks. Andy Leftwich’s mandolin sparkles with out stealing focus, and the ensemble vocals—rounded out by Shawn Lane—give the refrain a gospel heat. This isn’t a showcase of technical fireworks; it’s an train in emotional readability.
Maybe essentially the most highly effective a part of this model is the way it elevates the redemptive arc of the unique. In Petty’s recording, “Angel Dream” felt ethereal—one thing drifting simply past attain. Right here, it feels grounded, tangible. When Richardson repeats “I can solely thank God it was not too late,” it lands like an affidavit. It’s not simply poetic—it’s private.
For followers of Petty, this cowl provides a brand new lens by which to understand a deep reduce. For followers of recent Bluegrass and Americana, it’s a reminder of how expansive and adaptable the style might be. As a lead single, “Angel Dream” units a excessive bar. It guarantees an album steeped in custom however unafraid to wander. Very like the angel within the lyrics, this one arrives proper on time.
Mindy McCall
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