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In the United States, Decca Records - with only two actual "hits" by the group to work with, plus "Magic Bus" (which did unexpectedly well on that side of the Atlantic) - released Magic Bus, an unacknowledged compilation album built around the hit and drawn from U.K. Track Records, squeezed for cash even with Hendrix's burgeoning sales, assembled Direct Hits, which compiled the band's recent singles (minus the Shel Talmy-produced Brunswick sides). The group spent much of 1968 seeing the singles "Call Me Lightning," "Magic Bus," and "Dogs" - inspired by Townshend's interest in dog racing - fail to meet expectations. His willingness to experiment with the boundaries of classic rock & roll helped Petty sustain his popularity well into the '90s. Throughout his career, Petty & the Heartbreakers never departed from their signature rootsy sound, but they were able to expand it, bringing in psychedelic, Southern rock, and new wave influences they were also one of the few of the traditionalist rock & rollers who embraced music videos, filming some of the most inventive and popular videos in MTV history. While his slurred, nasal voice may have recalled Dylan and Roger McGuinn, Petty's songwriting was lean and direct, recalling the simple, unadorned style of Neil Young.
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The Heartbreakers were a tight, muscular, and versatile backing band that provided the proper support for Petty's songs, which cataloged a series of middle-class losers and dreamers. Instead, they celebrated it, culling the best parts of the British Invasion, American garage rock, and Dylanesque singer/songwriters to create a distinctively American hybrid that recalled the past without being indebted to it. As time progressed, it became clear that the band didn't break from tradition like their punk contemporaries. Compared to the heavy metal and art rock that dominated mid-'70s guitar rock, the Heartbreakers' bracing return to roots was nearly as unexpected as the crashing chords of the Clash. Upon the release of their first album in the late '70s, Tom Petty & the Heartbreakers were shoehorned into the punk/new wave movement by some observers who picked up on the tough, vibrant energy of the group's blend of Byrds riffs and Stonesy swagger. The commercial failings of the festival ensured it was the last event of its kind on the Isle of Wight for thirty-two years.
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Political and logistical difficulties resulted in the organisers eventually realising that the festival would not make a profit and declaring it to be "a free festival", although the majority of the audience had paid for tickets in advance, and the event was filmed contemporaneously. There was a strong, but inconsistent line up, and the logistical nightmare of transporting some 600,000 people onto an island with a population of fewer than 100,000. The event had a magnificent but impractical site, since the prevailing wind blew the sound sideways across the venue, and the sound system had to be augmented by The Who's PA.
With Hendrix confirmed, artists such as Cactus, Chicago, The Doors, Lighthouse, The Moody Blues, The Who, Miles Davis, Joan Baez, Joni Mitchell, Jethro Tull, Sly and the Family Stone, Ten Years After, Emerson, Lake & Palmer and Free willingly took up the chance to play there. The 1970 version, following Woodstock in the previous year, set out to move one step forward and enlisted Jimi Hendrix. Rex, The Move, The Pretty Things, Joe Cocker, The Moody Blues (performed at the 1969 festival), The Who, and Bob Dylan in his first performance since his 1966 motorcycle accident. The preceding Isle of Wight Festivals, also promoted by the Foulks, had already gained a good reputation in 19 by featuring acts such as Jefferson Airplane, T. Ron Smith was site manager and Rikki Farr acted as compere. It was organised and promoted by local brothers, Ron and Ray Foulk through their company Fiery Creations Ltd and their brother Bill Foulk. Although estimates vary, the Guinness Book of Records estimated 600,000, possibly 700,000 people attended.
It was the last of three consecutive music festivals to take place on the island between 19 and widely acknowledged as the largest musical event of its time, greater than the attendance of Woodstock. The 1970 Isle of Wight Festival was held between 26 and 31 August 1970 at Afton Down, an area on the western side of the Isle of Wight.