One of the most respected and influential bands in the history of rock and roll have returned with a brand new album entitled "Echo" - which, before long, should still be doing just that in terms of chart numbers, long after it's had a chance to fade out of the hit radio recognition it will undoubtedly generate before long.

Petty, a hit-making machine, both with and without his Heartbreakers, has summoned his longtime stalwarts once again and has come up with a winning formula of signature rock moments and timeless classics in the making. Only three of his Heartbreakers are along for the ride this time, Mike Campbell, Benmont Tench and Howie Epstein, handling their usual accouterments of guitars, piano and bass. But it's more than enough to gear their thirty-plus year vehicle into a new great wide open.

There's little doubt that Petty's grown both as a musician and songwriter over his lengthy duration, in and out of the pop/rock spotlight. In particular, during his first solo venture, "Full Moon Fever," which came out ten years before, Petty stuck strictly to his roots in creating an album that personally reflected who he was at the time, while remaining true to a youthful exuberance that's hard to forget since his groundbreaking self-titled debut.

A little catching up was in order for me here as I prepared to write this review, since I haven't kept up on the band's happenings in recent years. "Echo," produced by Rick Rubin which came as a surprise, follows up "She's The One," a critically acclaimed soundtrack to the movie released in '96, and further cemented Petty's reputation as a superior and versatile songwriter.

"Echo" is also in league with many of his recent outings, all of which have met with the same accolades that first befell him back when he was a wild-eyed youth. He had that confident sneer out of the corner of his mouth that you just knew said he was well equipped to make it big. Not without his ups and downs, many of Petty's songs are perhaps based around a fair share of disappointment and perseverance, without which songs like "Even The Losers" and "Learning To Fly" would not have as much meaning. Here we open the program with "Room At The Top," where he sincerely proclaims "I've got a room at the top of the world tonight/ And I ain't coming down." Yet, it's with the understanding that there's enough for everyone. "Counting On You" relies on much the same background as "Room At the Top" began with, softly textured, with the emphasis placed on the touching emotional display that Petty brings forth in his singing. And if you're stricken by either of the first two songs, try waiting around for the last one, "One More Day, One More Night," which is one of his more emotionally attached pieces. It's as close to a love song as anything I've heard from him. We've got a bit of the well-known groove and hip-shake on "Free Girl Now," which rocks forth much like we've come to expect from the rebel rocker, before slipping back to the transient state and gentler feel of before. "I Don't Wanna Fight" is the next one that'll be set to clock you if you're taking a moment too long to relax. Petty lets loose an impetuous plea across the board on this one, as the beat rocks in the background, and stands firm as one of the homegrown heel-kickers that'll do well in the live set.

I tend to liken the new Heartbreakers album the same as I did when the new R.E.M record came out several months before. There's just a larger measure of maturity in the overall sound, though nothing so out of the ordinary that it will perplex the bands long time fans. Nothing really presents itself as a surefire hit single, and it's clear it was not written with that intent, though don't be surprised if at least a few turn up now and again. And after all these years, and successful albums under their belt, who needs to worry about that anyway. But like the R.E.M album, the songs have gone a little deeper, and if anything, are now taking dead aim at AOR rather than where they might've lived comfortably before a whiskey or two earlier.

There are surely those moments where they'll draw upon their early work, scarce though they may be, where songs like the orementioned "Free Girl Now," "I Don't Wanna Fight" and "About to Give Out" will please those fans who are content with plugging it in and letting it play, while most of the rest of the songs build on the past formulas of success touched upon during Petty's solo work, and that with "The Traveling Wilburys."

"Echo" is simply another classy effort from a band who's run the longest mile, none the worse for wear, while they successfully retain the roots of their lifeblood, continuing to prove their overwhelming success and unrivaled longevity still lie in the foundation of good, old-fashioned, American-bred, rock and roll.