Traveling Wilburys Vol. 1
by Traveling Wilburys

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1988 Album of the Year

Traveling Wilburys Vol. 1“Super Groups” were commonplace during the seventies and eighties, often causing much hype which was rarely surpassed by the music itself. But in the case of the Traveling Wilburys, by far the most “super” of any super group, the resulting music was downright brilliant. Their debut Traveling Wilburys Vol. 1 displays an incredible array of three decades of pop and rock elements wrapped in concise tunes penned and performed by some of the biggest legends in the business. The group and album were not initially planned and came together through a serendipitous series of coincidences and the fantastic music they produced together easily makes Traveling Wilburys Vol. 1 Classic Rock Review’s Album of the Year for 1988.

It all started in Los Angeles in Spring 1988 when George Harrison was looking to record B-side material for a vinyl 12-inch European single. Jeff Lynne, who co-produced Harrison’s most recent album Cloud Nine was also in Los Angeles at the time. Lynne was producing some music for Roy Orbison as well as the debut solo album, Full Moon Fever by Tom Petty. Lynne was able to enlist both artists to help out Harrison, who was in a huge hurry to record his material. The final piece of the Traveling Wilbury puzzle was Bob Dylan, who had built a home studio in nearby Malibu and agreed to let the makeshift group record the very next day. On that day, the legendary musicians wrote and recorded the song “Handle with Care” in about five hours. The experience was so positive that all five agreed to form a group and reconvened a month later to record the other nine tracks on what would become Traveling Wilburys Vol. 1. Here the magic continued as the group wrote and recorded on acoustic guitars. With a limited amount of time before Dylan headed out on a scheduled tour, the five singers in the group often took turns at songs until Harrison (as group arbiter) selected the best “lead” voice for each part. The final phase was Harrison and Lynne returning to England for final overdubs and production. Here Harrison added some electric and lead guitars, Lynne added keyboards and bass, Jim Keltner was brought in on drums.

Although it is generally agreed that Harrison was the group’s leader, they did work hard to maintain a collective image and even set up fictional names for each member masquerading as the “Wilbury” brothers – Nelson (Harrison), Otis (Lynne), Lucky (Dylan), Lefty (Orbison), and Charlie T. Jr. (Petty) with Keltner given the humorous “outsider” name “Buster Sidebury”. All group members also got songwriting credits on the album, although the publishing credits were disbursed according to the actual songwriter. The Wilbury name originated from Harrison and Lynne previously working together as a pseudonym for slight recording errors (“we’ll bury ’em in the mix”).


Traveling Wilburys Vol. 1 by Traveling Wilburys
Released: October 18, 1988 (Warner Brothers)
Produced by: Jeff Lynne and George Harrison
Recorded: Lucky Studios and Dave Stewart Studios, Los Angeles and FPSHOT, London, April–May 1988
Side One Side Two
Handle with Care
Dirty World
Rattled
Last Night
Not Alone Anymore
Congratulations
Heading for the Light
Margarita
Tweeter and the Monkey Man
End of the Line
Band Musicians
George Harrison – Guitars, Vocals
Bob Dylan – Guitars, Harmonica, Vocals
Jeff Lynne – Guitars, Bass, Keyboards, Vocals
Roy Orbison – Guitars, Vocals
Tom Petty – Guitars, Vocals
Jim Keltner – Drums

 

The ringing guitars of “Handle with Care”, the original Wilbury song, starts things off. Harrison, the primary composer, delivers deliberate vocalizing during the verses which gives way to Orbison’s smooth crooning during the choruses. Dylan and Petty deliver a chanting post-chorus and two instances of Harrison’s classic guitar along with a short Dylan harmonica lead make the song a true classic in just about every way. Within its brief three and a half minutes the song is dotted with decades of rock history, making this the perfect track to introduce the album. While not every song on the album wraps itself so well as “Handle with Care”, there is not a truly weak moment on the album.
 

 
On “Dirty World” Dylan’s rough lead vocals are complimented by smooth backing vocals and a bright acoustic arrangement. The song also contains some horns and an interesting arrangement all around. This song was a particularly enjoyable one for the band to record as each member took a turn singing in the “round” during the extended outro. Jeff Lynne’s “Rattled” is pure rockabilly led by Orbinson on vocals, almost like a lost early Elvis song. Lynne’s bass and Harrison’s lead guitar shine musically and the actual “rattle” in the song is drummer Keltner tapping the refrigerator grill with his drum sticks.

“Last Night” contains Caribbean elements with some percussion and horns and Petty singing during verse and Orbinson during the bridges. The whimsical, storytelling song has a great aura and feel throughout. Petty did the core composing with each group member contributing to the songwriting approach. The verses has an upbeat folk/Latin feel with the bridge being a bit more dramatic. The first side completes with “Not Alone Any More”, a vocal centerpiece for Orbison. His vocals smoothly lead a modern version of early sixties rock and Lynne’s keyboards add more decoration than any other song on the first side. If “Not Alone Anymore” is in the clouds, the second side opener “Congratulations” is right down at ground level. This tavern style ballad with Dylan on lead vocals sounds much like his late 70s / early 80s era material, with blues-like reverences to broken relationships, and includes a very short but great lead guitar by Harrison right at the end.

The up-tempo “Heading for the Light” is a quintessential Harrison/Lynne production, with the former Beatle composing and singing and the former ELO front man providing the lush production and orchestration. The song contains great picked guitar fills as well as a saxophone solo by Jim Horn. “Margarita” may be the oddest song on the album but is still a great sonic pleasure. It begins with a programmed eighties synth line then the long intro slowly works its way into a Latin acoustic section topped by horns, lead guitar, and rich vocal harmonies. It is not until a minute and a half in that Petty’s lead vocals come in for a single verse then the song works its ways through various short sections towards an encapsulated synth ending. This spontaneous composition with free-association lyrics showed with a group of this talent could do on the spot.

“Tweeter and the Monkey Man” is Bob Dylan channeling Bruce Springsteen and coming out with what may have been one of the best Springsteen songs ever (even though he had nothing to do with it). This extended song with the traditional Dylan style of oodles of verses and a theatrical chorus includes several references to Springsteen songs throughout and is in Springsteen’s home state of New Jersey. It may have been Dylan’s delayed response to the press repeatedly coining Bruce “the next Dylan”. No matter what the case, the result is an excellent tune with lyrics rich enough to base a book or movie.
 

 
The most perfect album closer to any album – ever, “End of the Line” contains a Johnny Cash-like train rhythm beneathe deeply philosophical lyrics, delivered in a light and upbeat fashion. Harrison, Lynne, Orbinson, and Harrison again provide the lead vocals during the chorus hooks while Petty does the intervening verses. The song revisits the classic music themes of survival and return with the universal message that, in the big picture, it all ends someday. The feeling of band unity is also strongest here with the folksy pop/rock chords and great harmonies. The music video for “End of the Line” was filmed after Roy Orbison’s death in December 1988, mere weeks after the album’s release, and paid tasteful respect with a shot of a guitar sitting in a rocking chair during the verse which Orbison sang.

Traveling Wilburys Vol. 1 sold over two million copies within its first six months, a figure which made this album a higher seller than any of Bob Dylan’s albums to that date. The album was critically favored and won a Grammy award in 1990. The surviving members of the group reconvened for a second album, which fell far short of capturing the magic of this debut and a long-planned tour by the group never materialized, although members continued to collaborate on each other’s albums for years to come. The incredible magic that came together in 1988 is yet to repeated anywhere in the rock universe.

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1988 Images

Part of Classic Rock Review’s celebration of the 25th anniversary of 1988 albums and our album of the year for 1988.

 

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Pronounced ‘lĕh-‘nérd ‘skin-‘nérd
by Lynyrd Skynyrd

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Lynard Skynard - PronouncedLynyrd Skynyrd burst onto the national scene with their 1973 debut Pronounced ‘lĕh-‘nérd ‘skin-‘nérd, which not only featured many of the band’s most popular songs but also defined the genre of “Southern Rock” more than any other album. This six-piece group out of Jacksonville, Florida fused blues, country, and straight-forward rock to forge an edge that is totally unpretentious and unassuming. Produced by Al Kooper, there are few debut records which express such confidence and drive, with a balanced diversity between upbeat honky-tonk rock and the delicate jam songs, which would Be the prime templates for the “power ballads” which proliferated a decade or more later.

The grouped was formed nine years earlier, in the summer of 1964. High school friends Ronnie Van Zant, Allen Collins, and Gary Rossington formed a band with two other friends called “The Noble Five”. Through many personnel and name changes in the late 1960s, these three remained the core. In 1970, the band changed their name to “Leonard Skinner” as a tongue-in-cheek tribute to a strict phys-ed teacher at their high school in Jacksonville, who constantly harassed them because of their long hair (which played a big part in Rossington dropping out of school). The more distinctive spelling was adopted at the suggestion of Kooper in 1972 when he signed the band his Sounds of the South, a subsidiary of MCA Records.

The band had grown notoriety by opening for the band Strawberry Alarm Clock and that band’s guitarist Ed King joined Lynyrd Skynyrd to play bass on the debut album (later switching back to guitar, giving the band three guitarists). One day the band was playing a high school prom when their then roadie Billy Powell played what would become the intro piece to “Free Bird”, the band’s most famous song. Powell was immediately invited him to join the band as keyboardist and the classic lineup of Lynyrd Skynyrd was established.

 


Pronounced ‘lĕh-‘nérd ‘skin-‘nérd by Lynyrd Skynyrd
Released: August 13, 1973 (MCA)
Produced by: Al Kooper
Recorded: Studio One, Doraville, Georgia, March 27-May 1, 1973
Side One Side Two
I Ain’t the One
Tuesday’s Gone
Gimme Three Steps
Simple Man
Things Going On
Mississippi Kid
Poison Whiskey
Freebird
Band Musicians
Ronnie Van Zandt – Lead Vocals
Gary Rossington – Guitars
Allen Collins – Guitars
Billy Powell – Keyboards
Ed King – Bass
Bob Burns – Drums

 
“Freebird”‘s majestic organ intro leads to one of the most famous guitar riffs in rock history, as Rossington used a glass Coricidin bottle for a slide to emulate his hero, the late Duane Allman. The poignant yet melancholy lyrics were written by Collins when he then-girlfriend (and later wife) spoke the opening lines verbatim;

If I leave here tomorrow, will you still remember me?”

The moody ballad gives way to a frantic ending jam led by the dual guitar leads and ever-more creative ways to grind out the three backing chords and even contains a drum roll by Bob Burns that lasts nearly a minute. The song completes the band’s debut album in climatic fashion.

The album begins with some backward percussion effects that introduce “I Ain’t the One”. Although this intro is rather awkward, the song finally catches its groove with the Rossington riff and piano embellishment from Powell, saving the song from bring too ordinary. “Tuesday’s Gone” then provides an immediate contrast to the opener, instantly displaying the band’s range and penchant for differing moods. The great harmonized guitars throughout serenade the lyrical theme of changing times with guest Robert Nix filling in on drums and producer Al Kooper providing bass and Mellotron.

Aside from the later hit “Sweet Home Alabama”, “Gimme Three Steps” may the be the quintessential Southern Rock song for all time. Led by a great riff sequence by Collins and just the right amount of lead guitar activity between verses, the storytelling song became the band’s first charting hit. The lyrics are based on an actual experience by Van Zant in a biker bar in Jacksonville when he had a gun pulled on him. That bar was actually called The Pastime Bar, but was renamed “The Jug” (from the song’s lyrics) in September 2012. “Simple Man” finishes off side one as a rather “simple” song, which somehow stretches three chords for nearly six minutes, using some sonic dynamics which saves it from getting too mundane.

Aside from the closer, side two contains some lesser known yet interesting tunes. “Things Goin’ On” at times seems a bit and unsure of itself, especially due to its lack of a strong beat, but the song contains some very entertaining elements such as the alternating instrumental leads between Rossington and Powell. “Mississippi Kid” is the most unique song on the album while being a definite nod to southern blues. It was constructed by Burns and producer Al Kooper, who also adds the signature mandolin while Ed king plays a respectable slide for his only guitar part on the album. “Poison Whiskey” is a short, funky song with more use of the nice double guitar harmony by Rossington and Collins.

A shortened version of “Free Bird” was released as a single and the full song received heavy airplay for decades to come. After the band’s devastating plane crash, which took the life of Van Zant in 1977, a live version of the song re-charted with even greater success.

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1973 Images

Part of Classic Rock Review’s celebration of the 40th anniversary of 1973 albums.

 

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