I actually made up the name Traveling Wilburys. I don't think Bob was that keen — he wanted to call it Roy and the Boys. That's totally a fabrication. Somebody invented that just to make it sound good, but no there was nothing subtle at all about The Wilburys.
What you saw [was] what you got. That was it. What was it like to collaborate on producing with George on that album? That partnership must have laid the foundation for the Wilburys. George wanted to be sure we would get on, because we didn't know each other, but he liked my ELO records.
I'd just been working with Dave Edmunds on a song, and [George] asked Dave to ask me if I'd like to work on his new album. We had a few beers and a laugh, and after a couple of days of just talking about me producing him, he asked me if I'd like to go on holiday to Australia. We went through Hawaii and then to Australia to watch the Grand Prix in Adelaide — that's where it was in those days — and we became really great friends and had really good fun.
It was just a wonderful opportunity to use some really good sounds, some nice, '60s kind of sounds. Was there a desire on some of these guys' parts to just be someone in a band for a while? I think so. Tom loved not having to be the big front guy. But he always looked great anyway — he looked like the front guy.
Roy Orbison — what a lovely man, one of the nicest guys I've ever known, just a real sweetheart. He'd come to the session, and in his car he'd have a bunch of cakes, which he wasn't supposed to have anyway, because he had a bad heart.
What was Dylan like in this sessions? Did anything about him surprise you? Obviously I knew all his work, but what struck me really was how he did it the same way we all do it, but only I think it's about some visions that Bob Dylan had that night.
Who knows? Tom helped a lot on that one, too. It's all over the dinner table, don't forget, so we're just talking and saying sentences, and sometimes they fit perfectly, and sometimes they don't, so you move them down a bit so it fits in the next verse. There was no premeditated thinking about it. But Bob very much [felt] the first take is the one, and that's it — you don't touch it.
The first take is Bob's favorite, usually. Many people think that song is a hat tip to Bruce Springsteen, given the imagery of New Jersey, a factory and other references. Is that the case, or was it just a coincidence? I think he liked talking about Bruce. Is it as fun as it sounds on the recording?
Oh, absolutely, because we knew we'd got a great tune there, and everybody loved singing it. Everybody loved to have a part, because it was such a catchy and sentimental song, and when Roy comes in, he just blows my mind.
Of course, Roy died just when we finished it and the record was coming out, which was the most sickening thing to me. I was devastated for ages because of that. Me and Roy had had plans to do much more together, and his voice was in really good shape. It was just so sad for that to happen. Where did the idea of giving yourselves different Wilbury names and saying you're half brothers come from?
Of course everybody knew who it was, but that was the idea — making it more like a real group that's been together for years. I think my fondest memory is Roy Orbison singing on the [tracks]. I had all the time in the world for Roy. My favorite thing of all was being pals with Roy Orbison.
Were you surprised at the success of the album? Or did the success of Cloud Nine give you a little bit of an idea that the Wilburys album might be successful? The main thing is that [Warner Bros. And it was very popular. The crowds always love that. They love to hear that one. It's been fantastic. He is almost single-handedly responsible for introducing Eastern music into mainstream Western rock and pop, while, as the 60s progressed, he became that rarest of beasts: a lead guitarist with impeccable songwriting skills.
Very informative piece. That was Carl Perkins. The picture can be seen on the Sun Studios website. So, you tease with some mystery about the I.
I see no surprising information, etc. So sad this world lost such a bright light as Roy Orbison so soon. Tom Petty, George Harrison, and Bob Dylan were, and are, stellar musical luminaries in their own right, and together they made a special impact on the world of recording that ended far too soon.
Rest well, Lefty and Nelson. Your Stars still shine brightly. I got to see him in a touring Grand Ole Opry show, probably in the late 60s. On my 32nd birthday, I lost my job because of an accident at work.
I tell you, it was tough to go on. I had gone to a birthday party for him, but I was a day early and missed it. One thing, however, remains certain. The circumambulatory peregrinations of these itinerant mundivagant peripatetic nomads has already disgorged one collection of popular lyrical cantata, which happily encapsulated their dithyrambic antiphonic contrapuntal threnodies as a satisfactory auricular experience for the hedonistic gratification of the hoi-polloi on a popular epigraphically inscribed gramophonic recording.
They must have taken to motion, in much the same way as penguins were at that time taking to ledges, for the next we hear of them they were going out for the day often taking lunch or a picnic. It was they who evolved simple rhythmic forms to describe their adventures. A remarkable sophisticated musical culture developed, considering there were no managers or agents, and the further the Wilburys traveled the more adventurous their music became, and the more it was revered by the elders of the tribe who believed it had the power to stave off madness, turn brunettes into blondes and increase the size of their ears.
As the Wilburys began to go further and further in their search for musical inspiration they found themselves the object of interest among many less developed species — nightclub owners, tour operators and recording executives.
To the Wilburys, who had only just learnt to cope with wives, roadies and drummers, it was a blow from which many of them never recovered. A tiny handful survived — the last of the Traveling Wilburys — and the songs gathered here represent the popular laments, the epic and heroic tales, which characterize the apotheosis of the elusive Wilbury sound.
The message of the music travels, as indeed they traveled and as I myself must now travel for further treatment. Good listening, good night and let thy Wilbury be done. Hugh Jampton, E. By Mo Ostin. Perhaps even then they all were Wilburys. By Tiny Hampton. By Hugh Jampton. Inside Out , The Traveling Wilburys.
0コメント