In the grand rock tradition of supergroups, none can surpass the Traveling Wilburys. George Harrison, Bob Dylan, Roy Orbison, Tom Petty and Jeff Lynne merged several of the 20th centuries greatest musical themes: rockabilly, Beatlemania, ballad rock, folk-rock and arena rock among them.
Unfortunately, the story of how the group came to be — and how they did what they did — has been relatively overlooked in the annals of rock music. That’s why Genesis Publications’ limited edition book “Traveling Wilburys” should be on any serious music lover’s list.
The book, signed by Jeff Lynne, immerses readers into the group and its work with an innovative use of photos, memos, doodles and hand-written lyrics — some reproduced on small memo-pad-sized sheets and stuck between the full-sized pages — culled from the group’s sessions between 1988 and 1990.
The story is told through the voices of the Wilburys, with occasional asides from a few close friends and family, as well as group “side man” Jim Keltner, who provided drums on most of the tracks on the supergroup’s two albums.
Petty, Lynne and Keltner
The stories they tell offer a fascinating glimpse inside the world of these superstar musicians. The group came out of an album Harrison was finishing with Lynne as producer called Cloud Nine. Somehow — the precise explanations vary — Harrison and Lynne began dreaming of putting together a faux group with luminaries like Dylan and Orbison.
Within days, the four, along with Tom Petty, were working on the nub of an idea Harrison had for a song. As Harrison tells the story, after the group recorded the guitar track at Dylan’s home studio, he realized he needed lyrics:
I look behind his garage door and there was this big cardboard box that said “Handle With Care” on it. And that was it. Once we got the title, it just went off. The lyrics were flying around. We could have had 29 verses to that tune, it was brilliant.
Harrison submitted the song to his label as a b-side to his next single, “This is Love,” but both label and artist quickly realized the song was too good for a b-side.
Thus, the Traveling Wilburys was born.
As famous and accomplished as each member was, it is clear that Orbison was considered the true star. As Barbara Orbison said:
Roy might be in the kitchen and George would come down and say, “I have Roy Orbison in my kitchen!” And I would say, “You know, we’ve been here now for three weeks.”
The book also recounts the shock after Orbison’s sudden death after the first album was finished, and days before a video for “End of the Line” was to be shot. They went ahead with the shoot but chose to highlight an empty rocking chair during Orbison’s vocal parts.
The surviving Wilburys went on to record a second album with its idiosyncratic title, “Volume 3.” While its sales were disappointing, a boxed set of the two albums ended up going to No. 1 in Great Britain and No. 9 in the U.S. in 2007.
All in all, The Traveling Wilburys book offers an intimate look at a historic moment in musical history. At $345, the limited-edition book offers no larger meanings or broader context. But it does allow participants, and those closest to them, to tell their tales directly. And those tales deserve to be treasured, as it is unlikely we will see a group like this again.