Album Reviews

In retrospect it’s easy to understand why these superstars would want to write and perform this codger-esque novelty stuff under assumed names. They must have figured that while writing and singing this lighthearted fare inspired by the music of their formative years was fun, they were hardly washed up artists and had more greatness within waiting to pour forth.

In the cases of Bob Dylan, Tom Petty and Roy Orbison, that proved to be the case. All three produced among their finest albums post-1988 when the first Traveling Wilburys album was initially released. The same can’t be said of George Harrison and Jeff Lynne, though both remained active and it was the release of Harrison’s Cloud Nine album that led to the Wilburys.

For Roy Orbison fans 1988 was both a year of well-deserved incredible highs and inconsolable grief. Roy was back on top where he belonged, first with the star-studded HBO special “A Black and White Night,” still among the greatest live concert performances, then with the formation of the faux Wilburys and finally his solo album Mystery Girl. Tragically, Orbison passed away December 6th of that year at the age of 52.

As Warner Brothers’ accountant-turned-record biz guru Mo Ostin explains in the liner notes to this exquisitely produced box set, the group was a “happy accident.” Asked to produce a B-side for the first single from the aforementioned Cloud Nine album, Harrison called upon his friends Tom Petty, Roy Orbison and Jeff Lynne who were hanging out in Bob Dylan’s studio at the time, to help him with the throw away B-side tune.

What they came up with under Harrison’s direction was the stupendous, infectious “Handle With Care.” When Ostin and A&R head Lenny Waronker heard the track they flipped and suggested perhaps a full LP could spring from the single. Thus was born the Traveling (first called Trembling) Wilburys, a collaborative effort, with the five superstars checking their egos at the padded studio door.

For those old enough to have lived through the Orbison and Dylan eras in their entireties up to that point, the first Traveling Wilburys album was an almost bizarre, intoxicating thrill. There was the veteran Roy back in the swim. There was Dylan, the serious artiste, letting down his curly hair to sing a bunch of lighthearted, 1950’s infused ditties and of course there was that Beatle finally letting down his hair. For Jeff Lynne, whose bands The Move and The Electric Light Orchestra were strongly influenced by The Beatles and for Tom Petty whose sound was clearly Dylan-influenced, it was probably as big a thrill being in the group as it was for fans to listen in.

Feel good vibes poured forth from the grooves of that first album beginning with the survivor tale “Handle With Care.” Hearing Harrison begin the first tuneful verse was like a return to the 60’s. When Roy’s operatic tenor chimed in it was chill-time. Add the 12 string, Petty and Dylan’s backing, Bob’s harmonica and Harrison’s trademarked guitar and it’s easy to understand why the Warner execs wanted a full album and why the participants wanted more too.

The joyful Dylan’s “Dirty World,” backed by Jim Keltner’s sure-handed drumming signaled that this was going to be far more than a padded one hit wonder. The call and response “he loves your…” part filled the hearts of a generation with giddy laughter.

No point in going through the whole first album. It’s a good time first time and every time, filled with fifties rockabilly, folk-rock, Tex-Mex and the rest. For Roy fans “Not Alone Any More” resonated on more than one level. Giving Orbison a chance to shine in such a perfect musical environment was an act of incredible generosity on the part of the other Wilburys and Roy came through with a vocal as inspired and inspiring as any in his long recording career. The album was well recorded too.

The same can’t be said of the dark, mushy-sounding follow up album, Volume 3, which was dedicated to the late Roy “Lefty Wilbury” Orbison. While the sound wasn’t nearly as accomplished, the music rocked harder, beginning with the opener “She’s My Baby,” which sounds much like a Beatles rocker. “Inside Out” has The Wilburys sprouting green way before it became fashionable, on a tune that shows the steady producing hand of Jeff Lynne, credited or not. “The Devil’s Been Busy” is another eco-friendly tune, while the appealing doo-woppy “7 Deadly Sins,” crooned by Dylan, sounds like something culled from a PBS fund-raising special. Volume 3 sorely misses the operatic drama Roy Orbison brought to the first Wilburys album but the record does rock harder.

Rhino sweetens the musical part of the box set deal with a 12” EP containing extended versions of “Handle With Care,” and “End of The Line,” plus remixes of “Not Alone Anymore,” and “Runaway” (which was originally the “B” side of “She’s My Baby”) and two previously unreleased tracks, “Like a Ship” and “Maxine.” These are not throwaways, especially the haunting “Like A Ship,” which features great vocal harmonies. The remixes of the Orbison tracks have been configured to bring out his vocals, with the processing and reverb stripped away. For Roy fans, these tracks alone are almost worth the price of admission, especially “Not Alone Anymore.” “Runaway” is a throwaway, however, that shows that even superstars can be made to touch ground. That adds some charm.

As for the packaging, it includes a deluxe cloth box with a great 12x12 color shot of the original group on the inside top, an envelope of the promo postcards, a full color poster, and a 12x12 full color booklet.

Even though the packaging suggests the set was digitally remastered by Steve Hall, who mastered the original LPs, both volumes sound far better than the originals, which were probably cut from less accomplished digital masters to begin with. Don’t forget, by 1988 and 1990 the digital onslaught was in full swing. It was the early days of U-Matic ¾” digital tape, primitive converters, analog boards that required multiple conversions and an industry filled with digital newbies. Whatever was done this pass, the sonics are much improved, with better extension, clarity and transparency. The second Wilburys set was pressed in such limited numbers most people have never seen a copy.

Does this two-off supergroup deserve deluxe box set status or is Rhino guilty of exploitation? Only you and your pocketbook can make that decision. However, I’d say it’s worth the investment if you’re a fan of these guys individually or collectively. The box wraps up an era, especially for Roy and George fans. For Lynne, Petty and Dylan, it was a project that probably unclogged their creative arteries and helped them produce later greatness. Or not.

Like all limited editions, this set has come and will soon be gone. Hesitate and you may regret it later. Or you’ll have $70 odd dollars in the bank and be happy for it. Me? I’m happy to have this box and the memories it recharges.