- 1 Who is still alive from the Traveling Wilburys
- 2 How old was Roy Orbison when he died
- 3 Was Eric Clapton ever in the Travelling Wilburys
- 4 Why did the Traveling Wilburys use fake names
- 5 How much was Roy Orbison worth when he died
- 6 Is ELO still in existence
- 7 Why is ELO named ELO
Who is still alive from the Traveling Wilburys
Jeff Lynne Looks Back On Traveling Wilburys & the 30th Anniversary of ‘Vol.1’: ‘It Was a Marvelous Time’ On the 30th anniversary of The Traveling Wilburys’ ‘Vol.1,’ Jeff Lynne looks back on the group’s origins and songwriting process, how they kept egos at bay and just what the heck ‘Tweeter the Monkey It seems fitting that, when you read about the creation of The Travelling Wilburys in 1988, it’s hard to sort out which stories are true and which are apocryphal.
After all, the five megastars who made up the supergroup went by pseudonyms and claimed to be half-brothers: Nelson (George Harrison), Otis (Jeff Lynne), Lefty (Roy Orbison), Charlie T., Jr. (Tom Petty) and Lucky (Bob Dylan). Other legends abound: Did the name “Wilbury” come from Lynne telling George Harrison, during sessions for the former Beatle’s comeback record Cloud Nine, that “we’ll bury mistakes in the mix”? Did the four other members ask Orbison to join the band right before he went on stage? Did George Harrison announce the project for the first time during a radio interview? The answers are no, kind of and maybe — at least according to Jeff Lynne, who recalls the group’s formation as quick and simple.
While working on Cloud Nine, he and Harrison started throwing out names of people with whom they’d love to be in a band. “Whenever we asked somebody, they would join immediately, so the group was formed in about 15 minutes,” he tells Billboard, When their debut album, Traveling Wilburys Vol.1, was released thirty years ago today on October 19, 1988, it became an instant hit in an era that was oriented more toward pop groups and hair metal bands than five guys in their 30s, 40s and 50s singing folksy rock songs.
- It also won a Grammy for Best Rock Performance by a Duo or Group.
- But the record did more than prove their staying power — it also rejuvenated the careers of Dylan, Orbison and Petty.
- Petty went on to release his magnum opus, Full Moon Fever, produced by Lynne, the following year, and Dylan’s Oh Mercy, also released in 1989, became his biggest hit in years.
Orbison, sadly, didn’t get to reap the benefits for long; he died of a heart attack in December of 1988, shortly after Vol.1 and before his own comeback album, Mystery Girl, was released. Lynne and Dylan are now the last remaining Wilburys following Petty’s shocking death in 2017.
- Below, Lynne — who’s currently touring with ELO and prepping a new studio album — tells Billboard about the process of getting the Wilburys together, how they kept egos at bay and just what the heck “Tweeter the Monkey Man” is about anyway.
- I’ve read a lot of different stories about how the band came together.
What’s your recollection? I’d just started working with George, producing, and we’d been working on it for a couple of months probably, and George said, “You know what? Me and you should have a group.” And I said to him, “Oh, that’s a great idea.” What a lovely thing to be asked to be in a group by George Harrison.
And I said, “Who should we have in it?” I don’t know what I was expecting, but he said, “Bob Dylan.” And then I said, “Can we have Roy Orbison in it as well?” ‘Cause it was still a fantasy, really, at the time for me. I didn’t realize that this was about to happen. And luckily, we both said “Tom Petty,” because we both loved Tom, and it all came together just like that.
Did it feel like a challenge to get all these people together? Or did you think, “He’s a Beatle, so he knows everybody, and I know a lot of people myself, it won’t be that hard”? It seemed like it was doable. I didn’t have to wait too long to find out whether it was doable.
They all said yes immediately, so that’s how it started out. It was just on the phone, basically, and then we got together in L.A. at Bob’s house. Did George announce that he was forming this group on a radio show? From what I understand, that’s how the public found out about it. He may well have done, but I don’t know.
I didn’t hear the radio show, so I didn’t know about that particularly. What I remember mostly was George had half a song done, and then we all convened at Bob Dylan’s garage, which is kind of wacky in itself. He had a little miniature studio in there, and was called “Handle With Care,” and that was the first one we did.
Who knew whom at the time? I didn’t know Tom that well. I’d met him a couple of times, I’d met Bob a couple of times. I’d never met Roy, but that was my dream, to meet Roy Orbison — and to be in a group with him was just ridiculous. I couldn’t possibly believe that. We weren’t close pals, but it was meant to be, because when we did all meet up together, we got on great.
Is it true that some of the group went to one of Roy Orbison’s shows, and right before he got on stage, you asked and he said yes? We went down to a show in Orange Country somewhere — I think it may have been Anaheim — and we actually watched his show first, because we got there a little bit late.
Then afterwards, we were in his dressing room and asked him to join the group, and he yes. There was never any long, big thought about it. Everybody thought it was a good idea. What was the biggest hurdle you faced in getting everyone together? Believe it or not, there wasn’t one. Because we had the studio, we just planned for ten days, to write ten songs for the album.
Which is what we did: getting together around lunchtime, strumming five acoustic guitars. We’d all share chords, ideas for the chord changes, just to get the backing track, and then we’d lay those down. Sometimes we’d double-track those five acoustics, so it’d become ten acoustics.
- It was rather extravagant, but the rest of it was very, very simple.
- We would then have dinner and write the words at the same time we’re having dinner.
- We’d be sitting there at the table, throwing out lines.
- Bob got a lot of the lines, just because he’s such a great writer of lyrics.
- And it was just fascinating, really — the whole thing was done at dinner time.
We’d then go back in the studio and sing them. We’d sort out which parts would suit everybody, and then me and George produced it. It was a marvelous time. When we’d done the ten songs, they were just basic tracks, really — acoustic, bass, a couple of drum beats, and then we took it home to to England to really finish it off.
Tom came over to play, and Roy came over to finish them off — to make them into what you’d call proper records, rather than demos. On Vol.1 it does feel like some of the songs sound like Bob Dylan songs, some sound like George Harrison songs, some like Tom Petty songs, Orbison songs, Jeff Lynne songs.
How did that process happen? Usually the guy who had the most to do with the lyrics would sing most of it. And other people would get choruses or a bridge to sing. We’d do different parts that would suit their voices. It was just a matter of trial and error, really.
- Getting Roy Orbison in the studio, it was just magic to me.
- As well as doing the Wilburys at that time, I was doing three tracks for his own album,
- I was just producing him, and I was knocking these tracks out between the Wilburys sessions.
- If there were a few hours left in the day from the end of a Wilburys session, I’d go back to work on the Roy Orbison songs.
I got the privilege of recording his voice, which to me, has always been the greatest thing ever. Was there any concern at all that egos would get in the way during the sessions? It never did get in the way. I never thought that it would. I mean, we had met up before we all started thinking about doing the work, and a bunch of guys having fun.
Tom came up with loads and loads of words for the songs as well, and Tom really knocked us about, that one. Three of them gone now — I can’t believe it still. It’s one of those things: “No, it can’t be true.” Where do you think that lack of ego came from? I think it just came naturally, because George was a bit of a name on his own.
I think that they were all totally in tune with this idea that George had originally. Everybody saw what everybody did, and I was mainly the producer of it, trying to get it all as good as it could be. They all knew that everything was covered. Nobody thought that they were better than anybody else, really.
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. There’s a story out there that George called the mistakes during the recording of Cloud Nine “Wilburys,” because you said, “we’ll bury them in the mix.” 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 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 asked Dave to ask me if I’d like to work on his new album. I said “Of course!” So I went around to his house, and there he was, on the boat on the lake.
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. I said, “Oh, I’d love to,” and so we did. 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.
I even co-wrote one of the songs with George — “When We Was Fab” — off Cloud Nine, 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.
He’d call me Jeffery and say, “I’ve got some really nice cakes in the back, come and have a look.” So he’d invite me down to the back of his car, show me them and say, “You can have first pick.” I thought that was so sweet. 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 better words? I don’t know how to explain it, but he’d get right to the point, right to the “What’s this about?”,
We’d have to say, “What’s this about, then?” after we got lines in. Hearing you say that makes me think of “Tweeter and the Monkey Man.” I’m still not 100 percent sure what it’s about. 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. It was not what you’d normally do on an album: You’d keep going over it, time after time after time after time, to edit the song to make it as good as it can be.
But Bob very much 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.
You should ask him about that, really, because I know they sound little bits of “Thunder Road.” We all loved Bruce Springsteen, obviously; you could say it was an homage to Bruce. When you guys are record a song like “End of the Line,” where no one is really sing lead and you’re going back and forth, what’s the atmosphere like? 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.
Where did the idea of giving yourselves different Wilbury names and saying you’re half brothers come from? Oh, that was George’s idea. Was the idea, “Yes, we’re five huge names, but we’re just part of a band”? 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.
What is your fondest memory of doing Vol.1 ? I think my fondest memory is Roy Orbison singing on the, When he’s laying it down, and I’m egging him on a little bit as the producer, just going, “Oh yeah, just like that!” He was such a brilliant singer, and a lovely guy.
- 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 thought it would be successful, so they put a lot of faith in it.
And it was very popular. I still do one song onstage on the new tour: “Handle With Care,” just to remind you of the Wilburys and show them a little bit of the Wilburys footage on the screen in the back. The crowds always love that. They love to hear that one.
- You’re in the middle of your ELO tour right.
- How’s that going? It’s been fantastic.
- It’s unbelievable.
- Absolutely outrageous.
- They’re all sold out to the roof, so it’s shocking and fantastic.
- Shocking how? Well, I haven’t been on the road ever since the Wilburys.
- Is it interesting to you that songs that are forty years old are getting such a positive reception? They hold up very well.
I’m shocked. I’ve got a really good band now, and I can finally reproduce on stage what I couldn’t do before with the old group. The new group has 13 including me, and we can finally cover all the string parts, the harmony parts. I get a copy of the show afterwards, just to check how it’s going, so I’m just thrilled with the way it sounds, and the audiences are too.
How old was Roy Orbison when he died
|Orbison in 1965|
|Born||April 23, 1936 Vernon, Texas, U.S.|
|Died||December 6, 1988 (aged 52) Hendersonville, Tennessee, U.S.|
|Spouses||Claudette Frady ( m.1957; div.) ( m. ; died ) Barbara Jakobs ( m.) |
|Children||5, including, Alex|
|Discography||Roy Orbison discography|
Roy Kelton Orbison (April 23, 1936 – December 6, 1988) was an American singer, songwriter, and musician known for his impassioned singing style, complex song structures, and dark, emotional ballads. His music was described by critics as operatic, earning him the nicknames “The Caruso of Rock” and “The Big O”.
Many of Orbison’s songs conveyed vulnerability at a time when most male rock-and-roll performers chose to project machismo, He performed while standing motionless and wearing black clothes to match his dyed black hair and dark sunglasses, Born in Texas, Orbison began singing in a rockabilly and country-and-western band as a teenager.
He was signed by Sam Phillips of Sun Records in 1956, but enjoyed his greatest success with Monument Records, From 1960 to 1966, 22 of Orbison’s singles reached the Billboard Top 40. He wrote or co-wrote almost all of his own Top 10 hits, including ” Only the Lonely ” (1960), ” Running Scared ” (1961), ” Crying ” (1961), ” In Dreams ” (1963), and ” Oh, Pretty Woman ” (1964).
- After the mid-1960s Orbison suffered a number of personal tragedies, and his career faltered.
- He experienced a resurgence in popularity in the 1980s, following the success of several cover versions of his songs.
- In 1988, he co-founded the Traveling Wilburys (a rock supergroup ) with George Harrison, Bob Dylan, Tom Petty, and Jeff Lynne,
Orbison died of a heart attack in December 1988 at age 52. One month later, his song ” You Got It ” (1989) was released as a solo single, becoming his first hit to reach both the US and UK Top 10 in nearly 25 years. Orbison’s honors include inductions into the Rock and Roll Hall of Fame and Nashville Songwriters Hall of Fame in 1987, the Songwriters Hall of Fame in 1989, and the Musicians Hall of Fame and Museum in 2014.
Who is the leader of Elo?
|Jeff Lynne OBE|
|Instrument(s)||Vocals guitar bass keyboards drums|
|Labels||United Artists Jet Harvest Epic Sony BMG Reprise Frontiers|
|Member of||Electric Light Orchestra|
|Formerly of||The Move The Idle Race Traveling Wilburys|
Who were the guitarists who played with Roy Orbison?
Background – The special consisted of a performance of many of Orbison’s hits at the then Ambassador Hotel ‘s Cocoanut Grove nightclub in Los Angeles, filmed on September 30, 1987, approximately fourteen months before his death. Three songs, ” Blue Bayou “, ” Claudette “, and ” Blue Angel “, were filmed but not included in the original broadcast due to time constraints.
- Other celebrity admirers of Orbison were in the audience, including David Lynch, Billy Idol, Patrick Swayze, Billy Bob Thornton, Sandra Bernhard and Kris Kristofferson,
- The backing band was the TCB Band, which accompanied Elvis Presley from 1969 until his death in 1977: Glen Hardin on piano, James Burton on lead guitar, Jerry Scheff on bass, and Ronnie Tutt on drums.
Male background vocalists, some of whom also joined in on guitar, electric organ and keyboards were Bruce Springsteen, Tom Waits, Elvis Costello, Jackson Browne, J.D. Souther and Steven Soles, The female background vocalists were k.d. lang, Jennifer Warnes, and Bonnie Raitt,
During the end credits, several of the band members are shown talking about how Orbison influenced them. The following morning at 7:42am, a violent 5.9 magnitude earthquake struck the Whittier section of Los Angeles. Several chandeliers in the ballroom had collapsed on the master film and videotape recordings that had captured the performance.
When the wreckage was cleared, no damage had been done. Soon after the release on VHS and LaserDisc, a bootleg CD titled A Black and White Night, Roy Orbison in Concert with the Billion Dollar Band surfaced, and is a rare collectors item nowadays. This CD, which came before any official CD-release of the concert, has the same 15 songs in the same order as the original VHS/LaserDisc release and has catalogue number RO.LA.87, referring to the artist, place and year of the recording.
What did George Harrison think of Roy Orbison?
How George Harrison asked Roy Orbison to join the Traveling Wilburys As The Beatles’ career neared its end, started making solo music, releasing his debut record, Wonderwall Music, in 1968, two years before the Fab Four finally called it quits. Shortly after the split, the musician released All Things Must Pass, arguably one of the best solo Beatles records, sending Harrison down a successful musical path post-break-up.
In 1972, Harrison told Record Mirror, “I wouldn’t really care if no one ever heard of me again. I just want to play and make records and work on musical ideas.” The musician’s dedication to his craft kept him busy for the next few decades, even though some of his albums fared considerably worse than All Things Must Pass.
Still, Harrison wasn’t afraid to experiment with new genres and sounds, finding immense success with his cover of ‘Got My Mind Set on You’ by Rudy Clark in 1987. The track appeared on his album Cloud Nine, produced by, While working together, the pair discussed the idea of creating a song with some of their friends, Bob Dylan, Tom Petty and Roy Orbison.
The result was ‘Handle With Care’, intending to use it as the B-side for ‘This Is Love’. However, the group soon realised they worked well together and would benefit from creating an entire album. In 1988, Harrison appeared on the radio show Rockline, explaining, “What I’d really like to do next is to do an album with me and some of my mates.
It’s this new group I got : it’s called the Traveling Wilburys, I’d like to do an album with them, and then later, we can all do our own albums again.” The group’s debut album, Traveling Wilburys Vol.1, was released in October 1988, just over a month before Orbison died.
The musician’s stint in the band gave him a final burst of popularity before his death, as, during the 1970s, he had struggled to find the same acclaim he garnered in the 1960s. His final decade saw him collaborate with Emmy Lou Harris (with whom he won a Grammy), Glenn Danzig and Bruce Springsteen. Yet it was his short tenure in The Traveling Wilburys that allowed him to leave one final, indelible mark on popular music.
Orbison and Harrison first met in the early 1960s when the former toured with The Beatles. He was a massive fan of Orbison, as were the other members of The Traveling Wilburys, with Petty once stating in a documentary, “Every time we’d start thinking about it, ‘Wow, Roy Orbison’s in the band!” to Orbison’s son, Roy Jr, Harrison and the rest of the Wilburys wanted the musician to join their band so much that the former Beatle “got down on one knee and asked my dad if he wanted to be in his band.” He added, “That showed such humility.
He didn’t kneel before anyone.” “Roy never really had peers, so it was great for them to get together,” Orbison claimed before adding, “It re-started Roy’s career – and the careers of all of them. They helped each other. It was a beautiful thing.” Sadly, Orbison’s time in The Traveling Wilburys was cut short when he died of a heart attack at just 52.
The band before returning to their solo careers. } } } } } } : How George Harrison asked Roy Orbison to join the Traveling Wilburys
Why did Roy Orbison wear sunglasses?
Why did Roy Orbison wear dark sunglasses? – Roy Orbison with his trademark sunglasses. Picture: Getty It was said that all the Orbison children had poor eyesight growing up. Roy used thick corrective lenses from an early age, and was self-conscious about his appearance. He began dyeing his almost-white hair black when he was still a young boy.
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He was known to be quiet, self-effacing, and was also very polite. Roy Orbison without his glasses. Picture: Getty After leaving his normal thick eyeglasses on an aeroplane in 1963, while on tour with the Beatles, Roy was forced to wear his prescription Wayfarer sunglasses on stage, and found that he actually preferred them. He wore sunglasses to help him hide to an extent, according to his biographers. The sunglasses led some people to assume he was blind.
Was Eric Clapton ever in the Travelling Wilburys
Eric Clapton is one of the most renowned and iconic figures in the history of rock music. His contributions to the genre, from the early days of the British Invasion to his work with Derek and the Dominos, have earned him critical acclaim and legions of fans.
But what many people don’t know is that Eric Clapton was also a member of the supergroup The Traveling Wilburys. The group, which featured George Harrison, Bob Dylan, Roy Orbison and Tom Petty, released two albums and had several major hits. So, was Eric Clapton in the Traveling Wilburys? The answer is yes.
The rest of them all were in LA in April 1988 when George was writing and recording (with Leff Lynne as producer) a B-side for the third single from his album “Cloud Nine.” This version differs from Eric’s version due to his absence The rest of them all
Did Ringo Starr play with the Traveling Wilburys?
Ringo was not there at the time. That’s all. Why was Ringo Starr not a part of The Traveling Wilburys? The Traveling Wilburys were Harrison’s band with his friends, he already had a drummer, Jim Keltner, long time sessions drummer who played on all 4 Beatles solo albums.
Who was the oldest member of the Traveling Wilburys?
‘Traveling Wilburys, Vol.1′: Rock’s Super-Supergroup Turns 30 By Some of the most transcendent moments of the last decade in music resulted from high-profile hip-hop collaborations: Nicki Minaj’s verse on Kanye West’s “Monster,” George Clinton and Thundercat’s contributions to Kendrick Lamar’s “Wesley’s Theory,” and the endless rotating cast of features on Travis Scott’s “Astroworld.” These appearances sometimes seemed to give the guest artists even greater focus than in their own work, and they responded with ambition and excellence.
But none match the collaborative spectacular of the Traveling Wilburys for sheer delight. The project emerged from the B-side jam sessions of George Harrison, Bob Dylan, Tom Petty, Roy Orbison, and Jeff Lynne, which they enjoyed enough to record a full pseudonymous album, “Traveling Wilburys, Vol.1,” which they released 30 years ago earlier this month.
Like George Clinton’s somewhat anachronistic but welcome presence on Lamar’s track, the Wilburys have an intergenerational charm. Orbison, the oldest, was one of the earliest stars of rock and roll as a codified genre. He and Dylan clearly had a strong influence on the Beatles (of which Harrison was, of course, a member).
- And although any description as “Beatlesque” is, Lynne (of Electric Light Orchestra) and Petty bear the Fab Four’s influence about as strongly as any artist since.
- Perhaps because of this dynamic — the elders relaxing among their fans-cum-bandmates, the youngsters on the top of their game to impress their idols — “Vol.1” somehow manages to be more than the sum of its stars’ earth-moving talents.
As Harrison might have recalled from his 21 years earlier, the mask of a fake band encouraged creativity and humor. How else could Dylan, during a streak of commercially unsuccessful and critically panned mid-’80s albums, have written “Dirty World,” whose very funny couplets belie its narrator’s melange of jealousy, hurt, lust, and misogynistic contempt, or the even funnier Springsteen parody “Tweeter and the Monkey Man”? Petty’s “Last Night” and “Margarita” likewise contribute a down-on-their-luck ethos to the myth of the traveling brothers.
Harrison’s songs “Handle with Care,” “Heading for the Light,” and “End of the Line” don’t fit quite as well in the concept, but they’re the best and catchiest tracks on the album, radiating the joy of a man back in a band for the first time in 17 years. Three decades after its release, the record demands a listen less for the novelty of all of its star power on the same tracks — especially after so many and than for the chance to see these figures in this particular mood: chummy, irreverent, relaxed.
Although some members (Dylan and Harrison) take up much more space than others (Orbison), the super-supergroup shares the spotlight enough that their subtly different styles give the best songs a dynamic multi-part structure. “Handle with Care” starts with Harrison’s looping guitar riff and in-the-clouds vocals on the verse, switches to a romantic pop melody for Orbison’s chorus, and turns up the cowbell for Petty and Dylan’s gravelly country-rock verse, all united by Lynne’s gleaming (if dated) production.
On “End of the Line,” an anthem to optimism and individualism, the singers simply trade off the melody, a unity among the aging rockers that gives a special resonance to lines like “Well it’s all right, / Even if you’re old and gray / Well it’s all right, / You still got something to say.” That line serves as a sort of motto for the band: They all did have things to say.
It just took each other to bring it out. —Staff writer Trevor J. Levin can be reached at [email protected]. : ‘Traveling Wilburys, Vol.1′: Rock’s Super-Supergroup Turns 30
Why did the Traveling Wilburys use fake names
Name – The name “Traveling Wilburys” comes from “We’ll bury.” When he was recording his album Cloud Nine, Harrison noticed some errors in the recording and said “Well bury them in the mix.” At first the band was the Trembling Wilburys but they changed it to the Traveling Wilburys.
The musicians used pretend names for the album: George Harrison was “Nelson Wilbury,” Bob Dylan was “Lucky Wilbury,” Roy Orbison was “Lefty Wilbury,” Tom Petty was “Charlie T. Jr.,” and Jeff Lynne was “Otis Wilbury.” This was meant as a joke and not to trick anyone. The Wilburys were five fictional brothers who all had the same father, Charlie T.
Wilbury Sr., but different mothers. Inside the paper around the album, there was also a pretend history of the Wilburys: “The original Wilburys were a stationary people who, realizing that their civilization could not stand still for ever, began to go for short walks – not the ‘traveling’ as we now know it, but certainly as far as the corner and back.”
How many members were in the supergroup the Traveling Wilburys?
The Traveling Wilburys The Traveling Wilburys would have never referred to themselves as a supergroup. Though comprised of some of the biggest names in modern music, the band was much more nonchalant than that. Formed out of friendship, spontaneity (and some would say pure kismet) the Traveling Wilburys were Bob Dylan, George Harrison, Tom Petty, Jeff Lynne and Roy Orbison.
- It all began in 1988, when Harrison and co-producer Jeff Lynne were tasked with recording a B-side for the former Beatle’s album, Cloud Nine,
- In need of a place to record on the fly, the two, along with friends Orbison and Petty, were invited over to Dylan’s home studio.
- The resulting track was “Handle With Care,” a collaborative effort which Harrison’s A&R team knew was just too good to use as a B-side.
George later said, “I liked the song and the way that it turned out with all these people on it so much that I just carried it around in my pocket for ages thinking, ‘Well what can I do with this thing?’ And the only thing to do I could think of was do another nine.
Make an album.” As each member of the Wilburys were busy with their own projects, the five musicians found a ten-day time frame in which to write and record an album together. Posing as a band of half-brothers (each with their own Wilbury monikers), the group enlisted Monty Python’s Michael Palin to write a fictional history of the group for the LP’s liner notes.
Traveling Wilburys Vol.1 was released in October of that year to wide critical and commercial acclaim, After hitting No.3 on the Billboard Top 200 chart, the certified double Platinum album earned a GRAMMY ® for Best Rock Performance by a Duo or Group.
- Sadly, Orbison passed away in December of 1988.
- The band reunited for one more album, dedicating it to their late friend, and wryly titling the 1990 LP, Traveling Wilburys Vol.3.
- In 2007, a retrospective box set, The Traveling Wilburys Collection, was released.
- Proving the timeless appeal of the Wilburys’ music, the deluxe title hit Number One in six territories and peaked at Number Nine on the Billboard 200.
At the time, The Traveling Wilburys Collection held the record of the having the highest debut of a box set in the United States, as well as the biggest first week in sales for a box set in the United Kingdom. Though the Wilburys never toured, and were only together for a brief, magical time, the group’s mutual admiration for each other, and genuine joy in the studio, still shine through in these recordings.
Why did the Traveling Wilburys break up?
In fact, the group never officially disbanded. The four men remained good friends and collaborated on and off on smaller projects. While Harrison never ruled out another full-scale Travelling Wilburys project, Bob Dylan became noticeably distant from the group as he focused on his solo commitments.
How much was Roy Orbison worth when he died
What is Roy Orbison’s Net Worth? – Roy Orbison was a singer, songwriter, and musician known for his dark, complex songs and iconic black hair and sunglasses. At the time of his death Roy Orbison had a net worth equal to $20 million dollars, after adjusting for inflation.
What was Roy Orbison’s vocal range?
Fun Facts About Roy Orbison – In 1992, Roy Orbison collaborates with Glenn Danzig on a song “LIFE FADES AWAY” which Danzig and Orbison wrote for the movie, Less Than Zero. Later it releases on Roy’s “KING OF HEARTS” album, 1992. Many people assumed Roy was going blind – nope.
- His trademark dark glasses he began wearing in 1963, just before a British tour with The Beatles.
- It happened by accident: when he misplaced his regular glasses, he wore the dark ones, which later becomes one of his trademarks.
- Music scholars suggest that Orbison has a three-or four-octave range and his powerful, impassioned voice earns him the sobriquet “the Caruso of Rock.” In fact, The Big O and Enrico Caruso were the only 20th century tenors capable of hitting E over high C.
In 1963, he opens for The Beatles, even though he didn’t know who they were, The opening night, he did 14 encores before The Beatles even performed. No pressure for The Beatles gif (1×1) While, trying to cover the vast career of Roy Orbison, it’s rather hard to do but at least it gets the ball rolling on how fantastic he was. So, explore away with this icon and many others while we’re currently dealing with the chaos all around us. Furthermore, it’s important to support your favorite artists during these trying times.
How old was Barbara Orbison when she married Roy Orbison?
Image caption, Barbara Orbison met her husband when she was 17 in 1968 Barbara Orbison, the widow and manager of rock n’ roll pioneer Roy Orbison, has died of pancreatic cancer aged 61. A family spokeswoman said she died at a Los Angeles medical centre on Tuesday – the 23rd anniversary of her husband’s death.
Since the 1980s, Orbison devoted her time to managing her husband’s estate and keeping his legacy alive. In January 2010 she also accepted a star on the Hollywood Walk of Fame on his behalf. With her son, Roy Kelton Orbison Jr, she co-produced a four-CD box set of her husband’s 107 recordings which was released in 2008.
The package marked the first all-inclusive body of Roy Orbison’s work from his earliest recordings to his last live performance. Roy Orbison died of a heart attack in 1988 at the age of 52, in the midst of a comeback with supergroup The Traveling Wilburys.
- Barbara Orbison was also the head of the Nashville, Tennessee-based music publishing company Still Working Music.
- In 2010 it was awarded BMI’s Song of the Year for Taylor Swift’s You Belong With Me.
- Image caption, Orbison accepted a star on the Hollywood Walk of Fame on her husband’s behalf.
- Lisa Swayze, family friend and widow of late actor Patrick Swayze, said her heart went out to the Orbison family.
“Patrick and I always had a warm connection with them both. Now we have lost this wonderful lady,” she said. Barbara met her husband in 1968 when she was 17 years old and Orbison was 32. They married nine months later. The spokeswoman said Orbison will be buried next to her husband at Westwood Village Memorial Park in Los Angeles.
Why did ELO fall out?
1983–1986: Secret Messages, Balance of Power, disbanding – ELO performing in 1986 (Jeff Lynne and Richard Tandy pictured) Jeff Lynne wanted to follow Time with a double album, but CBS blocked his plan on the grounds that a double vinyl album would be too expensive in the oil crisis and not sell as well as a single record, so as a result, the new album was edited down to a single disc and released as Secret Messages in 1983; many of the out-takes were later released on Afterglow or as B-sides of singles.
- The album was a hit in the UK reaching the top 5, but its release was undermined by a string of bad news that there would be no tour to promote the LP.
- Lynne, discouraged by the dwindling crowds on the Time tour, CBS’s order to cut Secret Messages down to one disc, and his falling out with manager Don Arden, decided to end ELO in late 1983.
Drummer Bevan moved on to play drums for Black Sabbath, and bassist Groucutt, unhappy with no touring income that year, decided to sue Lynne and Jet Records in November 1983, eventually resulting in a settlement for the sum of £300,000 (equivalent to £994,300 in 2018).
- While Secret Messages debuted at number four in the United Kingdom, it subsequently performed poorly in the charts, with a lack of hit singles (though ” Rock ‘n’ Roll Is King ” was a sizeable hit in UK, the US and Australia) and a lukewarm media response.
- That same year, Lynne moved into production work: having already produced two tracks for the Dave Edmunds album Information, he would go on to produce six cuts for his next, Riff Raff in 1984, and one cut on the Everly Brothers reunion album EB 84,
He also composed a track for former ABBA member Agnetha Fältskog ‘s 1985 album Eyes of a Woman, Lynne and Tandy went on to record tracks for the 1984 Electric Dreams soundtrack under Lynne’s name; however, Lynne was contractually obliged to make one more ELO album.
So Lynne, Bevan and Tandy returned to the studio in 1984 and 1985 as a three-piece (with Christian Schneider playing saxophone on some tracks and Lynne again doubling on bass in addition to his usual guitar in the absence of an official bass player) to record Balance of Power, released early in 1986 after some delays.
Though the single ” Calling America ” placed in the Top 30 in the United Kingdom (number 28) and Top 20 in the States, subsequent singles failed to chart. The album lacked actual classical strings, which were replaced once again by synthesizers, played by Tandy and Lynne.
However, despite being a 3-piece, much of the album was made by Lynne alone, with Tandy and Bevan giving their additions later. The band was then rejoined by Kaminski, Clark and Morgan, adding Martin Smith on bass guitar, and proceeded to perform a small number of live ELO performances in 1986, including shows in England and Germany along with US appearances on American Bandstand, Solid Gold, then at Disneyland that summer.
ELO performed at the Heart Beat 86 charity concert organised by Bevan in the band’s hometown of Birmingham on 15 March 1986; a hint of Lynne’s future was seen when George Harrison appeared onstage during the encore, joining in the all-star jam of ” Johnny B.
Is ELO still in existence
Currently, Jeff Lynne is the only founding member still in the group, as Roy Wood left in 1972 and the group disbanded in 1986.
Why is ELO named ELO
I hear the word elo always but what does it mean please if you know tell me Elo is just a rating system to calculate the relative skill level of players in games. The words Elo and Rating can be used interchangeably in chess. Electric Light Orchestra – they were a popular band 50 years ago. The chess world decided to pay tribute to them and adopted elo as a way to measure performance. It is basically the word for the rating system, that came from its inventor Arpad Elo. Read the link @tygxc has given you if you wish to know more. My limited experience with ELO is that for most players it is meaningless. For the elite (anyone above ELO 1000) it is nice. But around the 100-600 mark where most people will spend their life. ELO is just a crap shoot. Win 1 or 2 matches and ELO goes up by a lot, loose a few matches and ELO is halved. Sun is shining in the sky 🌞 elo is a rating system which chess often uses. Arpad Elo is its inventor and where the system name comes from. It should be noted that other rating systems also exist with subtle differences (such as the k-factor variable in determining rating changes for less active accounts) as chess.com technically uses glicko rating system and not elo.
The difference is negligible, so if you say elo chess.com rating, people still understand what you mean to say (even though technically incorrect). Although some math nuances may vary, the concept of any rating system is the same. It is a measure of a player’s estimated chess level based on past performance.
Ratings are an estimate and always will be. It is NOT the same as chess knowledge or chess ability even though higher rated players tend to be more knowledgeable and of greater chess ability on average. It doesn’t “stand for” anything. Elo is not an abbreviation. It’s a person’s name. Arpad Elo. He invented the Elo rating system. When people say “elo” most of the time they simply mean “rating” even if that rating is not technically an elo rating. Elo kind of became a generic term for all types of ratings used in chess. A bit like generic trademarks (Kleenex, Aspirin, etc). BlueScreenRevenge wrote: Elo kind of became a generic term for all types of ratings used in chess. A bit like generic trademarks (Kleenex, Aspirin, etc). That happens a lot, yes. Toilets are sometimes referred-to as “crappers” in English-speaking countries. Thomas Crapper – Wikipedia Misanthrope4U wrote: My limited experience with ELO is that for most players it is meaningless. For the elite (anyone above ELO 1000) it is nice. But around the 100-600 mark where most people will spend their life. ELO is just a crap shoot. Win 1 or 2 matches and ELO goes up by a lot, loose a few matches and ELO is halved.
This is totally false. And you obviously do not know anything about the Elo Ratings System.1. There is a maximum and minimum amount of Elo points you can gain or lose per game. And it does not matter if I win against GM Carlsen, and then I lose to my Cat rated 100 Elo.2. And the amount of gain or loss depends on the other players rating difference.
And If you win, lose, or draw a game. Up to the maximum and minimum rating gain, or loss per game.3. If you are seeing volatility over the maximum and minimum. This is because your rating is provisional, and not yet established. It doesn’t really stand for anything because it was named after Arpad Elo, but if it did it might stand for Estimation of level of Opposition. da_real_unknown_soup wrote: I hear the word elo always but what does it mean please if you know tell me It means rating. Not sure why people call it this, though.