"+ "" var htmlCloser = ""+ "" xWorkItOut_popup = "
\"Next to come was JL's work for Jim Horn's Work It Out album. Jeff had written the title track, produced it and played GTRs, bass and piano, with Phil Jones on drums, Tom Petty on rhythm GTR, and Jim Horn on tenor and baritone saxaphones. The Trembling Blenders (now only Jeff and Tom) could be heard on backing VCL.\"
UNEX
\"Even Jim Horn, the sax player, he played on a lot of Wilburys' stuff, and I remember Jeff and I doing a track with him.\"
Tom Petty (November 1, 2005 Conversations With Tom Petty)
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\"Yeah, we played acoustics on [Jeff Healey Band's While My Guitar Gently Weeps], acoustic rhythm. And did some backing vocals for him. It was actually in L.A., y'know, it was one of those... phone mixes. It was a long way away, but he's great, Jeff Healey, I really like him.\"
JL (June 23, 1990 - Rockline)
\"For years Healey's band had successfully included The Beatles' song While My Guitar Gently Weeps, written by George Harrison, in their live set. They recorded the song in 1990, despite objections from their record company who did not feel it was appropriate for inclusion on their albums. Once the song was recorded, they attempted to contact George Harrison to see if he was possibly interested in contributing to the song. To their surprise, they received a call from Harrison who instructed them to send the tape to Rumbo Recorders where he was working on JL's Armchair Theatre album. According to Healey, the tape was returned within a matter of days. Healey's brilliant and unique style of playing had obviously caught the attention and respect of Harrison who, along with Lynne, overdubbed guitar and backing vocals to Healey's version of While My Guitar Gently Weeps.\"
Kristofer Engelhardt (1998 - Beatles Undercover)
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\"In August Nobody's Angel was released as a single in the UK. 12 inch copies, with an eight minute 'Extended Version' which was credited 'Produced and Remixed by JL' were already pressed and released as promos, regular copies, however remained unissued.\"
UNEX
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This song contains a lyric and melody line from the Smokey Robinson and The Miracles 1966 hit, Going To A Go-Go. Some sources say it's a sample but it's not a direct sample (a copy of the recording), merely a JL singing the chorus and melody in a small portion of the song at the beginning of the second verse. It's more of an homage than a rip-off. Because of this, some sources add the writers of Going To A Go-Go, William Robinson, Robert Rogers, Marv Tarplin, and Warren Moore, to the writer credits of the song Every Little Thing.
\"It's more or less just acoustic on [Every Little Thing]. We just sat around in the kitchen doing three acoustics. Also, Richard Tandy, from my old group E.L.O., he played rhythm on that one as well on that one. It's just having fun, really. Y'know, there's no basic, sort of structure to it. I'd just say to him, 'George [Harrison], would you like to play something on there?' And luckily he did.\"
JL (June 23, 1990 - Timothy White's Rock Stars: JL's Musical Chairs)
\"The percussion section and the two singers from Ravi Shankar's band were featured on Now You're Gone, Every Little Thing, and Lift Me Up and gave those tracks a bit of an Indian feel. Michael Kamen, whom Jeff had also met like Ravi Shankar through George Harrison was responsible for the strings on Every Little Thing and Blown Away. [...] The first single [from Armchair Theatre] was Every Little Thing backed with the unreleased I'm Gone...\"
UNEX
\"On the first single and sort-of hit Every Little Thing Lynne blows his wad before you've heard the second song: choired vocals, beefy saxophones just because he can, a battalion of fiercely strummed acoustic guitars keeping the damn thing afloat through surprising chord changes. It's not so much a song as a sound collage, generations of pop music tropes, musical and lyrical, flashing in milliseconds. \"
Alfred Soto (October 25, 2005 - Stylus online magazine's On Second Thought article)
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\"Actually, Lynne grew up on plain old rock 'n' roll, more along the lines of another tune he remakes on Armchair Theatre: Roy Hamilton's Don't Let Go. 'I heard that on an oldies station while I was driving around L.A.,' [JL] says. 'The breaks in the songs, vocally, just drove me crackers. I knew I had to try it.' It sounds like it would be fun to play live, too.'It would be. It'd be great. But I don't have any plans to tour.'\"
David Hinckley (June 13, 1990 - The Province article entitled JL finally takes a fling at going it all alone)
\"[Don't Let Go] was done in the hallway, funny enough. Actually, I didn't even know the song 'til I heard it in L.A. a few years ago. It wasn't a hit in England, but, uh, I used to hear it in the car when I was driving. And those break in it, when he goes, 'Oo-ee,' it's sort of the stop, would always get me. Put the breaks on, to try and play the bass drum part and I was always one beat too late or one too early. There's a girl drummer as well. Uh, her name's Mette Mathiesen. A Danish girl from a group I'd just did some production, I'd done three track for 'em, called Miss B Haven. And, uh, I liked her drumming so much I asked her if she'd play on my record, which she did. I think she did a great job, y'know, she's got a real style, similar to like Ringo, that sort of, um, rockabilly style.\"
JL (June 23, 1990 - Timothy White's Rock Stars: JL's Musical Chairs)
\"Don't Let Go [which was written] by Jesse Stone had mainly been included [on the Armchair Theatre album] by Jeff because he had heard it very often on the radio when he was listening to a local rockabilly station in his car.\"
UNEX
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This song was used to promote the 1991 film, Shout, being featured in some of the trailers, but not in the film or on the film's soundtrack release.
\"And then, of course, there's Armchair Theatre, which got off to a slow start in the U.S. Lynne hopes the album will get a boost from its second single, Lift Me Up. But if it doesn't, he insists he won't be crushed. 'My whole life doesn't depend on it doing well,' he says.\"
James Henke (1990 - Rolling Stone article entitled The Second Coming of JL)
\"I just try to write an 'up' song, instead of a 'down' one. It's so easy to write doom songs. Jolly ones are very hard to write because they become smug almost. Y'know, like, 'How come you're so happy, y'bastard.' Y'know what I mean? It's... it's one of them. If people don't really relate to it... I think, if they're positive, though, and not smug and... and they are saying something that is like 'let's have a good time, it's okay, y'know. No need to be depressed and all that.' I think then, it's good. There was an inspiration [for Lift Me Up]. There must have been... Maybe it's 'cause I was feeling so happy to be doing a solo album after not even imagining I'd ever do one. And working with all these guys really helped me in lots of ways and gave me a lot more confidence. It was actually in France where I wrote the song. I was in me shed, where I got me keyboard and, uh, and a little two watt amplifier. All I had was just the phrase, 'lift me up' y'know, and a little three note thing. I was in Cannes, but I wasn't at the film festival, I was just having holiday actually, but working. Up in the mountains, beyond the coast, y'know, about ten miles inland with is [the] real nice part. And, um, I wrote about half a dozen tunes there. It's because of George that I ever got to sing Indian music, really. I'd been to see Ravi Shankar a few times. And, uh, this one day there was an opera in England, an Indian opera with an Indian orchestra, Ravi Shankar's orchestra. And, at the same concert with these percussion players and I had four of 'em come to me house in the kitchen, playing this, uh, Indian percussion. Sounded fantastic. East meets west, uh, and the other way around.\"
JL (June 23, 1990 - Timothy White's Rock Stars: JL's Musical Chairs)
\"There it is again, the power of the chords. Y'know, the way you structure chords, it sort of... Just before the chorus comes, it's like this cliffhanger where it goes to a minor seventh flat fifth which is quite a little cluster. And it leaves you dangling over the edge and then it comes back into the major key which the chorus is in. And that's where... And the bass note is in the root note. It's like a third. And the third goes up to the next major. And that's where it all blossoms out because it's sort of a relief 'cause you've been hanging on this rather tense little chord. And then the chorus starts and it all opens up like a... like a little blossom.\"
JL (June 25, 1990 - Off The Record radio show with Mary Turner)
\"...Jeff played... chair (!!!) on Lift Me Up... [...] The percussion section and the two singers from Ravi Shankar's band were featured on Now You're Gone, Every Little Thing, and Lift Me Up and gave those tracks a bit of an Indian feel.\"
UNEX
\"Only Lift Me Up, with its piercing guest solo by Harrison, ascends to an empyrean untrammeled by wearers of paisley vests, or undisturbed by the echo from the predictably unpredictable covers of September Song and Stormy Weather. \"
Alfred Soto (October 25, 2005 - Stylus online magazine's On Second Thought article)
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\"[Armchair Theatre] includes ...versions of two standards (Stormy Weather and September Song). Lynne was moved to record the latter two after his mother died last year. 'It was sort of a tribute,' he says. 'Plus, people just can't write songs like that anymore, with that kind of melody and chord structure and lyrics.'\"
James Henke (1990 - Rolling Stone article entitled The Second Coming of JL)
\"Harrison's primary leads, as it happens, come on two of the record's most interesting numbers: September Song and Stormy Weather. 'I did Stormy Weather as a tribute to my mother,' [JL] says. 'She always liked it, so I thought I'd have a go at it. I'm glad George wanted to do it, too, because the chords get quite complex compared to rock 'n' roll.\"
David Hinckley (June 13, 1990 - The Province article en\"Well, I turned the one standard [Stormy Weather] into like an old rock 'n' roll song and September Song I made it into a shuffle, which is sort of an old... sort of an early rock 'n' roll sound. I think, that's what I tried to do. Yeah [like the brushes on the drums] and the walking bass. So it's like a shuffle, but-- Shuffle Butt! [laughs] And, um... what else did I do? Oh, yeah, Stormy Weather. That was a really hard one to sing, I had to follow... I just wanted a challenge of trying to do some what you might call proper music written by brilliant songwriters that you don't actually come across very often in rock 'n' roll. So it was just a challenge-- a hard one.\"
JL (1990 - Saturday Sequence BBC Radio 1 interview by Richard Skinner)
titled JL finally takes a fling at going it all alone)
\"[Also included on Armchair Theatre was the cover song] September Song (written by Maxwell Anderson and Kurt Weill)... [It] appeared on the album because [it was a favorite] of Jeff's mother who had recently died.\"
UNEX
\"Only Lift Me Up, with its piercing guest solo by Harrison, ascends to an empyrean untrammeled by wearers of paisley vests, or undisturbed by the echo from the predictably unpredictable covers of September Song and Stormy Weather. \"
Alfred Soto (October 25, 2005 - Stylus online magazine's On Second Thought article)
" xSeptemberSong_popupstats = "
\"Well, um, the inspiration was really, sort of... [cough] ... it was sort of... Me mother died, and then Roy Orbison died, and Del Shannon died... Y'know, but it was Roy Orbison that actually [unintelligible] and died just then. But it was a real emotional kind of song, Now You're Gone. It's also like a song about love, which it is. And it's also a song about loss, y'know. And, the reason I used Indian, uh, people, who are brilliant. They're all classical Indian musicians and they're fantastic. Just to watch 'em perform is brilliant. Uh, Because I went to a concert in England, an opera by Ravi Shankar and I heard these singers and... On the one part of the song, I thought 'This is... I gotta have a solo here, like a piano or a GTR.' And I thought, 'No, I want something really special.' And I heard these singers and I said 'That's it. That's what I want.' And they came and they sang on it. They just sang a raga across the ending, which to me was really beautiful. Gave me, um, a big thrill.\"
JL (June 23, 1990 - Rockline)
\"...Jeff played... auto-harp on Now You're Gone... [...] The percussion section and the two singers from Ravi Shankar's band were featured on Now You're Gone, Every Little Thing, and Lift Me Up and gave those tracks a bit of an Indian feel. Jeff about Now You're Gone: 'The reason why I used the Indian people... who are brilliant, they are all classical Indian musicians... is because I went to a concert in England, an opera by Ravi Shankar and I heard these singers and on the one part of the song (Now You're Gone) I thought I've got to do a solo here, like a GTR or a piano and I thought, 'No, I want something really special.' I heard these singers and I said: 'That's it, that's what I want.' And they came and sang a raga on it. The insperation [sic] was really sort of... it was really sort of... my mother died, Roy Orbison died, and Del Shannon died. It was a real emotional kind of song.'\"
UNEX
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This song was used to promote the 1993 film, Rudy, being featured in some of the trailers, but not in the film or on the film's soundtrack release.
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\"[Armchair Theatre] includes ...versions of two standards (Stormy Weather and September Song). Lynne was moved to record the latter two after his mother died last year. 'It was sort of a tribute,' he says. 'Plus, people just can't write songs like that anymore, with that kind of melody and chord structure and lyrics.'\"
James Henke (1990 - Rolling Stone article entitled The Second Coming of JL)
\"Harrison's primary leads, as it happens, come on two of the record's most interesting numbers: September Song and Stormy Weather. '...September Song was just something I heard on the radio and thought was beautiful. So I got a version to listen to - it didn't even turn out to be the original - and decided to try it myself.'\"
David Hinckley (June 13, 1990 - The Province article entitled JL finally takes a fling at going it all alone)
\"Well, I turned the one standard [Stormy Weather] into like an old rock 'n' roll song and September Song I made it into a shuffle, which is sort of an old... sort of an early rock 'n' roll sound. I think, that's what I tried to do. Yeah [like the brushes on the drums] and the walking bass. So it's like a shuffle, but-- Shuffle Butt! [laughs] And, um... what else did I do? Oh, yeah, Stormy Weather. That was a really hard one to sing, I had to follow... I just wanted a challenge of trying to do some what you might call proper music written by brilliant songwriters that you don't actually come across very often in rock 'n' roll. So it was just a challenge-- a hard one.\"
JL (1990 - Saturday Sequence BBC Radio 1 interview by Richard Skinner)
\"[Also included on Armchair Theatre was the cover song] Stormy Weather which had been sung by Judy Garland. [It] appeared on the album because [it was a favorite] of Jeff's mother who had recently died. [...] [Jeff's] footsteps were featured on Stormy Weather.\"
UNEX
\"Only Lift Me Up, with its piercing guest solo by Harrison, ascends to an empyrean untrammeled by wearers of paisley vests, or undisturbed by the echo from the predictably unpredictable covers of September Song and Stormy Weather. \"
Alfred Soto (October 25, 2005 - Stylus online magazine's On Second Thought article)
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\"Obviously, some tracks, y'know, you become stuck with 'cause you go, 'I just can't think of what to do with that.' Y'know, and you've tried and tried and tried. That... then it becomes a little bit like hard work. But, on one occasion which this happened to me was on a song called Blown Away. And I'd just been wracking me brains for, y'know, for days and weeks. I can't think of this line. And I took it to Tom, Tom Petty, yeah. And I said, 'Tom, what's this line gotta be here?' And he just came up with it straight away. In a way, y'know, it's very rare that, uh, that I would do that, but I really liked the song so I wanted to get it done. And I thought it... I'm going to be another year trying to think of this line if I don't ask somebody. And Tom happened to be close by, so I did. You know, like, I've written so many songs with Tom like, just on Full Moon Fever and with the Wilburys that I'm still really impressed with how he comes up with all the words. [The line he gave me was,] 'Blown away,' was one of 'em. Yeah, 'cause I'd got all the words up there and I go, 'Now, AH!'-- nothing. I just couldn't think of it. And he come up with 'blown away like a boat out on the ocean.'\"
JL (June 23, 1990 - Timothy White's Rock Stars: JL's Musical Chairs)
\"Del [Shannon] was heard the last time on Blown Away along with Jeff and Phil Hatton on backing VCL. [...] Michael Kamen, whom Jeff had also met like Ravi Shankar through George Harrison was responsible for the strings on Every Little Thing and Blown Away. The latter one featured Tom Petty as co-lyricist. Jeff: 'I was impressed how quick Tom can find fitting words. I sat down and couldn't find the right line for Blown Away. I tried out several sets of lyrics and couldn't find the right line. So I asked Tom and he came up with 'Blown away like a boat out on the ocean' and that was great.'\"
UNEX
\"Armchair Theatre featured Del Shannon singing background on the track Blown Away with the Warwickshire Wobblers. In the sleeve notes, JL acknowledges his friend: 'God Bless Del Shannon'.\"
Brian Young (circa 2000 - Rock On! The Traveling Wilburys, The Trembling Westover published on delshannon.com)
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\"Well, I think, the earth inspired Save Me Now and... uh, I tried to write a little nursery rhyme, really, as opposed to a big shouting match. And it's like the earth waking up after a couple million years and going, uh, 'Ooh, it's not very good anymore.' And it was just simple like that. Y'know, it came to me real quick. I wrote it about three minutes or something. [...] Well, I thought, y'know, I tried to approach it from a different angle than, y'know, being a politician or somebody shouting stuff or not being a politician and not shouting. I wanted to be from a totally neutral point of view and I thought the earth was about the only one left who could have a proper say.\"
Jeff Lynne (June 23, 1990 - Rockline)
\"The [Armchair Theatre] album closes with Save Me Now a song about the Earth and the pollution of the environment (his first social comment song since Kuiama) with Jeff performing all by himself.\"
UNEX
Editor's Note: Jeff has done protest songs since Kuiama, most notably The Whale. JL also claims that One Summer Dream is a protest song, but I don't see it."
xSaveMeNow_popupstats = "
\"The '2 tracks (2 snips)' after Save Me Now have certain titles. The 1st snip is called Space Ship/Gulls. The 2nd snip is called It's Still Going, You Know/Bells.\"
Taichi Murakami (1990 translated from Japanese pressing of Armchair Theatre liner notes)
\"Oh, no, I didn't know that was on there. [laughs] Oh, dear! [laughs] No, in actual fact, it says, um-- I'm not going to tell you, 'cause you'll have to listen. If you listen closely-- No, it actually says: 'It's still goin', ya know.'... Well, it's just a bit of fun. So, in case you forgot to switch it off, you'll get a rude awakening.\"
JL (June 23, 1990 - Rockline)
\"The completest [sic] [version of It's Still Going, You Know] was on LP format: When the song comes to an end you can hear ten 'clicks' like a stylus scratching in the endless groove of an LP, then you can hear a sound effect and another seven 'clicks' followed, then Jeff says: 'It's still going, you know' and after some bells ringing and three more 'clicks' the song is over. The CD version was the same but missing all those 'clicks' because it was a CD (which could not have stylus scratching). The third version was on the German MC release which missed [the whole It's Still Going, You Know bit], because the MCs were taken from the digital CD version and someone had thought the track was over at this point.\"
UNEX
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\"The first single [from Armchair Theatre] was Every Little Thing backed with the unreleased I'm Gone... [...] The 12 inch and 5 inch maxi single includes an 'Extended Remix' of Every Little Thing.\"
UNEX
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\"The first single [from Armchair Theatre] was Every Little Thing backed with the unreleased I'm Gone also a rockabilly track. Jeff: 'Dave Edmunds introduced me into rockabilly, and I like rockabilly and the way the Stray Cats do it.'\"
UNEX
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\"In September [1990] Lift Me Up [was released] and the 12 inch [and 5 inch maxi single] featured two new songs: Sirens, an instrumental which shows us JL's Pink Floyd-style side and Borderline...\"
UNEX
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\"In September [1990] Lift Me Up [was released] and the 12 inch [and 5 inch maxi single] featured two new songs: Sirens... and Borderline which appears to be more on his Wilbury side.\"
UNEX
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This is a cover of the Roy Orbison song. This song is performed with only an acoustic guitar accompaniment." xItsOverRocklineVersion_popupstats = "
This is a cover of the Del Shannon song. JL later recorded this song as part of the Traveling Wilbury's Vol. 3 sessions, although This version is performed with only an acoustic GTR accompaniment." xRunaway_popupstats = "
\"On May, 8th 1990 Yoko Ono's Tribute To John Lennon concert was held in Liverpool. Among many other artists, who played Lennon songs, Ringo Starr performed I Call Your Name. He could however not make it for the show, so a pre-recorded tape was screened. The song had been recorded and produced by JL with Ringo (VCL and drums), Jeff (electric GTR, backing VCL), Tom Petty (bass, backing VCL), Jim Keltner (woodblock) and Joe Walsh (lead GTR). The show was later released on VHS video as Lennon - A Tribute.\"
UNEX
Editor's Note: The musicians listed here appear in the video performance, but that performance is obviously lip-synched, since while JL is obviously doing background VCL in the song, he is nowhere near a microphone when they are heard and is not trying to sing them. So that actual studio musicians on the song remain unconfirmed.
\"[Tom] Petty, along with JL, Jim Keltner and Joe Walsh backing Ringo singing I Call Your Name as a contribution to The John Lennon Scholarship Concert held on May 5, 1990 in Liverpool. The song is included on the 1991 video laserdisk The World's Greatest Artists Sing LENNON A Tribute.\"
Kristofer Engelhardt (1998 - Beatles Undercover)
\"This version of the Beatles track was pre-recorded for use at the John Lennon Scholarship Concert held at the Pier Head in Liverpool on May 5, 1990. It was bootlegged on the 45 Ringo Starr A Little Live (Starlight SL-7-002) and the CD Rarities (Ghost CD53-38). However, as the original source of these releases was a mono dub of the syndicated broadcast/commercially available version, the best place to find this performance would be the domestic videotape/laserdisc of The World's Greatest Artists Sing Lennon: A Tribute, originally released in April 1991. The session took place in Studio A at Rumbo Recorders and featured JL, Tom Petty, Joe Walsh and Jim Keltner.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
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This song is a cover version of the song popularized in a recording by Hank Snow in 1949 and recorded by the Beatles in 1961 with Tony Sheridan in Hamburg. For this recording the band re-wrote the complete second verse (\"In every town and village\" to \"or take away their fears\" to fit the theme of the Romanian Angel Appeal.
\"There was a request to just do a tune that would help, you know, attract some attention, and create maybe some funds to help the orphans in Romania. So we did it [recorded Nobody's Child], did it very quick. Somebody else suggested asking some other people to, um, make it... rather than a single, make it into an album, so [we] phoned around a few people and they kindly gave tracks. Put it together. Talked Warner Records into putting it out. And they very kindly distributed it for us. And that's it, really. There's been a lot of money collected. Not from the record, yet 'cause we don't know that yet. But through an appeal through an English newspaper. The British public, who are very generous, gave a million pounds in six weeks, which is incredible.\"
George Harrison (October 25, 1990 - Traveling Wilburys Vol. 3 Radio Special)
\"When [George Harrison's wife] Olivia Harrison had heard about the fate of the orphans in Romania who suffer varying degrees of deprivation, she decided to found the 'Romanian Angel Appeal' along with Yoko Ono, Barbara Bach and Linda McCartney in April 1990. Plans for a benefit record were set and The Traveling Wilburys decided to get together and record the title song for this album. They recorded the old Lonnie Donegan track Nobody's Child with the line up of Tom, George, Jeff and Bob, everybody sung two lines in that order, and left the 5th place in the group vacant. [...] As George wasn't able to find somebody who knew the entire lyrics of Nobody's Child, he decided to compose the second verse himself. Nobodys Child was released as a single with the B-side performed by Dave Stewart.\"
UNEX
\"Early- to Mid-April: The Wilburys also record an extra song at these [Vol. 3] sessions especially for a Rumanian [sic] children's appeal. Rush-released in June [1990], the song is the country standard, Nobody's Child.\"
Clinton Heylin (1996 - Bob Dylan: A Life In Stolen Moments: Day By Day, 1941-1995)
\"Sessions for the Wilburys sophomore effort commenced under the auspices of producing a track for the Romanian Angel Appeal project, which was spearheaded by George's wife Olivia. Nobody's Child was first issued as a single in June of 1990 and was also included on the charity LP of the same name in July 1990. And old song with some Beatles history, Nobody's Child was recorded by Tony Sheridan and the Beat Brothers (Beatles) for Polydor in 1961. This track was recorded in early April of 1990 within twenty-four hours after hearing from George's wife Olivia, who was visiting the war-torn country [of Romania]. George ended up penning new lyrics for the second verse due to the fact that no one could remember the words! The album on which the song was eventually featured as was titled after also featured several other artists, including Ringo, the Bee Gees, Elton John and the ever-popular Billy Idol. A promotional film directed by Derek Hayes was completed on June 11th, but did not feature appearances from the group. It instead relied on animation and newsreel footage of the Romanian orphanages. The mix on the video, as well as the UK single issues of the song (7-inch, 12-inch and CD) match the LP mix. The track was scheduled for a US single release in mid-June of 1990, yet never appeared.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
\"When Olivia [Harrison] became involved in a Romanian aid project for children called Angel, George [Harrison] contributed a Traveling Wilburys' track... to the charity album Nobody's Child.\"
Marc Shapiro (May, 2002 - Behind Sad Eyes: The Life Of George Harrison)
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\"That's Ken Wilbury [guesting on guitar on She's My Baby]. I hope he's listening in. Now Ken Wilbury, you're a very naughty boy. You didn't play on the video, but we love him anyway. He's an excellent guitar player.\"
George Harrison (October 25, 1990 - Traveling Wilburys Vol. 3 Radio Special)
\"Gary Moore... was invited to play the lead GTR on She's My Baby...\"
UNEX
\"At least one song [on the Vol. 3 album] in its original form is entirely a Dylan vocal. However, She's My Baby appears on the [Vol. 3] album with all four Wilburys singing a verse apiece. Dylan is by far the most significant Wilbury on Volume Three, making the major vocal contributions on Inside Out, If You Belonged To Me, Seven Deadly Sins [sic], and Where Were You Last Night?, as well as singing a verse apiece on She's My Baby, The Devil's Been Busy, New Blue Moon, and The Wilbury Twist [sic].\"
Clinton Heylin (1996 - Bob Dylan: A Life In Stolen Moments: Day By Day, 1941-1995)
\"This rocking little ditty was considerably ballsier than anything on Vol. 1. Certainly Gary Moore's lead guitar added to this tough sound, but was it right for the Wilburys? Warners in the US certainly had its doubts, as they scheduled it for a single release, only to yank it at the last minute. It was issued as a single in the UK, however, with two bonus tracks on the CD single. A promotional CD single was issued for US radio stations, however. All single versions are the same as the LP track, as is the soundtrack for the promo video completed on October 13, 1990. The film was produced by Peter Kohn and directed [by] David Leland for Limelight Films.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
\"...She's My Baby and Where Were You Last Night?, aside from being given the full JL treatment, substituted secondary Wilburys for sections of Dylan vocals.\"
Clinton Heylin (2001 - Bob Dylan: Behind The Shades Revisited)
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\"A second single [from Vol. 3] was planned for January 1991 with Inside Out also with New Blue Moon (Instrumental). ...the single was not released until fall.\"
UNEX
\"Dylan is by far the most significant Wilbury on Volume Three, making the major vocal contributions on Inside Out, If You Belonged To Me, Seven Deadly Sins [sic], and Where Were You Last Night?, as well as singing a verse apiece on She's My Baby, The Devil's Been Busy, New Blue Moon, and The Wilbury Twist [sic].\"
Clinton Heylin (1996 - Bob Dylan: A Life In Stolen Moments: Day By Day, 1941-1995)
\"Inside Out was the first track recorded during sessions for the LP. Perhaps the most commercial song on the album, it was also considered for single release, but in the end simply came out as another promo only CD single in the US (Wilbury PRO-CD-4652). Both this and the promotional video featured the LP version. However, the promotional film opens with an orchestral warm-up and ends with a bit of sporadic clapping.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
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\"At that point [during the recording of If You Belonged To Me] we were just making what we call guide vocals. We just write the words and you just have a go to see if the words fit and, y'know... It's like a warm up thing. So that was Boo's warm up guide vocal track, but we liked it so much that, y'know, even though he did a different track... a different take the next day we sort of wanted to keep that one 'cause it just seemed right.\"
George Harrison (October 25, 1990 - Traveling Wilburys Vol. 3 Radio Special)
\"Interestingly, the released version of If You Belonged To Me actually used the Dylan guide vocal even though a proper take was attempted.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
" xIfYouBelongedToMe_popupstats = "
\"A couple of the verses [in The Devils' Been Busy are sort of serious until Boo comes in and then it lightens up again.\"
George Harrison (October 25, 1990 - Traveling Wilburys Vol. 3 Radio Special)
\"Dylan is by far the most significant Wilbury on Volume Three, making the major vocal contributions on Inside Out, If You Belonged To Me, Seven Deadly Sins [sic], and Where Were You Last Night?, as well as singing a verse apiece on She's My Baby, The Devil's Been Busy, New Blue Moon, and The Wilbury Twist [sic].\"
Clinton Heylin (1996 - Bob Dylan: A Life In Stolen Moments: Day By Day, 1941-1995)
\"The Devil's Been Busy included one of the few 'round robin' vocals on the album, where everybody got a turn to sing. The backing was recorded first with the lyrics following later. The track received a considerable amount of airplay on AOR radio stations, as it was another of the rather catchy tunes (despite its doomsayer lyrical content). However, it was never chosen for even a promotional single issue.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
" xDevilsBeenBusyThe_popupstats = "
\"Dylan's vocal contributions on Where Were You Last Night? and Seven Deadly Sins [sic] are also abbreviated on the released versions [as the early demo versions had more Dylan vocals]. Dylan is by far the most significant Wilbury on Volume Three, making the major vocal contributions on Inside Out, If You Belonged To Me, Seven Deadly Sins [sic], and Where Were You Last Night?, as well as singing a verse apiece on She's My Baby, The Devil's Been Busy, New Blue Moon, and The Wilbury Twist [sic].\"
Clinton Heylin (1996 - Bob Dylan: A Life In Stolen Moments: Day By Day, 1941-1995)
\"[This is] another Dylan-dominated performance. The May 4, 1990 Camp Wilbury video features a playback session, where Jeff and Tom are working out the backing vocals.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
" x7DeadlySins_popupstats = "
\"...A frantic harmonica sawing away in the backgrounds [as can be heard on the early demo versions] of Poor House, Runaway, and an instrumental New Blue Moon are all cut from the released versions.\"
Clinton Heylin (1996 - Bob Dylan: A Life In Stolen Moments: Day By Day, 1941-1995)
\"Petty and Lynne go Nashville on thie twangy track. There is brief footage of a lyric-composing session for Poor House that appears in the Camp Wilbury video.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
" xPoorHouse_popupstats = "
\"Dylan's vocal contributions on Where Were You Last Night? and Seven Deadly Sins [sic] are also abbreviated on the released versions [as the early demo versions had more Dylan vocals]. Dylan is by far the most significant Wilbury on Volume Three, making the major vocal contributions on Inside Out, If You Belonged To Me, Seven Deadly Sins [sic], and Where Were You Last Night?, as well as singing a verse apiece on She's My Baby, The Devil's Been Busy, New Blue Moon, and The Wilbury Twist [sic].\"
Clinton Heylin (1996 - Bob Dylan: A Life In Stolen Moments: Day By Day, 1941-1995)
\"The Bobster again takes the lead on Where Were You Last Night?, a by-the-numbers Wilbury song. The somewhat homogenous sound of the album was beginning to wear thin by this track.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
\"...She's My Baby and Where Were You Last Night?, aside from being given the full JL treatment, substituted secondary Wilburys for sections of Dylan vocals.\"
Clinton Heylin (2001 - Bob Dylan: Behind The Shades Revisited)
Editor's Note: Secondary Wilburys!? That's rather pretentious, isn't it?
" xWhereWereYouLastNight_popupstats = "
The band give homage to Jeff Lynne in this song with the lyric \"...and then I joined the Idle Race\" which was Jeff's first professional band.
\"[Regarding Cool Dry Place] Actually, there was a box. There was a box, you see, 'store it in a cool dry place'. She saw it on a box, it said 'store it in a cool dry place'.\"
Tom Petty (October 25, 1990 - Traveling Wilburys Vol. 3 Radio Special)
\"A song only a musician could love, where Tom Petty espouses the virtues of keeping one's instrument selection and accessories in, you guessed it, a cool dry place. Like Handle With Care, this track was undoubtedly inspired by a nearby box.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
" xCoolDryPlace_popupstats = "
\"And I think New Blue Moon does have a sort of feel a bit like the Shirelles... the male Shirelles, if there is such a thing, and things like that.\"
George Harrison (October 25, 1990 - Traveling Wilburys Vol. 3 Radio Special)
\"...A frantic harmonica sawing away in the backgrounds [as can be heard on the early demo versions] of Poor House, Runaway, and an instrumental New Blue Moon are all cut from the released versions. Dylan is by far the most significant Wilbury on Volume Three, making the major vocal contributions on Inside Out, If You Belonged To Me, Seven Deadly Sins [sic], and Where Were You Last Night?, as well as singing a verse apiece on She's My Baby, The Devil's Been Busy, New Blue Moon, and The Wilbury Twist [sic].\"
Clinton Heylin (1996 - Bob Dylan: A Life In Stolen Moments: Day By Day, 1941-1995)
\"New Blue Moon was a nice pop tune, with lovely harmonies from George and Jeff and an amusing middle-eight vocal from Dylan.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
" xNewBlueMoon_popupstats = "
\"You Took My Breath Away first had a set of lyrics by Jeff and Tom singing about breath taking things, like the 2nd verse says: 'You broke this heart of mine, you break it all the time, turning water into wine, you took my breath away. I'm not the only one, who see the rising sun, I see it every day, you took my breath away.' So this set of lyrics rhymed but fitted [sic] not very well. Our Wilburys wrote new lyrics of breath-taking things and at the end they must establish that it was more breath-taking searching for the right lyrics than every breath-taking thing ever, and so wrote the 2nd verse lyrics about 'writing that song': 'You took this song of mine, then changed the middle bit, it used to sound alright, but now the words don't fit. It's getting hard to write, impossible to play, I've tried it many times, you took my breath away,' and displayed another example of the typical Wilbury humour.\"
UNEX
\"I got an e-mail from Carrie Fisher's office explaining to me why Carrie Fisher is thanked on Volume 3 for the song You Took My Breath Away. Her personal response was: 'I gave George Harrison that lyric (you took my breath away and now I want it back) ......and he used it in that song. It was from a poem I wrote when I was in my late teens. (17?)'\"
Eddie Walker (circa 1999, http://www.wilburys.info/faq.html)
\"Lefty Wilbury is finally mourned in song, with this frankly maudlin, unimaginative track. One would have thought the boys would have had one great song up their sleeves to dedicate to the man who helped make the first album such a success, but this was apparently not the case, since You Took My Breath Away certainly didn't fit the order. George does play some nice slide guitar, at least.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
" xYouTookMyBreathAway_popupstats = "
\"[The Wilbury Twist dance] has been in the family a long time. A great uncle, Chubby Wilbury used to sing The Wilbury Twist [sic]. [Regarding the dance steps] Well, you've got to decide on Y-fronts or boxers.\"
Tom Petty (October 25, 1990 - Traveling Wilburys Vol. 3 Radio Special)
\"I think [the Wilbury Twist dance] actually originated with the Saint Vitus dance back in medieval times. It even shows the footsteps.\"
George Harrison (October 25, 1990 - Traveling Wilburys Vol. 3 Radio Special)
\"So in March 1991 The Traveling Wilburys released their third single (again they missed out No. 2 [because the second single was late on release]) Wilbury Twist backed with (Is there gonna be a twist to this tale?): New Blue Moon (Instrumental).\"
UNEX
\"Dylan is by far the most significant Wilbury on Volume Three, making the major vocal contributions on Inside Out, If You Belonged To Me, Seven Deadly Sins [sic], and Where Were You Last Night?, as well as singing a verse apiece on She's My Baby, The Devil's Been Busy, New Blue Moon, and The Wilbury Twist [sic].\"
Clinton Heylin (1996 - Bob Dylan: A Life In Stolen Moments: Day By Day, 1941-1995)
\"The most obvious single from the album, Wilbury Twist was indeed the only commercial single issued in the US (though with complete non-success, not even scraping the charts). It met a similar fate in its UK single release. However, this didn't detract from the humor of the song, however forced it seemed on repeated listenings. A star-studded video (well, John Candy, Eric Idle, and Rob & Fab from Milli Vanilli were in it) was produced for the track, but it was rarely seen. Shot in Los Angeles, it was completed on February 28, 1991. The mix used for the video, as well as the promo CD single, was the LP version.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
" xWilburyTwist_popupstats = "
\"We actually also did, which was very interesting, was Runaway, y'know Del Shannon's tune. Y'know, it was like a... just a tribute, really. It was just great to see Bob Dylan playing Runaway when we're just sitting there playing, y'know. It was just like a... I just thought Del would have approved. 'Cause I loved Del. He was a great guy. And, uh, very sad loss, that is.\"
JL (June 23, 1990 - Timothy White's Rock Stars: JL's Musical Chairs)
\"The first single [from Vol. 3,] She's My Baby[,] contained the fourteenth song Runaway with all lead VCL by JL, as a C-side on 12 inch and 5 inch format.\"
UNEX
\"According to JL, the [Vol. 3] sessions lasted about three weeks. They came up wth 14 songs, three of which do not make Volume Three-- Del Shannon's Runaway, George Harrison's Maxine, and Dylan's Like A Ship. ...A frantic harmonica sawing away in the backgrounds [as can be heard on the early demo versions] of Poor House, Runaway, and an instrumental New Blue Moon are all cut from the released versions.\"
Clinton Heylin (1996 - Bob Dylan: A Life In Stolen Moments: Day By Day, 1941-1995)
\"The Wilburys released a version of Del's song Runaway, recorded during sessions for their second album.\"
Kristofer Engelhardt (1998 - Beatles Undercover)
\"In 1991, the Traveling Wilburys released a Maxi-CD single. The single was Runaway, the only song at the time written by a non-Wilbury.\"
Brian Young (circa 2000 - Rock On! The Traveling Wilburys, The Trembling Westover published on delshannon.com)
Editor's note: The single was not Runaway, rather the song appeared on the B-side of the She's My Baby single.
\"Not only did Roy Orbison die in the intervening two years since Vol. 1, but another hero of the surviving Wilburys, Del Shannon took his own life in early 1990. He had worked with Petty and Lynne on a solo album, Rock On!, which eventually saw issue at the end of 1991, so there was a definite connection. Lynne took the lead on this cover of Shannon's biggest hit from 1961, with an unmistakable Dylan harmonica wheeze over the instrumental break in the middle of the song. It was apparently planned for this to be on the final Vol. 3 track lineup, but it was pulled and issued as the other bonus track on the UK She's My Baby CD single.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
" xRunawayTravelingWilburysVersion_popupstats = "
\"The B-side [of She's My Baby] was a 'fiftheenth' [sic] song, created in the mixing room, New Blue Moon (Instrumental). [...] A second single [from Vol. 3] was planned for January 1991 with Inside Out also with New Blue Moon (Instrumental). [...] So in March 1991 The Traveling Wilburys released their third single... Wilbury Twist backed with (Is there gonna be a twist to this tale?): New Blue Moon (Instrumental).\"
UNEX
\"Interestingly, this was one of the bonus tracks in the UK She's My Baby CD single in an instrumental version! While still a pleasant song in this guise, it does lack a bit without the vocal accompaniment.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
" xNewBlueMoonInstrumental_popupstats = "
This version is similar to the released Vol. 3 version, except it's missing some keyboards and has an extended intro.
\"...A frantic harmonica sawing away in the backgrounds [as can be heard on the early demo versions] of Poor House, Runaway, and an instrumental New Blue Moon are all cut from the released versions.\"
Clinton Heylin (1996 - Bob Dylan: A Life In Stolen Moments: Day By Day, 1941-1995)
" xNewBlueMoonDemo_popupstats = "
\"According to JL, the [Vol. 3] sessions lasted about three weeks. They came up wth 14 songs, three of which do not make Volume Three-- Del Shannon's Runaway, George Harrison's Maxine, and Dylan's Like A Ship.\"
Clinton Heylin (1996 - Bob Dylan: A Life In Stolen Moments: Day By Day, 1941-1995)
\"Interesting that the only track [on the Vol. 3 album] that would have had a Harrison lead vocal throughout was one of the three left off of Vol. 3. Such was the fate of Maxine, a pleasant, inoffensive ditty that remains commercially unavailable. There are two 'versions' of this available on bootleg. However, the one on Pirate Songs is certainly a forgery, reedited from the Inside Out LP so as to camouflage the skip on the record.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
" xMaxineDemo_popupstats = "
This version is similar to the released Vol. 3 version, except it's missing the backing VCL and various GTR accents throughout the song. Also, all of the VCL are by Bob Dylan and George Harrison, missing Tom Petty's altogether.
" xInsideOutDemo_popupstats = "
This version is similar to the released Vol. 3 version, except it's missing the backing VCL, has different GTR accents throughout, and is missing the GTR solo on the instrumental bridge.
\"Dylan's vocal contributions on Where Were You Last Night? and Seven Deadly Sins [sic] are also abbreviated on the released versions [as the early demo versions had more Dylan vocals].\"
Clinton Heylin (1996 - Bob Dylan: A Life In Stolen Moments: Day By Day, 1941-1995)
" xWhereWereYouLastNightDemo_popupstats = "
This version is similar to the released Vol. 3 version, except it's got different lyrics, is missing some GTR instrumentation, and has no fade-out. Also, George Harrison and Bob Dylan's parts are sung by JL and Tom Petty.
\"[JL] sang the first verse complete on You Took My Breath Away which appeared on the... first set of lyrics...\"
Patrik Guttenbacher, Marc Haines, & Alexander von Petersdorff (1996 Unexpected Messages)"
xYouTookMyBreathAwayDemo_popupstats = "
This version is very similar to the released Vol. 3 version, except it's got a rough sound to it and is missing some of the harmonica accents.
" xIfYouBelongedToMeDemo_popupstats = "
This version is similar to the released Vol. 3 version, except it's missing the backing VCL. Also, the GTR on the instrumental bridge is different, with a stronger country and western sound to it.
\"...A frantic harmonica sawing away in the backgrounds [as can be heard on the early demo versions] of Poor House, Runaway, and an instrumental New Blue Moon are all cut from the released versions.\"
Clinton Heylin (1996 - Bob Dylan: A Life In Stolen Moments: Day By Day, 1941-1995)
" xPoorHouseDemo_popupstats = "
This version is similar to the released Vol. 3 version, except it's missing the backing VCL on the verses and the GTR solo on the instrumental bridge. Also, all VCL are by Bob Dylan alone.
\"At least one song [She's My Baby on the Vol. 3 album] in its original form is entirely a Dylan vocal. \"
Clinton Heylin (1996 - Bob Dylan: A Life In Stolen Moments: Day By Day, 1941-1995)
\"The rough mix on [the bootleg entitled] Inside Out featured a primarily Dylan vocal with unfinished lyrics, and hand changed to a group sing by the time it came to do final vocals. It's also missing Ken Wilbury's screamin' solo.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
" xShesMyBabyDemo_popupstats = "
This version is similar to the released Vol. 3 version, except it's missing the sitar and backing VCL. Also, who sings what is mixed up compared to the released version, although all four Wilburys do sing a part.
\"[JL sang] Bob's parts in The Devil's Been Busy...\"
UNEX
" xDevilsBeenBusyTheDemo_popupstats = "
\"According to JL, the [Vol. 3] sessions lasted about three weeks. They came up wth 14 songs, three of which do not make Volume Three-- Del Shannon's Runaway, George Harrison's Maxine, and Dylan's Like A Ship.\"
Clinton Heylin (1996 - Bob Dylan: A Life In Stolen Moments: Day By Day, 1941-1995)
\"Dylan had yet another lead vocal on this unreleased Vol. 3 track. The Camp Wilbury video features a playback session of this tune which at this time lacked backing vocals. There is also footage of Jim Keltner recording cymbal overdubs.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
\"...One of Dylan's better solo contributions, Like A Ship (On The Sea), was dropped altogether [from the Vol. 3 album].\"
Clinton Heylin (2001 - Bob Dylan: Behind The Shades Revisited)
" xLikeAShipDemo_popupstats = "
This version is very similar to the released Vol. 3 version, except it's missing the background VCL and some of the GTR accents. Also, there is no false end to the song. JL laughs a bit during his lead vocal part of the song.
" xWilburyTwistDemo_popupstats = "
This version is similar to the released Vol. 3 version, except it's missing the backing VCL and GTR on the instrumental bridge.
\"Dylan's vocal contributions on Where Were You Last Night? and Seven Deadly Sins [sic] are also abbreviated on the released versions [as the early demo versions had more Dylan vocals].\"
Clinton Heylin (1996 - Bob Dylan: A Life In Stolen Moments: Day By Day, 1941-1995)
" x7DeadlySinsDemo_popupstats = "
This version is similar to the released Vol. 3 version, except it's missing the background VCL and has a completely different GTR solo on the instrumental bridge. It also has an interesting extended intro.
" xCoolDryPlaceDemo_popupstats = "
This version is similar to the released version on the She's My Baby single, except it's missing the backing VCL and saxophone. It's also missing the Spanish GTR on the instrumental bridge, replacing it was harmonica and some keyboards similar to the Del Shannon original. Lastly, the song has a non-fading end.
\"[The demo version of] Runaway had no fade out, it closes with a final chord.\"
UNEX
\"According to JL, the [Vol. 3] sessions lasted about three weeks. They came up wth 14 songs, three of which do not make Volume Three-- Del Shannon's Runaway, George Harrison's Maxine, and Dylan's Like A Ship. ...A frantic harmonica sawing away in the backgrounds [as can be heard on the early demo versions] of Poor House, Runaway, and an instrumental New Blue Moon are all cut from the released versions.\"
Clinton Heylin (1996 - Bob Dylan: A Life In Stolen Moments: Day By Day, 1941-1995)
" xRunawayDemo_popupstats = "
This curious remix was officially released on a Spanish issue promo only 12\" single, thought to be part of the Spanish only The Very Best Of Electric Light Orchestra promotion (which was a trimmed down Spanish version of the USA-issued Afterglow set). It begins with some strange, spacey keyboards with an unknown sample of a man saying, \"I mean, come on! Give me a break!\". The keyboards are mixed with the opening violin from Livin' Thing. The mix contains a mix of the ELO songs Livin' Thing [0:11 to 1:35], Don't Bring Me Down [1:25 to 1:55], Sweet Talkin' Woman [1:55 to 2:16], I'm Alive [2:16 to 3:04], Shine A Little Love [3:04 to 3:54], and Roll Over Beethoven [3:54 to 4:58] and in that order. Of interest is that the songs in the mix are sometimes edited and rearranged, with the most noteable section being sections from Beethoven's Fifth Symphony that are used to end the song Roll Over Beethoven are used to begin the sample in this mix, then the normal guitar that starts the song and the first verse, then a section of the chorus, then the Beethoven's Fifth Symphony ending is repeated to end the mix. The same mix is on both sides of the 12\" single. The remix is by two Spanish DJs, calling themselves \"Rebeldes Sin Pausa\" (which translates to English as \"Rebels Without Pause\").
" xELOMegaHits_popupstats = "
This curious remix was officially released on a Spanish issue promo only 7\" single, thought to be part of the Spanish only The Very Best Of Electric Light Orchestra promotion (which was a trimmed down Spanish version of the USA-issued Afterglow set). It contains a mix of the ELO songs Don't Bring Me Down [0:00 to 0:42], I'm Alive [0:42 to 1:27], Do Ya [1:27 to 2:26], Hold On Tight [2:26 to 3:25], and Rock 'n' Roll Is King [3:25 to 4:51] and in that order.
" xELORemix40Principales_popupstats = "
Although the full song remains unreleased, while singing a live version of the song, Roger McGuinn stated that the song was co-written by himself and JL. It is assumed that it was not released because of record contract conflicts with Roger McGuinn being on Arista Records and JL being on Reprise Records at the time.
\"Roger McGuinn told the audience on a 1990 concert that he will now perform a song which was written by Dave Stewart and JL: Your Love Is A Goldmine(!!!) That Back From Rio Interlude was taken from the song Back From Rio which wasn't included either on the album, nor as a single bonus track. [...] JL has worked on more than only 14 seconds on the album, but despite contractual problems (Warners wouldn't allow their artist to work with McGuinn), Jeff could not be credited for his work. The complete song Back From Rio is maybe lying in a tape room at Arista and waits to see the light of day (bootleggers [where] are you?).\"
UNEX
" xBackFromRio_popupstats = "
\"February 1991 saw the release of Roger McGuinn's new solo album Back From Rio, which was recorded in autumn 1990. JL was credited as co-composer on a 14 seconds long (or short) Back From Rio Interlude which was faded in at the end of Dave [Stewart's] composition Your Love Is A Goldmine. [...] That Back From Rio Interlude was taken from the song Back From Rio...\"
UNEX
" xBackFromRioInterlude_popupstats = "
\"Who Left Who was a big ballad of betrayal, of a rather more complex variety than [the usual Del Shannon song].\"
Ken Barnes (1998 liner notes for A Complete Career Anthology: 1961-1990)
" xWhoLeftWho_popupstats = "
Originally recorded on May 25, 1988 at Weddington Studios, on this new version JL had to make some adjustments for the Rock on! version to make it a little bit punchier and get it to fit in sonically with the other tracks on the album. He wiped some of his bass lines and used other ones from that session.
" xLetsDance_popupstats = "
This song was rerecorded in 1989 or 1990 during the Rock On! sessions, but this time it was produced by JL and instead of the typical recording in layers, it was done live in the studio. Sadly, this one that is produced by JL has not been released and should not be confused with the 1988 version that was released on Silvertone Records or the remix of that version that appeared on the Complete Career Anthology set.
" xHotLoveLiveInStudio_popupstats = "
This song is said to exist by Del Shannon expert Brian Young. Little is known about it other than it was recorded during Del's Rock On! sessions.
\"The album Rock On! was nearly finished at the time of Del's death. A few other tracks were among unfinished work by Shannon, intended for the album. They include Eye of a Needle and a recutting of Cheap Love. Unfinished vocals by Shannon forced the songs to remain in the bag. Perhaps when the album sees a re-issue, these other tracks may get their due.\"
Brian Young (circa 2000 - Rock On! The Traveling Wilburys, The Trembling Westover published on delshannon.com)
" xEyeOfTheNeedle_popupstats = "
This is an incomplete recording. It is a re-recorded version of the song released on Del Shannon's album Drop Down and Get Me and was recorded live in the studio. This song is said to exist by Del Shannon fan expert Brian Young.
\"The album Rock On! was nearly finished at the time of Del's death. A few other tracks were among unfinished work by Shannon, intended for the album. They include Eye of a Needle and a recutting of Cheap Love. Unfinished vocals by Shannon forced the songs to remain in the bag. Perhaps when the album sees a re-issue, these other tracks may get their due.\"
Brian Young (circa 2000 - Rock On! The Traveling Wilburys, The Trembling Westover published on delshannon.com)
" xCheapLove_popupstats = "
\"This year Jeff was also involved in film music again. He recorded the great Wild Times for the Robin Hood - Prince Of Thieves soundtrack which had been written by Jeff together with Michael Kamen.\"
UNEX
" xWildTimes_popupstats = "
Released for sale in the USA as a cassette single only, although a promotional only CD single was made as well.
\"The second film music [of 1991] in which Jeff was involved with was the re-recording of Good Golly Miss Molly by Little Richard which was used as part of the film music of King Ralph. A single CD went on limited release in Germany and the USA only, which featured along with the Jeff produced version also another version of the same track played by John Goodman. The record however could hardly been found in record stores due to the non existant promotion by Polydor records.\"
UNEX
\"In 1990, Richard re-recorded Good Golly Miss Molly, produced by JL, with Ringo Starr on drums. According to Lynne, the recording originally featured Benmont Tench on piano, who was replaced by Little Richard. The song was featured on the soundtrack of the film King Ralph starring John Goodman, but the recording's release was limited to an obscure U.S. cassette single (Polydor/879 678), and a European CD single (Polydor/879 678-2). The U.S. promotional CD single is listed [in the Beatles Undercover book] because it seems to be the easiest to find.\"
Kristofer Engelhardt (1998 - Beatles Undercover)
" xGoodGollyMissMolly_popupstats = "
\"I don't see that many [Chicago Bulls] games. And Michael Jordan wanted [Learning To Fly for an NBA Championship Chicago Bulls documentary], so I said 'sure.' Y'know, it's just a... I think it's a documentary on their season.\"
Tom Petty (1991 August 7 - Rockline)
\"'I quite like this Learning To Fly,' Tom says. 'I got it from a pilot on television. He said there's nothing much to learning to fly. The difficult thing is coming down... And I thought, 'Yeah, that's true.' The song came pretty quickly after that. I still like that song and still perform it.'\"
Bill Flanagan (1995 liner notes for Tom Petty and the Heartbreakers - Playback)
\"Petty contributes two brand new Petty compositions, Jack and Square One, [to the Elizabethtown movie soundtrack] as well as the Grammy nominated Learning to Fly from the 1991 Into the Great Wide Open album.\"
Unknown (August 24, 2005 - Business Wire news story)
\"And I know [The Heartbreakers] were happy with things like Learning To Fly and Into The Great Wide Open. [...] [Learning To Fly has] been one of our most popular songs. We still get lots of requests for that in movies, and people always want to hear it in the show. People embrace it. [Hearing a pilot say that learning to fly is easy, but coming down is the hard part] was the inspiration, and I took it from there. Jeff and I wrote that together. I think I started it, and pretty much had it going, and then he came in and helped me with the chords. We finished it off together. I still like that song. I like to perform it. I've gotten a lot of different mail on it; different people that were inspired one way or the other in life by that song, and they send me letters about it. I'm proud I wrote that song. And it's a good-sounding record, it's a good sounding single. Yeah, I think we wrote it in an evening. It came quickly because I had written most of the words, and I had gotten a tune in my head. So I had this idea, and we sat down and spent a whole evening on it. But that's fairly quick, if it comes in a day or two. I just had this little tune in my head, and I sang him this tune, and he said, 'Let's see what fits nicely under it.' And he played a big part in the chords.\"
Tom Petty (November 1, 2005 Conversations With Tom Petty)
\"If I could pick two [favorite Tom Petty songs], I'd pick Learning to Fly and... It's Good To Be King...\"
Barbara Skydel (March 20, 2006 - Billboard)
" xLearningToFly_popupstats = "
\"King's Highway we've performed quite a bit. I like that, too. It's a good song. It'll work just about any way you want to play it. I don't know where it came from, but I know I was pleased with it when I got it. It was a tricky one to record. We went through a few changes trying to get the track to sound the way we wanted. To get the right arrangement. But it came out well with Mike playing that great solo. It's really stirring, with a lot of emotion in it. I think that kind of makes the record happen.\"
Tom Petty (November 1, 2005 Conversations With Tom Petty)
" xKingsHighway_popupstats = "
\"'That was one of the first ones I wrote for the [Into The Great Wide Open] album,' [said Tom Petty]. 'I really liked the video for that, one of the only times I've ever felt fulfilled by a video. The song was such a narrative that the video was a piece of cake to make. I even had people coming to me wanting to make it into a movie. I said, 'It's been done.' I really think an entire movie would be more than is required. But it was a lot of fun. Very funny song and a very true song.'\"
Bill Flanagan (1995 liner notes for Tom Petty and the Heartbreakers - Playback)
\"And I know [The Heartbreakers] were happy with things like Learning To Fly and Into The Great Wide Open. [...] Well, [the slide guitar on Into The Great Wide Open] might have been [inspired by George Harrison]. George really liked Mike's playing as well. They had a mutual admiration for each other on slide guitar. There's a lot of good guitar on that track. The 12-string he plays on that track is really good. He added quite a bit to that album. Yeah, it was [one of the first songs I wrote for the album]. It's a narrative. It's a story. And I think it has some truth in it. It's light-hearted in a way. With a kind of black humor to it. The video was the great thing with that song. The video was as good as the song, I think. It's a rare instance where they really complemented each other. And we actually had to extend the song for the video. The video is seven minutes long. Because we shot so much, and we didn't want to lose it. So we went back and did a re-edit and remix of the song to make it fit the video. [Laughs] Yeah. Well, [the line from the song, 'the sky was the limit' is] what people think when they come out of California. Strike it big. Some people hit it, some people don't. I just kind of fell into [the story of the song]. You don't know where those things come from. I was just playing those chords, and this little story started to appear. I carried it around in my head for a while, and refined it a bit. And I had it pretty well written, and then I played it for Jeff, and he helped me, and added a few ideas too. Like that chord turn-around. [Sings chords.] Jeff's idea. And we added that in, and we altered a couple of chords. Gave them a little bit more exotic treatment under the melody. But it was pretty much all done. I pretty much had it when he came aboard.\"
Tom Petty (November 1, 2005 Conversations With Tom Petty)
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\"1991 saw Richard [Tandy] again on the JL produced album Into The Great Wide Open by Tom Petty and the Heartbreakers, where he played synthesizer on the track Two Gunslingers.\"
UNEX
\"We've done [Two Gunslingers] occasionally [in a live performance]. On rare occasions. I used to do it alone. I used to just go out and do it on guitar. It was fun to do.\"
Tom Petty (March 31, 2004 - interview on tompetty.com)
\"Oh, definitely [Two Gunslingers is one of my favorites]. I love that song. It was really proud of that when I got it done. It's a really good anti-war song. Yeah, I remember [writing it]. I have a picture of where I wrote it. There was a poster that Jim Lenahan had given me. He's a movie buff. And back when we were in Gainsville, he was always telling me about movies. And I would kind of wind him up by giving him a really bad movie. Like I'd say, 'How about Hostile Guns, now there's a movie.' [Laughs] And it was this terrible Western, and I thought the title was so funny. He'd be talking Citizen Kane, and I'd say Hostile Guns, and it would really wind him up. So many years later, he came upon the movie poster for Hostile Guns, and he sent me the poster. Give it to me. And it was on my wall. I'm pretty sure that's what was the germ for that song, the poster of the gunslingers.\"
Tom Petty (November 1, 2005 Conversations With Tom Petty)
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\"Now that's one, if I had the chance, I would play [The Dark Of The Sun]. We've never played it [live]. It got lost in the shuffle of the album. There were so many songs on it. I thought it was a good little song. I haven't heard it in years, but I bet I would like it if I heard it. [Regarding the lyric 'underneath Orion's sword'...] Constellations. Orion is one of the few I can easily pick out when I look up there. That was another song that came from a staring-at-the-sky kind of thing.\"
Tom Petty (November 1, 2005 Conversations With Tom Petty)
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\"'Now that one I really did like,' Petty grins. 'That was mostly [Mike Campbell's] baby and Jeff and I rewrote some of the music. I thought it was very cool. It had a very ominous sound to it. I thought it was a pretty good vocal on that one. That was one I would have preferred been on the radio, rather than Out In The Cold. But it's best not to pay any attention to what radio chooses,' Petty laughs, 'as long as something gets played.'\"
Bill Flanagan (1995 liner notes for Tom Petty and the Heartbreakers - Playback)\"[All Or Nothin'] was Mike's thing. It was mostly Mike's track. And I don't think we made many changes to it. Yeah, I think it was a better song [than the single Out In The Cold].\"
Tom Petty (November 1, 2005 Conversations With Tom Petty)
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This isn't really a song, but just a bit of silliness in the studio that got stuck on the cassette version of the Into The Great Wide Open album. It instructs the listener to fast forward to the end of the tape and turn it over to hear the other side, all while an odd keyboard effect plays in the background.
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\"Benmont [Tench, the keyboardist] likes [All The Wrong Reasons]. He brought that up recently, that that one would be a great one to play [live].\"
Tom Petty (March 31, 2004 - interview on tompetty.com)
\"Benmont likes [All The Wrong Reasons]. He brings that song up to me a lot, saying why don't we do that one. I remember writing that one. I was inspired. There was a family we knew through one of the kids. And they were a very wealthy family with all of the trimmings. The big cars and the big house. And then suddenly the economy started falling and all their money went. They had to pack up and go. And I think that was the germ of the idea. 'The big old house went up for sale/they were on their way be morning.' 'Cause they were gone overnight. Gone. From the top of the world to gone. It was the Gulf War period, Bush, Sr. was president. I felt that a lot of things were going on for the wrong reasons. It was a pretty grand thought, but I just thought that America itself was becoming kind of a cheap place to live, morally speaking. The value system was changing. The culture was becoming celebrity-driven and empty. There's a lot of melody in that tune. It's a lot like Free Fallin' in a way. The chord pattern is just this simple three chord thing that repeats over and over. The tune is nothing like it. But I remember Mike playing a Bouzouki, the Greek instrument, on that opening riff. [Sings riff.] The lick at the beginning is on guitar as well as Bouzouki, and it make this real timbre. That's the kind of thing he'll do-- he'll pick up some odd instrument and incorporate it into the thing he's doing. So, yeah, that's a good record. aNd if Benmont ever gets his way, we'll play it live.\"
Tom Petty (November 1, 2005 Conversations With Tom Petty)
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\"I like [Too Good To Be True]. I don't know if people know it, but that was another, in our last gig, where we were purposely looking for the odd things to do, and that one came out, and we played it for a bit. And I really like it. It's kind of modal sounding. It's all around these one or two chords that kind of repeat a lot. I just like the imagery of the girl, and things she was thinking. And I think it's an uplifting thing, in the end. At the end of the song she's sitting in traffic, and she thinks, 'You don't know what it means to be free/it's too good to be true.' I was lucky wit that one. [Laughs] That came out good. I liked it. Yeah, [the false ending on a cool chord is] one of my mystery chords, of which Jeff says, 'I didn't even know that chord existed.' [Laughs] And if I was a good musician, I probably wouldn't have used it. But I just hit things, and if it sounds good, I use it. I use a lot of variations on chords on the guitar. I've got my own way of doing it and playing it and voicing the chords. Which is very important, if you're going to do our stuff. People play my songs, but they don't get the voicings of the chords right. And the voicings are what it's all about. I think I just hit that chord. And it's probably not a proper chord, but it made the right sound. Somebody could probably sit down and go, 'Oh, yeah, it's a diminished 11th or something,' but it just made the right sound, so I kept it in. If it makes the right noise, that's what I'm looking for.\"
Tom Petty (November 1, 2005 Conversations With Tom Petty)
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" xOutInTheCold_popup = "
\"Oh, [the door opening bit at the end of Out In The Cold] was produced. That one, I wanted to have the effect of opening a door and finding all these crazy noises. There's no good explanation for it, k'know. It's grown men, k'know, but I think you for noticing.\"
Tom Petty (1991 August 7 - Rockline)
\"Tom says, 'Out In The Cold was never something I was particularly knocked out with. It was fun, but I was always annoyed that there were two songs that got played all the time on the radio in L.A., Out In The Cold and Makin' Some Noise, which I thought were the lesser songs of the album, really. But they rocked the hardest. It was this cold realization for me that, in the end, whatever has the loudest GTR and the wildest beat is probably what they're going to play. But I don't think it's a bad song. It has some good lines in it. I just never was completely happy with it. [Michael Campbell's] really great on that and we played it pretty well, but we've never played it again.'\"
Bill Flanagan (1995 liner notes for Tom Petty and the Heartbreakers - Playback)
\"Yeah, I think it was a better song [than the single Out In The Cold]. Time plays tricks on you, though. I went around for years thinking Out In The Cold wasn't that good. Out In The Cold got a lot of radio play. And I was kind of irritated with it. I thought they were going after it because it had the big beat. But the last time we played, we rehearsed that song and played it and I was really fond of it. And Out In The Cold got a lot of FM play. I think I struggled with that one. I struggled with the lyrics quite a bit. It was one of those things where you struggle, and you always wonder if you got everything out of it that you could. Thinking back, when I played it recently in rehearsal, I was pleasantly surprised by the lyrics and I liked them. I liked to sing them. Yeah, [the counterpoint harmonies were] all Jeff's idea. That is his arrangement. He started that song and then brought it to me. Which was unusual. He came in and said he had an idea. It went through a lot of changes from where he brought it in, like from major to minor. But he kicked it off. It was his basic idea. It wound up being a good rock 'n' roll song. It's nothing earthshaking, but it's a good rock 'n' roll song. Yeah, well [Mike's playing is] always good. He really stepped out on that one. I remember the things he played in the stops. There were some stops where he really wowed us all. Shazam! How did he do it?\"
Tom Petty (November 1, 2005 Conversations With Tom Petty)
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\"[Regarding the 'a red-winged hawk is circling/The blacktop stretches out for days...' lyric...] Yeah. In Encino we lived on this wooded hill. There were a lot of big oak trees. To be in the middle of L.A., it was kind of a rural setting. You'd see these hawks all the time. I'd actually watch them dive, and come back up. And I wouldn't be surprised if that's where the reference to the hawks came from. You find yourself drawing on things that you never would have expected. Like a simple thing like watching a hawk circle. Later on it enters your mind, and you use it as a metaphor.\"
Tom Petty (November 1, 2005 Conversations With Tom Petty)
" xYouAndIWillMeetAgain_popupstats = "
\"Yeah, [the main riff in Makin' some Noise is] Mike's riff. Most of that was Mike's. I wrote the tune and the words, and Jeff may have come up with the verse pattern. That was something Mike brought in, and we thought it was really great, and we put our heads together and wrote it. And I really love that one. It's a great song to perform. It's really a lot of fun. He used some kind of odd timing to play those notes. I think his guitar is tuned lower than it normally would be to get that riff out. I was inspired-- when I was writing, I was in this canyon. And in canyons you can hear the other side really well. You cna pick up a conversation that's going on over on the other side really well, sometimes. I was playing on my guitar, and then suddenly I heard another guy playing his guitar on the other side of the canyon. And in my mind I thought it would be really funny if we could play something together. So I incorporated that into the last verse.\"
Tom Petty (November 1, 2005 Conversations With Tom Petty)
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\"'BuiltTo Last went through two incarnations,' Tom recalls. 'It had two different beats. I wrote that song in the studio and I think you'll hear a bit of that lyric in Turning Point. I don't often do that, but it just popped into my head and I though, why not? It was a good song and I was really annoyed later on when I heard that the Grateful Dead had a song called Built To Last. I thought I'd written a great title.'\"
Bill Flanagan (1995 liner notes for Tom Petty and the Heartbreakers - Playback)
\"Yeah, [Built To Last] was another one that I struggled with a little bit. That was one I wrote at the studio. And I didn't really know where to take it. And it went through a few versions before it wound up with that beat. But I think it was the only one that I wrote while the album was going on. And it was the very last thing we did. That was the end of it. Because I remember when we got it done, there was this sigh of relief. I don't know if I really like that one. [Regarding the Grateful Dead having another song with the same title about the same time] that happens sometimes. You look up, and you think you've come up with something, and you realize somebody else has done it first. You try not to let it bug you.\"
Tom Petty (November 1, 2005 Conversations With Tom Petty)
" xBuiltToLast_popupstats = "
This version was only available from the music video.
\"The produced video clip [for Into The Great Wide Open] which starred Johnny Depp had the bonus of an extended version which was strangely enough not released on record. Even the 12 inch release contained only the album version. Tom: 'I really liked the video for that. The song was such a narrative that the video was a piece of cake to make.'\"
UNEX
\"The video was the great thing with that song. The video was as good as the song, I think. It's a rare instance where they really complemented each other. And we actually had to extend the song for the video. The video is seven minutes long. Because we shot so much, and we didn't want to lose it. So we went back and did a re-edit and remix of the song to make it fit the video. [Laughs]\"
Tom Petty (November 1, 2005 Conversations With Tom Petty)
" xIntoTheGreatWideOpenExtendedVersion_popupstats = "
This song was completed after Roy Orbison's death from unfinished recordings. There are two slightly different versions: a harder edge version that originally appeared on the White Knuckle Scorin' album and a slightly softened mix version that turned up almost a year later on Roy's King Of Hearts album. The hard version of the song was used in the video which starred Jason Preistley and Jennifer Connelly. It was supposedly written by Billy Steinberg and Tom Kelly specifically for Roy Orbison, but he initially rejected it. Cyndi Lauper then recorded the song and had a hit with it in 1989. At this point, it's not clear if Orbison actually rejected the song and finally recorded it after Lauper had a hit with it, or if Orbison recorded the song before Lauper, but didn't release it at the time because he didn't consider it good enough. Celine Dion also recorded the song and released in in 2003.
\"When I first heart the demo, it was maybe... two years ago. And, uh... From that moment I heard I Drove All Night I said, 'I've gotta have a go at that song. That's...' And that really talked me into doing more.\"
JL (1991 - Electronic press kit for King Of Hearts album)
\"BARBARA ORBISON: They wrote a song especially for Roy at one time, after seeing Roy perform about five, six years ago. When I say 'they,' it's Kelly and Steinberg, you know, the song writing team. And so they wrote a song called I Drove All Night. And Roy stopped by the house one day, and put down the vocal for this song. So the song was left to us and JL went in to finish it. He did the production around it and, I think really honored the feeling of the song.
JL: So I had to do a lot of soul searching to think, 'Should I do this?' He's not here to say, 'Ooh,' y'know, 'I don't like that bit' or whatever. So it's a very touchy thing. I gave it lots and lots of thought before I did it. And then, I went in and, uh, y'know, it was actually another chance to work with Roy, y'know. Um... That's the way I see it. It's probably a selfish thing. But it was for a charity, and uh, so I thought it was a worthwhile thing. And, uh, Roy used to trust me quite a lot, believe it or not. And so, uh, I did it with... with as much integrity as I could and not... no twiddly bits, just very straight. Basically a very, very, um... I love the tune, I think, and Roy sings it marvelously well.
JENNIFER CONNELLY: I heard it about, uh, about a month ago when I first heard about the video was being done and the tape was... Because the song had never been released, um...
JASON PREISTLEY: It was covered by somebody, but it was never released by Roy.
JENNIFER CONNELLY: But his version had never been release so, uh, I had no opportunity to hear it. So that was the first time.
JASON PREISTLEY: It's about the same for me. And I heard it. And, uh... And when I heard it, I, uh... My enthusiasm about the project was, uh, was certainly matched by, uh, my enthusiasm for the song.
BARBARA ORBISON: We gave the song to the memory of Bobby Brooks. Bobby Brooks was the agent for Roy in the last year of Roy's life. And when Bobby died so suddenly in that helicopter crash, you know, some of us got together and we wanted to do something in memory of Bobby.
JENNIFER CONNELLY: I think it's so exciting, uh... I think it's so wonderful that this work is being done. Um, what they're doing is raising money from... for illiteracy.
BARBARA ORBISON: Well the story of the video is a boy driving all night to get to a girl. I think Jason [Preistley] brings to this video a wonderful quality.
JASON PREISTLEY: I brought my hair. That's all, just my hair.
BARBARA ORBISON: The video is done with lots of integrity and everybody felt really special one more time. You know, Jason turned around to me and, uh, and said, 'You know, this is really going well.' He said, 'Something bigger than all of us is working here.' And I said, 'Right you are.'\"
\"Hit songwriter Billy Steinberg shares, 'Tom (Kelly) and I wrote I Drove All Night as a tribute to Roy's music. We never thought he would record it. We just wanted to write a song to remind us of our favorite artist and writer.' A few months after writing the song, it was arranged for Orbison to meet Steinberg and Kelly at their studio in Kelly's home. 'I got weak in the knees as Roy pulled up. He was so gentle, soft spoken, humble. He came inside, sat down and told us stories about writing his hits. We must have asked a million questions.' Steinberg and Kelly ran the song down for Orbison, then the three put on headphones and stepped into the 16-track studio with Kelly at the controls. Steinberg continues, 'when he sang Uh huh, yeah, Tom and I looked at each other and turned to jelly. It was the answer to our dreams. It was the single most exciting moment in my career as a songwriter, when Tom and I heard him sing that line.' After Orbison's death, the demo made it's [sic] way to producer Jeff Lynne's hands, where he once again, handled the voice with care, completing this track for the King Of Hearts album. Released in 1992, I Drove All Night was a #12 hit in the UK.\"
Tanja Crouch and Roy Orbison (1996 - liner notes for The Very Best Of Roy Orbison)
\"On January 13th 1992 Roy Orbison's first new song since(!) his death was released. I Drove All Night was the Steinberg/Kelly tune which Cindy Lauper had taken to the charts a few years earlier. Roy's version again made it as far as No. 7 in the British charts. [Heartbreak Radio] was together with I Drove All Night and eight non JL tracks also featured on Roy Orbison's King Of Hearts album [released in October 1992].\"
UNEX
Editor's Note: I Drove All Night was first released on the White Knuckle Scorin' compilation, not King Of Hearts.
\"Jeff Lynne's talents graced I Drove All Night. His deep understanding of music allowed him to match Roy's voice in ways no one else was ever able. Roy could sing flawlessly over anything Jeff played and Jeff could play perfectly behind anything Roy sang. They worked well together, and Jeff added yet another chapter in the genius of Roy's life. [...] 1992: I Drove All Night became a Top 5 international hit.\"
Roy Kelton Orbison, Jr. (2008 - The Soul Of Rock And Roll liner notes)
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The single of this song (both 7\" vinyl and CD single) was pulled from the market a few days after release, causing this to be an extremely rare single. The reason it was pulled from the market remains unclear." xDroleDeVie_popupstats = "
The single of this song (both 7\" vinyl and CD single) was pulled from the market a few days after release, causing this to be an extremely rare single. The reason it was pulled from the market remains unclear." xDroleDeVieInstrumental_popupstats = "
According to comments in the book Unexpected Messages by Patrik Guttenbacher, Marc Haines, and Alexander Von Petersdorff, there were four tracks that JL produced for Et Moi & Moi.
\"The remainder of 1991 Jeff spent producing four tracks for the French group Et Moi & Moi. One of them was released as a one-off single Drôle De Vie, which he had also co-composed.
UNEX
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JL stated in an interview that this song is incomplete, but since JL has proven that the songs he calls \"incomplete\" are pretty much a full complete song that isn't quite mixed to his final satisfaction, this song probably does exist in a completed state. The song was finally released in 2003 on the Rugrats Go Wild soundtrack, with new vocals and new lyrics recorded over an original 1990s backing track. The song is known to be later reworked for the Jurassic Park movie, but was rejected and still unreleased. In fact, there is some theories that JL was not involved with the first Get A Grip sessions version at all and was only brought in for the Jurassic Park version. The original version recorded during Aerosmith's Get A Grip sessions and the Jurassic Park version remain unreleased. Some original lyrics were posted online in the past, but it is unclear if these are the original Get A Grip or Jurassic Park lyrics, but they are clearly different than the eventual Rugrats Go Wild version. These lyrics are:
I was walking down the street
When someone called my name
She had spiked heels on her feet
And she was feeling no painOh, must be lizard love
So I hid behind the newspaper
Turned to page six
She was in her birthday suit
Behind a crucifixOh must be lizard love
She was hangin big booty
She was puss'n'boots way up to here
She's a little bit of heaven, a 24-7
A 10 every day of the yearNow there must be some mistake
I'm feeling so high strung
She said \"I make love like a snake,
I even got a forked tongue\"At first I thought I was dreaming
That I'd wake up and she'd dissappear
But when I opened up my eyes
She was laughing and screaming,
swinging from a chandalierYou know I never seem to give
Or ever get enough
And I just can't seem to live without
That sweet bodacious stuffOh, must be lizard love
\"Further production work by Jeff included a few tracks for Aerosmith including Lizard Love in 1994 but they have yet to see the light of day...\"
UNEX
Editor's note: It has been determined that this song is from the January and February 1992 Get A Grip sessions.
\"It was great fun meeting them. I just did a little bit with Aerosmith. We just tried to write a little song called Lizard Love, but uh, it never got finished and uh... But it was great hanging out with the guys, real nice guys.\"
JL (June 6, 2001 - Rockline)
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\"Jeff penned Night Calls for Joe Cocker, on which Jeff was also playing every instrument, and never met Joe personally. The tape was sent to Joe to do the lead VCL and returned to Jeff for production. Joe wasn't happy about the way their managers worked it out, because he said that wasn't the way he usually works.\"
UNEX
" xNightCalls_popupstats = "
This version is the same edit as the standard Night Calls album version, but it is mixed to 5.1 audio.
" xNightCalls51MixVersion_popupstats = "
This version of the song differs only slightly from the original White Knuckle Scorin' version. It's the same take and same instrumentation, but it's mixed differently. The drums and bass are mixed down, so they're not quite as hard-driving as the original version, although Roy's voice is actually fuller sounding. It's not clear why this was done to the song, but it is thought that it was so mixed so as to match the sound and style of the rest of the songs on the King Of Hearts album (of which there is only one other JL produced song) or... perhaps a different tape was used to make the CD. It's still not entirely clear whether this different mix was done inentionally or not. This song was completed after Roy Orbison's death from unfinished recordings. This version was used in the 1993 Peugeot car advertisement campaign.
" xIDroveAllNightKingOfHeartsVersion_popupstats = "
This song was completed after Roy Orbison's death from unfinished recordings.
\"When I got the original tape of Heartbreak Radio it was quite slow. It was, uh... It was very slow, in fact, and so [I had] to speed it up without changing Roy's voice. And it made the tempo much better, but kept Roy's voice in integrity and in pitch and everything the same. So I didn't alter Roy did, except made the tune go by quicker, which was what I needed to do to make it into a rockabilly. In actual fact I used some strange percussion things on this particular track, uh, some kitchen implements as well as drums. And actually some... thigh slapping. I'll show you the thigh slaps while we're here. Where shall I find them? [Looks on control board] Right: legs! There you are. That's the legs. [Imitates thigh slapping with his hands while the isolated thigh slapping track plays.]\"
JL (1991 - Electronic press kit for King Of Hearts album)
\"December also saw the release of another Roy Orbison track. Heartbreak Radio which was never finished by Roy. The only thing which was finished was Roy's vocal track. Jeff took his recording, speeded it up and built a great tune around Roy Orbison's vocal track. This song was together with I Drove All Night and eight non JL tracks also featured on Roy Orbison's King Of Hearts album. The video of Heartbreak Radio starring Pierce Brosnan and Sean Young featured Jeff as lead GTRist on a saloon stage together with Don Was who was hitting the drums.\"
UNEX
\"Right 'til the end, Roy always liked upbeat Rock and Roll. Heartbreak Radio could be a song from his Sun days recorded in the year 2050. It's the same old boogie-woogie in disguise.\"
Roy Kelton Orbison, Jr. (2008 - The Soul Of Rock And Roll liner notes)
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\"This year [1992] Jeff was proud to work with a second ex-Beatles member, when he recorded four songs for Ringo Starr's Time Takes Time album. In the end however only two songs [Don't Go Where the Road Don't Go and After All These Years] made it onto the album.\"
UNEX
\"During these initial [Time Takes Time] album sessions held from May 20th - 31st [1991], for tracks were recorded: Don't Go Where The Road Don't Go, After All These Years, Don't Be Cruel, and Call Me. Don't Go Where The Road Don't Go was later re-mixed by JL at Ocean Way Studios in order for the track to sound consistent with the other productions on the final album. The follow up single to Weight Of The World, the jaunty Don't Go Where The Road Don't Go (written by Ringo, Johnny Warman and Gary Grainger) was released in November 1992 in European territories only. It used the LP version for both itself and it's B-side, the equally enjoyable Don't Know A Thing About Love, which were coupled with another non-LP track Everyone Wins on the German CD-EP. It has similar success to the first single (that is to say, none). While it was not issued as a commercial single in the US, a 5-inch promo CD was issued for Don't Go Where The Road Don't Go (Private PDJ-81007-2). A promo video for Don't Go Where The Road Don't Go was completed on September 18, 1992 by director Stanley Dorfman (of Lennon promo video fame). It uses soundcheck footage from an unknown outdoors venue as well as live footage from the July 6, 1992 Liverpool show.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
" xDontGoWhereTheRoadDontGo_popupstats = "
\"This year [1992] Jeff was proud to work with a second ex-Beatles member, when he recorded four songs for Ringo Starr's Time Takes Time album. In the end however only two songs [Don't Go Where the Road Don't Go and After All These Years] made it onto the album.\"
UNEX
\"During these initial [Time Takes Time] album sessions held from May 20th - 31st [1991], for tracks were recorded: Don't Go Where The Road Don't Go, After All These Years, Don't Be Cruel, and Call Me. The [Weight Of The World] single, issued in advance of the album in April 1992, utilized the album versions of Weight Of The World and After All These Years and [sic] well as the non-LP track Don't Be Cruel. A JL-produced tune composed by Ringo and Johnny Warman, and recorded by Jeff and Ringo alone.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
" xAfterAllTheseYears_popupstats = "
\"This year [1992] Jeff was proud to work with a second ex-Beatles member, when he recorded four songs for Ringo Starr's Time Takes Time album. [...] A third track, the Elvis cover Don't Be Cruel appeared as a bonus track on Ringo Starr's first single [from the Time Takes Time album,] Weight Of The World.\"
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\"During these initial [Time Takes Time] album sessions held from May 20th - 31st [1991], for tracks were recorded: Don't Go Where The Road Don't Go, After All These Years, Don't Be Cruel, and Call Me. The [Weight Of The World] single, issued in advance of the album in April 1992, utilized the album versions of Weight Of The World and After All These Years and [sic] well as the non-LP track Don't Be Cruel. This lackluster cover of the Otis Blackwell-penned Elvis Presley standard recorded during the JL sessions not only appeared on the Weight Of The World CD EP, but was also included as a bonus track on the Japanese version of the Time Takes Time CD. In addition, the track was pirated on the bootleg CDR Live At The Bottom Line.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
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\"This year [1992] Jeff was proud to work with a second ex-Beatles member, when he recorded four songs for Ringo Starr's Time Takes Time album. [...] The Jeff written Call Me (Not to be mixed up which [sic] another Ringo track of the same title) remained unreleased.\"
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\"The Heartbreakers contributed to Ringo's 1992 album Time Takes Time. However, Petty played on only one track, titled Call Me, that its producer JL claims will never be released.\"
Kristofer Engelhardt (1998 - Beatles Undercover)
\"During these initial [Time Takes Time] album sessions held from May 20th - 31st [1991], for tracks were recorded: Don't Go Where The Road Don't Go, After All These Years, Don't Be Cruel, and Call Me. The last track remains unreleased, and features Tom Petty, explaining the oblique credit in the album liner notes.\"
Chip Madinger and Mark Easter (October 2000 - Eight Arms To Hold You - The Solo Beatles Compendium)
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\"Jeff also fulfilled his promise made to Dave Morgan during the recordings for Armchair Theatre and produced one song entitled God's Good Time under his [psuedonym] name Otis Wilbury which appeared on Dave Morgan's All God's Blessings private 11-track tape release. [...] During [1991] Dave Morgan recorded Christian music for his performance at churches. After the shows he sold his private produced All God's Blessings tapes, containing 11 songs to the church goers. The tape had a plain title sleeve made up on his computer and featured God's Good Time, a track which was produced by none other than JL alias 'Otis Wilbury' who was also in the choir on that track.\"
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\"God's Good Time includes Richard Tandy on keyboards and a certain 'fourth (or fifth?) Beatle' (a.k.a. Otis Wilbury, or even JL) as producer.\"
John Van Der Kiste (1998 Face the Music (fanclub) fanzine)
\"I'd done some work on [JL's Armchair Theatre] album, and he said, 'Would you like me to do a song for you, Dave, after you've worked on my album?'. I said 'All Right,' and played him all these God songs which I'd got going. He liked a couple of them, but he plumped for that one, he got an idea for that one straight away as I was strumming through, he'd got some production idea's straight away as I was strumming through, so we worked on that one. \"
Dave Morgan (March 4, 1999 - King Of The Universe #8)
\"God's Good Time - produced by JL [and recorded] at his 24 track home studio with bluesey keyboard by RICHARD TANDY.\"
Dave Morgan (circa 2000 - Call review at http://www.scottmorgan.co.uk/)
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\"[Tom Petty says,] 'Jimmy Iovine had been after me since I don't know when because he'd done one Very Special Christmas album already and I never came through for him. I didn't want to do somebody else's song. To me and Mike [Campbell] there's only one Christmas album in the pop field and that's Phil Spector's-- that was the only one we could relate to. That really sounds like Christmas to me. So we thought we'd do something like that, eighteen guys, cut it all live. The funny thing is I wrote the song on a ukelele. George Harrison had come by and given me a ukelele and spent a whole afternoon teaching me the chords. The ukelele is a really cool instrument, even though it doesn't have that image. I took the ukelele with me to my house in Florida in the middle of summer and wrote this Christmas song. When I got back we had a rehearsal with the Heartbreakers. I think Howie [Epstein] was out of town so Scott Thurston was playing the bass. Then I told Jimmy what I wanted to do and he said, 'Wow, okay.' So he booked all the musicians. There's a really good film that's quite long of us doing that session and you'll see the whole thing, me taking five people aside at a time and teaching them their part and then going to the next four and teaching them. We had a harp and a harpsichord, Jim Keltner and Stan playing drums as well as percussionist, we had two bass players, four acoustic GTRs, just crazy shit going on. Michael on the 12-string. Just like we heard it could be done. It was a lot of fun, but when I finished with it, it was pretty much a mess. I called JL and he came and helped me redo the lead vocal and tidy it up just a little bit. I think Jeff had a good idea for a stop at one point where we put in that long drum fill that really made it happen. And I've always been happy because every Christmas I do hear it on the radio and I really like it.'\"
Bill Flanagan (1995 liner notes for Tom Petty and the Heartbreakers - Playback)
\"Christmas '92 saw Jeff being involved in his first Christmas record when Tom Petty and the Heartbreakers recorded Christmas All Over The World for the A Very Special Christmas 2 Various Artists album, also released in the US as soundtrack to Home Alone 2. [...] Jeff had co-produced, played bass, bells, timpani, sang background VCL and could be heard at the very end where he also wishes to get a Chuck Berry songbook by saying 'I'd like one of them', when Tom lists all the items he wishes to get for Christmas.\"
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JL supposedly recorded a follow up to Armchair Theatre, fulfilling his contract for two albums with Reprise Records. It is known that some work was done on the album in both his home studio in England and in studios in Paris, France, however, it remains unclear if the album was ever completed or not. Reprise had it on their release schedule several times throughout much of the 1990s, but they claim that Jeff never delivered it. Whatever the completed or delivery status of the album, its fate remains unclear.
\"Staying with Jeff for the moment, rumours emanating stateside indicate that the follow up to Armchair Theatre may only exist as a series of demos and not the finished and shelved project that everyone believed it to be.\"
Author Unknown (December 1995 - Face The Music fanzine #22)
\"During the year [1992] Jeff worked on a follow-up solo album to Armchair Theatre in USA and Paris, France. The work on the album was overshadowed by personal problems between Jeff and Sandi. As a result Jeff moved into another house in Beverly Hills in 1993 while Sandi and the children stayed in their former house. When Jeff's sister died a few years later he sold his house in Warwickshire. The solo album remains as yet unreleased.\"
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\"It was reported in 1998 that Ringo [Starr] contributed to recordings for Lynne's second solo album.\"
Kristofer Engelhardt (1998 - Beatles Undercover)
Editor's Note: It is thought that this second solo album noted here is not the 1992 England and Paris album, but rather the 2001 Electric Light Orchestra Zoom album.
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\"I think humor is essential for survival. I think desperation is a fact of life. [laughs] And I think I'll Get You Back is about that. I mean, I... we'd all like to pretend that we don't have, uh, feelings of being, you know, victimized or being done in by a situation or on the other hand, wanting to really, really get someone, you know. You have those feelings and uh, and uh, why not have fun with them instead of being tortured or ashamed. I think it's a thin line between love and hate. [laughs] ...As someone once said.\"
Julianna Raye (1993 - 11:43 with Julianna Raye)
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\"Tell Me I'm Alright is actually one of the songs that's closest to my heart. Just the need, the endless need to be comforted and reassured, I guess. Chasing after your dream and people will, you know, feign interest or genuinely be interested but ultimately no one's gonna want it as badly as you. When I talk about my dream, I guess I'm talking about a lot of things. Talking about personal happiness; talking about my career; talking about relationships; you know, all those different aspects of life. \"
Julianna Raye (1993 - 11:43 with Julianna Raye)
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\"It is about an erotic dream. Something Peculiar is a playful, existential song about a penis.\"
Julianna Raye (1999 - The JL Network, http://www.jeff-lynne.net/raye.html)"
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\"It'll ring true for me and I'll assume that since it rings true for me on some level it'll probably ring true for someone else. In fact, one of the little snips of songs, a song called Laughing Wild and I recall exactly how I began writing that. I was home visiting my family for a little while and, um, was walking out and kind of incorporating all my thoughts about my mother [laughs] having one of these heavy moments. And, uh, I just... A melody came out with a phrase, 'if not for you, what bewildered eyes I see through.' And, um, that just sparked so much for me. That phrase got me to thinking. It was something about the thrust of that idea, that took over, and my mind starts to work. And my mind says, 'Well, what do you mean by that?' I guess it's that she took care of me. And then there's this other side going, 'yeah, did she really take care of you? Did she take care of you the way you wanted her to?' Y'know, so then the other part comes in and then it's, uh, sort of the phrases, 'if not for you, what bewildered eyes I see through, you once wiped away the tears of confusion I now see through, while remembering those years.' So it has sort of a full circle effect and I think that's the way a lot of my songs get written is that I start off with an idea. And then I examine the idea and then I say, 'what do you mean by this?' And... and then the different sides of myself start to think about it and, uh, I try to incorporate as many of those different parts as I can and that's, um, to me that's what makes it three dimensional. \"
Julianna Raye (1993 - 11:43 with Julianna Raye)
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\"The song Nicola is, um, on the record and that's, uh, that's written about a friend. It's about the friend, but in truth it's about me and it's about a universal experience that I feel that friend symbolized at that moment in time.\"
Julianna Raye (1993 - 11:43 with Julianna Raye)
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This song is from a rare promo CD single. Laughing Wild was to be the second single from the Something Peculiar album, but shortly after this CD single was made, it was pulled from the release schedule and cancelled. It is the same as the album version, except on the fade out. Just after the final chorus, it cuts the first guitar and vocal sequence from [3:21] to [3:34] (where Julianna sings the \"I'm laughing wild-a-wild-a-wild-a-wild-a...\" bit). Also, at the very end of the fade out, the \"I'm laughing wild\" vocal line is different.
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This song is said to have been used in the film The Hunt For The Unicorn Killer. However, there is increasing doubt about it as many have reported watching the movie and not hearing anything that remotely sounded like Julianna Raye or JL. It's very possible at this point that Julianna Raye was mistaken in her original statement, the song was licensed for the film, but unused, or that it's mixed so low in the film as to be unrecognizable.
\"One of [the Something Peculiar recording session songs,] Wandering Soldier found a home recently in a made for T.V. movie, [The] Hunt for the Unicorn Killer.\"
Julianna Raye (1999 - The JL Network, http://www.jeff-lynne.net/raye.html)"
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This song title was communicated via email from Julianna Raye to a fan as one of the songs that she recorded with JL producing that remains unreleased.
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This song title was communicated via email from Julianna Raye to a fan as one of the songs that she recorded with JL producing that remains unreleased.
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This song title was communicated via email from Julianna Raye to a fan as one of the songs that she recorded with JL producing that remains unreleased.
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JL produced 16 tracks with Julianna Raye. 11 were released on the Something Peculiar album, leaving 5 tracks unreleased. Titles of the unreleased tracks are Wandering Soldier (as described in a 1999 Julianna Raye interview), Fly Away, Golden Destiny, Brooke & Blake (all of which were stated as the titles in a November, 2002 email from Julianna to a fan), and one other whose title remains unknown. As for the latter unknown titled track, in a November, 2002 email from Julianna, she states that she could not recall the exact song title but described the song as \"an a cappella pro-choice song.\"
\"[JL and I] cut 16 tracks all together.\"
Julianna Raye (1999 - The JL Network, http://www.jeff-lynne.net/raye.html)"
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According to Kiki Dee fan comments, there were at least three songs recorded by Kiki Dee that were produced by JL. The release of the planned album was abandoned when Kiki Dee was diagnosed with breast cancer and had to stop the project. Several demos of Kiki Dee and JL collaborations are also known to exist. Here For All Time is co-written by Kiki Dee and Julianna Raye. It was recorded in the studio and produced by JL, but remains unreleased. A live version of the song (with no Jeff Lynne involvement) turned up on Kiki Dee's Almost Naked album." xHereForAllTime_popupstats = "
According to Kiki Dee fan comments, there were at least three songs recorded by Kiki Dee that were produced by JL. The release of the planned album was abandoned when Kiki Dee was diagnosed with breast cancer and had to stop the project. Several demos of Kiki Dee and JL collaborations are also known to exist." xDeeKikiUnknownTitles_popupstats = "
Aerosmith took another attempt at recording Lizard Love for use in the 1993 Jurassic Park movie, which was eventually rejected. It is unclear if the song was rerecorded or remixed for the movie soundtrack, although it was likely re-worked in some fashion if not completely rerecorded Rumor has it that Stephen Spielberg didn't like the song or he felt it was inappropriate for the film and that's why it's not used in the movie. Also, there are some rumors that JL may have not worked on the song until it was re-worked for the Jurassic Park movie, thus the original Get A Grip sessions version was not written or produced by him.
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\"October saw the release of another production job by Jeff when Hank Marvin's single Wonderful Land was in the shops. Well, not actually in the shops, as Polygram tried to make this release into probably their greatest secret! Although no-one was able to spot it in the shops it made the lower reaches of the UK Top 100. We just wonder who was actually able to buy it to get it into the charts? Probably some hype! Anyway: The track was recorded during Jeff's stay in the U.K. when he came over from the states to watch the F.A. Cup Final. The A-side [Wonderful Land] was a re-working of the classic Shadows number with Jeff not only producing but also playing acoustic GTR on it with Mark Knopfler. [...] All artists involved gave their royalties of this Fender 40th Anniversary record in aid of the Nordoff-Robbins Music Therapy Centre.\"
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\"The B-side [to the Wonderful Land single,] Nivram[,] was another Jeff produced track, which wasn't released on the album Heartbeat and however couldn't save the boring track from... well, being boring. All artists involved gave their royalties of this Fender 40th Anniversary record in aid of the Nordoff-Robbins Music Therapy Centre.\"
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\"The [Tom Jones] album The Lead And How To Swing It which won the FTM award for 'worst album cover of the decade' featured a cover version of Jeff's Lift Me Up. Apart from being just a cover version JL produced the track again and played all the instruments with the exeption [sic] of Jim Horn's saxophone.\"
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\"...a new album of Bonnie Tyler called Free Spirit contained a JL / Kiki Dee co-composition entitled Time Mends A Broken Heart, released in October. Jeff neither played nor produced this track, so we assume that there might be a few things more lying in the vaults from his work with Kiki Dee.\"
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There an interesting backwards message on this song. At the very end the song fades out then fades back in to play a small ukelele bit with some keyboards running over the track. During this ukelele part can be heard John Lennon speaking a backwards line at the [4:16] mark. The backwards line (when run forwards) is \"It's turned out nice again\", which is innocent enough. However, what's really of interest is that when the line runs backwards (by playing the song normally) it actually says the line \"Made by John Lennon\". It's a little distorted because of the backwards-speak sound, but once you hear it, it's pretty clear. Pretty clever considering how hard it must be to have it say something intelligible both forwards and backwards.
\"Free As A Bird was recorded by John Lennon in demo form but never finished, and in 1994 the tape was entrusted to Paul McCartney, George Harrison, and Ringo Starr. The outcome is an elevation of the simple beauty of John's original demo to a much higher level. JL, co-producer of the recording, modestly remarks, 'It was tricky, but I think we've pulled it off.'\"
Author Unknown (1995 liner notes for Free As A Bird CD single)
\"We continue our conversation between Beatles engineer Geoff Emerick and Matt Hurwitz...
EMERICK: Yeah. [Free As A Bird is] great. It's what the world wants. I mean, when you hear, you'll know. With regards to that, there's no two ways about it-- it sounds like pure Beatles. Paul's already said, we've been all together in the same room, all of us, for 25 years. And, after like half an hour, it was like it was only last week that we last met. And it was like, as Paul said, we just treated to the fact that John's done this demo, and he's gone on holiday, and he's left it with us to finish off. That's basically it. We didn't give it another thought. We just treated it as we would any other record.Geoff Emerick and Matt Hurwitz (October 19, 1995 - Good Day Sunshine #80)
GDS: So you found that when you were working together, it felt just like the old days?
EMERICK: Yeah.
GDS: It didn't take any 'breaking in' period?
EMERICK: No, not really.
GDS: What did you think when you first heard Free As A Bird, the demo?
EMERICK: Oh, I loved it.
GDS: Now, this was a great engineering challenge, this project.
EMERICK: Yeah.
GDS: I was curious about some of the steps it took to make this recording.
EMERICK: The biggest concern as the timing. 'Cause it was a demo, it's not going to be strictly in time. And why should it be? It was just a question of fitting everything together; it was like a jigsaw puzzle.
GDS: After it was transferred to multi-track, did you put a click track on the tape, and then try adjust things to fit?
EMERICK: We did it both ways. As I said, it was like a jigsaw puzzle. We played partly to the vocal rhythm and partly, some of it, was more regimented. And all the pieces were assembled in the end, and what's come out.
GDS: Did you have to fly pieces at certain times? I was trying to think of how I would do it to correct the timing. Would you load it onto a computer and spread the material out that way so that it would be even with a metronome?
EMERICK: No, we didn't want to do it like that. We didn't want to get into that. We wanted to still do it like the old way.
GDS: Jeff is such a huge Beatles fan, I was wondering how quickly he jumped into the 'Beatle message,' in other words, producing a sound that was the same thing that you guys had been doing for all those years. Sounds like something that, for him, would be a pretty quick thing.
EMERICK: Yeah, right. 'Cause most of the sounds that he likes were the sounds that we used to do. So it wasn't hard at all. 'Cause he picked up a lot of his sounds from our sounds, you see what I mean.
GDS: He must have enjoyed working with you.
EMERICK: Yeah, it was great. I enjoyed working with him. It was great fun.
GDS: He's listed on the press released as 'Co-Producer.' Who's the other producer?
EMERICK: The other three Beatles, as far as I know. I'm not sure, but I think that's how it's credited.
GDS: What kind of drums did Ringo use on the new songs? A Ludwig kit?
EMERICK: I think he did, I can't remember. I forgot to look, to be honest with you! I think he did.
GDS: Was the song finished? I'd heard that Paul had to write another verse for Free As A Bird.
EMERICK: Well, I can't really say anything on that one.
GDS: What was it like, personally, for you, having worked with John for so many years, to 'work with John' again? I assume the metaphor of assuming he had just disappeared for a while and said, 'You guys finish this' worked well for you.
EMERICK: Yeah, right. Obviously bearing in mind what he, vocal-wise and sound-wise would have wanted. I kept that in the back of my mind as well.
[...]
GDS: Did you use any vintage equipment when you were recording the new songs?
EMERICK: The Fairchild limiters, again, 'cause it's all part of the sound, really. The Fairchilds and the Urei compressors. There's a certain setting on them which makes them sound much like a Fairchild.\"
\"The first song of the three [John Lennon demos] available which was selected for recording was, of course, Free As A Bird. 'It was the only one which was in a nearly complete state, from beginning to end,' notes [Marc] Mann. 'The other two had longer instrumental sections between verses and choruses, with a little more improvisational element to them in places.' Of the three, 'FAAB' also had a more prominent appearance of Lennon's voice on tape, again, making it a more likely candidate for completion. The three Fabs worked with Lynne, and engineers Geoff Emerick and Jon Jacobs at McCartney's The Mill Studio in Sussex, England in February and March of [1994]. The first task was to prepare the original tape for use as the basis of the new recording. This entailed doing whatever manipulations Emerick and Lynne could achieve to help bring out Lennon's voice above the piano which was playing along with him, as well as adding whatever effect onto his voice to give it that 'Strawberry Fields/Lennon' sound. But all the work was done in the 'analog world'-- without computers, simply using standard studio equipment and processors to take out certain bandwidths of frequencies (low frequencies from Lennon's piano, for instance, which would interfere with the listener's ability to hear his voice), and boost those in the vocal range so that they would stand out better. Any editing or placement which needed to be done was also performed manually. In case a particular phrase of Lennon's need to be moved with respect to time, it had to be placed onto the master tape correctly in tempo with the rest of the song. So how did Lynne achieve this, without the aid of a computer to assure accuracy? To 'fly in' various phrases from the original tape onto the new master required some quick skill, hitting the 'RECORD' button at precisely the right moment. 'I've got the fastest finger in town!' Lynne later told Mann. The Fabs did backing tracks in those early months of 1994, trying out different sounds and instrumentation, and eventually, it was felt that the group had achieved the basis of a good recording. [...] The piano heard more clearly on the finished Free As A Bird recording (and unprocessed with the flanging effect applied to Lennon's voice) was added by Paul in Sussex...\"
Matt Hurwitz (August 1996 - Studio Magic: Turning Lost Lennon Tapes Into Beatle Treasure article in Good Day Sunshine #80)
\"When I first heard Free As A Bird, it was with trepidation and great anticipation. My mind was open and ready to judge the results of the remaining Beatles' collaboration on the record with the voice of John. A united Beatles for the first time in so many years. My first impression as I heard it on the radio was one of great disappointment. I found the balance of the voices was, to my ear, so far apart that I kept straining to hear John's words and John's voice. He sounded as though he was in a broom cupboard, but I must admit the difficulties must have been extreme for the boys, working with such a basic demo. However, the more I hear it, the more I love it. The lyrics are vintage John. They convey an optimistic John, and I hope and pray that he himself is Free As A Bird.\"
Cynthia Lennon (August 1996 - Good Day Sunshine #80)
\"The first time I heard the song, I was in my kitchen, and I heard it on the radio. I probably heard it later than everyone else, because I don't listen much to the radio! I hadn't heard it ahead of time or anything like that. But the first time I heard it, it was very emotional for me. I can't be very critical of it, because I was just happy to hear the song. I love the guitar solo. Though, of course, what struck me first was John's performance. It made me think of the days when I heard the demos of his songs he was going to do for an album or something we were going to work on. And, of course, thinking about the fact that he's not here anymore, that was the main thing I was thinking of.\"
Klaus Voormann (August 1996 - Good Day Sunshine #80)
\"I loved the song a lot. It blew me away. I was busy in a studio [the first time I heard it], working with Jimmy Dole Gilmore. We watched it in the studio there. I cried. Everybody stopped for the night.\"
Jim Keltner (August 1996 - Good Day Sunshine #80)
\"I first heard the song during a playback of a test pressing of the first Anthology 1 disc at Abbey Road in mid-October. Quite a few people were there who worked on the album, including myself, George Martin and Geoff Emerick, as well as several executives from EMI. It was quite something, really, for me to hear it that way, particularly while sitting next to Geoff, the man who had recorded it. But it was for that reason, hearing the song in the studio control room with a roomful of people, that the full impact of the song didn't reach me right away. It wasn't until a week later when I had a chance to hear it again, several times, in fact, that the song really struck me. I was extremely taken with it. It is excellently crafted, made with love and care. I found it extremely moving-- not because it was John-- I've long since gotten over that. But because it's Beatles music for now. It's The Beatles as they would be today, were they all here to make more of their wonderful music. I've been dismayed by the criticism the song has been given by the press, particularly here in the UK. It's certainly undeserving of that kind of treatment. It's a beautiful song.\"
Mark Lewisohn (August 1996 - Good Day Sunshine #80)
\"When I first heard the song, I guess it just brought back memories from the time when I was with [John Lennon]. 'Cause a lot of the later songs, a lot of the melodies from that time he wrote when we were together. There's a lot of those songs that just felt like from back then, too. It was just nice to hear it on the radio. Just knowing that his spirit is around. I think in hearing it, to me, it really sounded not so much like a Beatles tune, but more of a John Lennon tune, and guest starring George, Paul and Ringo. Making like what they had done with the Ringo album, where they would have had the other guys come and play. Because it was definately more of a John song, even though Paul and George were on it singing with him. ...The video was nice to see. It was interesting. It's great to try and figure out what songs they're referring to. After a while, though, I felt like I was going to get sick, because I was flying through the air so much! Free As A Bird is a new John song that people are finally getting a chance to hear. It's nice to know that it can be shared.\"
May Pang (August 1996 - Good Day Sunshine #80)
\"I first heard the song in Stamford, Connecticut at Charles Rosenay!!!'s Beatles convention in November, a few days after it had premiered on television. Brian Matthew and I were traveling for a few days, and we hadn't yet a chance to hear it. We were doing a live radio interview there, and the guy played it for us. The strange thing was, I hadn't heard any early versions of it, like I would have in the old days. I don't get those things anymore! When I first heard the song, it wasn't one of those things that shouted out at you, like when you first heard a new single back in the 60's. But it had instant 'John Lennon magic,' as far as I was concerned. It had that sort of feel, the genuine sincerity of Lennon. I think the rest of them, by adding the other things to it, did everything they possibly could, given what they had to start with. The mere fact that all this time after Lennon's death that they'd come up with something that was technically pretty good is amazing, bearing in mind that all they started off with was just a very informally recorded vocal and piano track, which was never intended to be used as a record. And it's just him, more or less, not much more than humming something through, first getting the idea of the song, I think, when he first wrote it and when he first had the idea of it. And he recorded it. The fact that they'd made it into something all those years later I thought in itself was great. I think a lot of people wanted to say, yeah, they love it or they hate it. It's what I would have expected, really, which was pretty good. And I was so pleased to hear something new from them. And knowing all the thought and production that would have gone into it, I knew that they would have done the very best that they could have done to have made a really good sounding record. ...Free As A Bird is John, to me, more than The Beatles. It was more like a John Lennon single than a Beatles single, which, to me, was good. Not necessarily better than The Beatles, but it was different. I know they would have had him very much in mind in how they would have done it when they put the other instrumentation and voice tracks on. And I'm sure it was done in the way that he would have liked it done.\"
Bernie Andrews (August 1996 - Good Day Sunshine #80)
\"When I first heard it, I was in Seattle recording. I saw a tape of it, because I was working at the time it was broadcast. It was really nice to hear; I really loved it. I just thought, 'Wasn't that the greatest track? Wasn't George's solo just the best? Give us more of that-- now that's the Beatles I want to hear!' And to hear John's voice with McCartney again. That was marvelous.\"
Joey Molland (August 1996 - Good Day Sunshine #80)
\"The release of the first new Beatles song since the group broke up in 1970 took as long as November 21st 1995 when Anthology I including Free As A Bird was released. The track had been recorded by John Lennon back in 1977 on a cheap recorder as a demo for the unrealized musical The Ballad of John and Yoko. This track had been available to The Beatles collectors on various bootlegs. As the tape was so noisy and also had John's voice and his piano on the same track, Jeff had quite a hard job to do on it. Jeff: 'It was very difficult, and one of the hardest jobs I've ever had to do, because of the nature of the source of material; it was very primitive-sounding, to say the least. I spent about a week at my own studio cleaning up both tracks on my computer, with a friend of mine, Marc Mann, who is a great engineer, musician & computer expert. We tried out a new noise reduction system, and it really worked.' For our humble point of view, the track would have probably sounded better without John as the difference between the old, noisy recording of John's voice and the new and clear voice of the others made John sound like he was sitting in a bath tub! Sorry John!\"
UNEX
\"Paul McCartney: 'So when we got in the studio, uh, we had this cassette, Free As A Bird. It was very bad quality. It was just a mono cassette, um, with John and piano locked in on one track. Uh, which nobody would normally deal with, you'd just think, Oh, I can't deal with this. But the song was so strong that we overcame those technical diffulties, or rather JL did. He was producer.' JL: 'It wasn't an easy thing because they were like mono tapes and John singing on 'em with the piano as well. And so you couldn't really separate anything. So, John is actually playing piano on the records, too, y'know. Um... Which is a great thing. So it kept the integrity of that, and it wasn't like, uh, like his voice just appearing out of nowhere, he was actually doing a performance at the same time. Technically, it was virtually impossible to do it, but we did it because, y'know, we worked at it, very hard.' Ringo Starr: 'So, after that we did, like, a basic track with all these gaps in it. And then, we had to fill in the song, uh, which... which is what happened.' George Harrison: 'What we actually did was remake this song. I mean, even with chords and stuff, we changed chords... We changed the arrangements, we added parts, and we wrote lyrics and then we'd made the multi-track tape of this song, and took John's voice and made him into the track.' JL: 'When it started taking shape, John was sort of in there, coming up singing and... I think everybody at that moment said, Wow, this really works, y'know, and... And I was really thrilled because I'd spent a long, long time, after we'd got the backing done, making the vocals, y'know, fit exactly. And once that happened, I think we were all Oh, yeah, this is really... this is really good. And it's not doing John a disservice or whatever. It's actually making it into a really good record.' Ringo Starr: 'I listened to it [after we'd recorded it] and I thought it sounds just like them. Y'know, I've taken myself away from it for so long, that it... that it was just like listening it from a... like an outsider. And it sounds just like them, it's brilliant.' Paul McCartney: 'When George and I were doing the harmonies and that was what Ringo said, when we got back in the [studio, we thought], it just... it sounds just like the Beatles!' JL: 'It wasn't surprising to me, really, because that's what I went there for, to work with the Beatles. So I always, like, assumed, in my naivety or whatever, that it was going to sounds like a Beatles record, because I'm working with the Beatles.' George Harrison: 'It's gonna sound like them, if it is them. It sounds like them now. That's what I think.' Paul McCartney: 'The first choice, uh, was Free As A Bird and we did that in February 94...'\"
Paul McCartney, JL, Ringo Starr & George Harrison (circa 1996 - Recording Free As A Bird and Real Love special feature from The Beatles Anthology Special Features DVD)
\"The voice on Free As A Bird wasn't very loud on the original, with just the piano, and obviously the EQ was a bit peculiar because it was recorded on a Walkman or something. I'd be thrilled to bits when we'd get something good down and it would suddenly start to come together.\"
JL (March 22, 1997 - Billboard)
\"Yoko Ono revealed in an interview with Philip Norman in the British newspaper Daily Main in November 1995 that George Harrison and longtime Beatles assistant Neil Aspinall first approached her about the idea of the three surviving Beatles adding to John's unreleased recordings for use in The Beatles' Anthology project. Not surprisingly, Paul McCartney thinks he first approached Yoko about the idea, but he is not sure. In all likelihood, the three surviving Beatles discussed the idea with each other before anyone approached Yoko. On January 19, 1994, Ono and McCartney took part in ceremonies in New York to induct John Lennon into the Rock and Roll Hall of Fame. Following the ceremonies, Yoko turned over some of John's unreleased demos to McCartney. George Martin, who had produced nearly all the Beatles' recordings, was busy reproducing recordings to be included in The Beatles' Anthology project. George Harrison wanted his friend JL to produce the new Beatles' single. McCartney was reluctant, but finally agreed to Harrison's recommendation. Several weeks after McCartney received the tapes, the three surviving Beatles were at Paul McCartney's private studio contributing to the recordings to create a new single. With production assistance from Paul, George and Ringo, JL was able to turn the demo of John Lennon's song Free As A Bird into a highly polished new Beatles' single.\"
Kristofer Engelhardt (1998 - Beatles Undercover)
\"As Lynne speaks today, the gold and platinum awards for the recordings he produced with the three surviving Beatles for their popular Anthology series-- Free As A Bird and Real Love-- have pride of place on the walls of his home studio.\"
David Wild (2000 liner notes for Flashback)
\"As always, the friction [between the Beatles during the 1990s reunion] was most evident between Paul and George, which, Paul would later recall, surfaced in the studio and had been typical of their love-hate relationship over the years. 'When we were working on Free As A Bird, there were one or two bits of tension, but it was actually cool for the record. For instance, I had a couple of ideas that he didn't like and he was right. I'm the first one to accept that, so that was okay.' [...] The premiere of Free As A Bird was met with mixed reviews but George was rewarded with much praise for his guitar playing behind John's ghostly vocals.\"
Marc Shapiro (May, 2002 - Behind Sad Eyes: The Life Of George Harrison)
\"Yoko Ono gave the surviving Beatles [the unfinished track Free As A Bird] to complete as they saw fit. Though Harrison would later disdain the new [track], the final results sounded as if everybody involved worked sincerely and meticulously, and with Free As A Bird in particular, they even created something rather moving. 'Whatever happened to/ The life we once knew,' McCartney sang in the song's middle part. 'Can we really live/ Without each other?' The song wasn't a statement about nostalgia but rather a commentary on all the chances and hopes, all the immeasurable possibilities that are lost when people who onced loved each other cut themselves off from that communion. Not a bad or imprecise coda for what the Beatles did to themselves, and to their own history (and to their audience), with their dissolution. And moments later, Harrison plays a guitar solo that sums up a quarter of a century of yearning and pain.\"
Mikal Gilmore (2002 - Harrison)
\"Yeah, I think [my father was happy with how Free As A Bird and Real Love turned out.] He definitely was. Considering what they were working with, in terms of the material they had left to work with after John left, which was really scratchy, the way it turned out was great. JL did a great job on that.\"
Dhani Harrison (November 19, 2002 - MSN Webchat)
\"Completed by the so-called Threetles, Free as a Bird and Real Love were greeted with mixed reviews and controversy. \"
Rip Rense (August 21, 2005 - One More Beatles Song, or Should They Just Let It Be? in The Washington Post)
\"Also, fittingly, Lynne was asked to produce a song by a band to whom his entire musical career has been a kind of homage: Free as a Bird, in 1994, by the Beatles.\"
David Cheal (December 8, 2005 - The Daily Telegraph)
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