Dylan: 100 Songs and Pictures compiled by Chris Charlesworth

Bob Dylan was quoted in 1962 as saying, "The songs are there. They exist by themselves, just waiting for someone to write them down. If I didn't do it, someone else would." I don't think there's anyone else who believes that. George Harrison certainly disagrees. "If Dylan hadn't said some of the things he did, nobody else was going to say them."

If you need more proof then that, the brilliance of Dylan is on display over nearly 500 pages in Omnibus Press' mammoth Dylan: 100 Songs and Pictures. Presented in chronological order starting with "Song to Woody," the template is as follows: there is a black and white picture of Dylan, many familiar, some rare; brief commentary about the song, something along the lines of mentioning those who covered it, or the frequency Dylan played it live; quotes from Dylan through the years and quotes from both musicians he played with and ones who admired him, such as Paul Simon, John Lennon and Jerry Garcia; then there's sheet music with guitar chord boxes; and, for the non-musician, complete lyrics of the songs where the power and poetry of his words are on full display.

The 100 songs cover his entire career. There are the folk hits that caused him to burst onto the scene like "Blowin' in the Wind" and "A Hard Rain's A-Gonna Fall;" the commentary of race relations in this country in "Only A Pawn In Their Game" and "The Lonesome Death of Hattie Carroll;" and his embrace of electric guitar and rock 'n' roll on "Subterranean Homesick Blues" and "Like A Rolling Stone," the latter of which Frank Zappa says when he heard it, "I wanted to quit the music business." The book continues offering selections through the years, including Dylan's Christian phase with "Gotta Serve Somebody" and "Saving Grace" and his recent critical resurgence, featuring songs from Time out of Mind, "Love and Theft" and closing with Modern Times' "Thunder on the Mountain" from 2006.

The only studio albums of original work that don't have a song in the 100 are Dylan, Empire Burlesque, Down in the Groove, and Under the Red Sky. "The Mighty Quinn (Quinn the Eskimo)" represents Self Portrait where it appears live. There are also rarities, like "Tomorrow Is A Long Time," which while written in 1962 didn't get released until a live version appeared on Bob Dylan's Greatest Hits, Vol. 2 the following decade. Also included are songs from The Basement Tapes; The Bootleg Series, Volumes 1-3; and the Oscar-winning "Things Have Changed" from The Wonder Boys.

While the words and photos alone make Dylan: 100 Songs and Pictures. a good buy, it is best suited for the musician who wants to learn how to play Dylan's music. The book showcases the brilliance of one of the most important songwriters of the 20th century.

Stories Done: Writings on the 1960s and Its Discontents by Mikal Gilmore

Stories Done is a collection of music journalist Mikal Gilmore’s work from Rolling Stone about people and events that had a great cultural impact during the 1960s and into the 1970s. While all decades are filled with moments of notoriety, infamy, and significance — illuminated by the passage of time and the work of historians — the 1960s (especially in the United States) stands out as a decade of great change and upheaval. It was an era of seemingly limitless human potential bound by imagination and consciousness, both expanded by external sources.

Gilmore states in his introduction the subjects of his articles, which include eulogies for recently departed icons and commemorations of anniversaries, “were part of a major historical shift that not only challenged the cultural and social values of that age, but also, for an astonishing term, almost preempted the real power of the era.”

The accomplishments of the Beats were a great influence on the 1960s so it’s fitting the book opens with a feature on Allan Ginsberg, who had the most direct involvement with those who followed in their footsteps off the beaten path. What Ginsberg did with his art to affect the status quo, Timothy Leary did with science in his promotion of LSD, a drug taken by many of the people included herein.

Some articles make the case for artists who had an impact on the decade though they don’t come to mind immediately when referring to the ‘60s. Johnny Cash usually evokes the 1950s, but he certainly made his stamp on the decade with “Ring of Fire” coming out in ‘63, At Folsom Prison in ’68, At San Quentin in '69, his recording with Dylan, and his own television variety show. Comparatively, Pink Floyd and Led Zeppelin dominated the 1970s, but each got their start in the ‘60s. Led by Syd Barrett, the psychedelically inclined Floyd released their first album in 1967. Zepp, dubbed “the last band of the 1960s and the first of the 1970s” by RS’s Steve Pond, got their start in 1969 with the release of two albums that altered the rock landscape.

Gilmore reveals himself throughout to be a brilliant, enlightening, and engaging writer. Even in stories I have memorized from countless times of exposure, from those on Jim Morrison and The Doors to his fellow RS writer Hunter S. Thompson, Gilmore’s prose captivates because of the high quality of his writing. He also reveals himself at opportune moments, sharing his experiences of an LSD trip he took one night shortly before Leary’s death as well as an intimate phone call thanking Cash for calling his notorious brother, Gary Gilmore, the night before his execution.

The book is not always best when read in the order presented or in a short time frame. Understandably, the chapters are comprised of articles sharing a theme, but in some instances there’s too much repetition because of the crisscrossing of people and places and the focus Gilmore gives key events. The lives of Beatles George Harrison and John Lennon, and even their creation Sgt. Pepper’s Lonely Hearts Club Band, obviously couldn’t be told without crossover. However, there is a little too much redundancy in the stories about author Ken Kesey, Grateful Dead guitarist Jerry Garcia who played at Kesey’s Acid Tests, and the Haight-Ashbury neighborhood where Garcia lived as well as other residents who took part in the Acid Tests. To be fair, the latter articles were printed over the course of 12 years so the overlap is warranted since they were intended as individual pieces.

Another critique is something Gilmore mentions in the book’s introduction as “obvious shortcomings.” While acknowledging there are no women or R&B and jazz musicians featured, it’s still a surprise the only person of color featured is Bob Marley, whose impact occurred in the ‘70s. Although an argument could be made about his cultural influence outside of music, Jimi Hendrix’s omission from a book that mainly focuses on musicians from the ‘60s is rather stunning regardless of his skin color.

Those minor points aside, Stories Done serves equally as a great introduction to the era and the individuals and as wonderful remembrances to counterculture heroes. The stories provide great insight and occasional revelations to a bygone time, offering inspiration and lessons learned, though too late for some. Mikal Gilmore proves to be an inspiration also and is well worth reading no matter the subject.

Bob Dylan - Together Through Life

Together Through Life originated as a songwriting assignment. Dylan was hired to write a ballad for the main character of Olivier Dahan’s My Own Love Song, which is set in the American South. In an interview on his website Dylan explains, “We started off with ‘Life Is Hard’ and then the record sort of took its own direction.” That “direction” leads Dylan and his band, augmented by Heartbreaker Mike Campbell on guitar and Los Lobos David Hildago on guitar and accordion, to join the music of the region with tales of love and woe written by Dylan and co-lyricist Robert Hunter.

Hildago’s accordion and Donny Herrron’s trumpet on “Beyond Here Lies Nothin’” provides a sound from the bayou as the narrator, likely down on his luck, has nothin’ but the love of his pretty baby, which is all he needs. A mandolin and steel guitar are up front, leading the ensemble on “Life Is Hard” while Dylan adds a weariness to his nasally delivery, as when he sings, “Admitting life is hard/ Without you near me.” It’s a touching song about the one who got away, likely reflected upon while drinking sorrows away.

With music co-credited to Willie Dixon, “My Wife’s Home Town” is a blues tune about a guy seemingly trapped in a love affair, bewitched by affections that can turn a good man bad. “If You Ever Go To Houston” is a country tune with the narrator offering advice about traveling the Lone Star state from the adventures he’s had.

“Jolene” is a blues tune that swings and sways, likely reminiscent of her hips on the dance floor. She breaks hearts without even trying and makes “a dead man rise and holler she's the one.” The guitarists trade licks and should get a rise out of the listener. This could have been about the homewrecker Dolly Parton sings about from a different point of view, but their eyes are different colors. The band’s musical journey takes them to the Southwest as the accordion-led Tex-Mex arrangement of “This Dream of You,” written solely by Dylan, backs the narrator’s tale of denial as he keeps “living on” through the dream of a former relationship.

“Shake Shake Mama” brings back the blues on this tale of infatuation. Considering the narrator’s baby is “walking with the village priest” in “I Feel A Change Comin’ On,” that change is likely marriage. The lyric, “And I just can't wait/ wait for us to become friends,” documents the best part of spending your life with someone, hopefully finding that best friend to live out the rest of your days with.

“It’s All Good” has an upbeat, Zydeco sound to punctuate the positive outlook about life in the face of many troubles. The narrator sings about “Big politician telling lies/…Wives are leavin’ their husbands/…Cold-blooded killer stalkin’ the town.” It would be understandable for someone to give up when “Everywhere you look there's more misery,” yet he makes clear while “It’s hard to believe”…“there’s nothing to worry about, cause it’s all good.” This is a great song to dance the blues away.

While the lyrics don’t contain the same level of poetry and wordplay Dylan has delivered in the past, as evidenced by weak lines like “Down every street there’s a window/ And every window’s made of glass,” the music is the album’s driving force. Dylan and the band delving into different folk music genres on Together Through Life is reminiscent of the field recordings by Alan Lomax, making for a good sampler of the Southern United States.

Bob Dylan: Tell Tale Signs - Rare and Unreleased 1989-2006

Volume 8 in Bob Dylan’s Bootleg Series, Tell Tale Signs offers an amazing collection of songs from the latter third of his legendary career, covering the years 1989 through 2006. The two-CD version presents 27 songs in the forms of alternate versions, demos, concert performances, and previously unreleased material. The majority comes from recording sessions for Oh Mercy (1989), Time Out Of Mind (1997) and Modern Times (2006). Although there is no material from the sessions that produced Under the Red Sky (1990), Good as I Been to You (1992), and “Love and Theft” (2001), some elements from the songs here made their way into songs on Under the Red Sky and “Love and Theft.” Also collected are rarities from the soundtracks of Lucky You and Gods and Generals as well as a duet with Ralph Stanley, a legend in his own right.

What is so fantastic about Tell Tale Signs is that it works no matter what the listener’s knowledge of Dylan is. The songs are so strong and well crafted the album makes a great introduction. You don’t need to know the released versions to enjoy this; you just need to sit back and listen. Of course, it will be more appealing to hardcore fanatics who will pore intently over these songs, comparing and contrasting versions. Filling with pride for correctly recognizing one part only to be frustrated at the inability to explain why another sounds so familiar. They will hold off for as long as they can stand before cheating with the informative detail of Larry “Ratso” Sloman’s liner notes. Plus, it’s not only the fanatics that have the opportunity to examine Dylan at work. There are two different versions of “Mississippi” and “Dignity,” each feature Dylan accompanied by one instrument (Daniel Lanois playing guitar on the former; Dylan on piano on the latter) on Disc One and later with a full band on Disc Two.

Three songs find Dylan performing in his Woody Guthrie persona, just the man, guitar, and harmonica. Over a roughly a four-year period, he recorded an an alternate version of “Most of The Time;” was live in France 1992 playing “The Girl on The Greenbriar Shore,” a traditional 17th century song; and during the only contribution from The World Gone Wrong sessions, a great cover of the Robert Johnson classic “32-20 Blues” that makes clear Dylan would have made a fine living if he had solely focused on the blues.

Dylan and his musicians play loosely with other genres. There’s a touch of western swing on an alternate version of “Tell Ol’ Bill’” from the North Country soundtrack. With Dylan “sitting in church” at the opening of “Marchin’ to The City,” it makes perfect sense to flirt with gospel. This song eventually became “Till I Fell in Love with You.” Two classic covers in a row find Dylan passing through similar terrain. Dylan goes country on an unreleased version of Jimmie Rodgers’ “Miss The Mississippi” that finds him yearning for the river and his gal. Taken from Ralph Stanley’s Clinch Mountain Country, Dylan is matched with Stanley and bluegrass band; in this song he makes his way to the shore along “The Lonesome River,” but his heart is still wanting. The music of “Series of Dreams” sounds more like U2 than Dylan, which isn’t surprising considering Lanois has produced and played with them.

I was surprised to get a glimpse of Lucky and Boo Wilbury. During the period between the two Traveling Wilbury albums, Dylan worked on Oh Mercy and two tracks show a distinct influence. Anchored by wonderfully subdued Dick Dale-esque guitar, “Everything Is Broken” finds Dylan singing over surf music. It’s the one of the most energetic songs on the Disc One and will make you want to “hop around the room/ In your underwear” as you dance a slowed-down version of the Wilbury Twist. “God Knows” is another jaunty number and every time I play I expect the rest of the brothers to join in on the vocals because that is surely George Harrison and Jeff Lynne on guitar no matter what the song credits state.

No doubt Tell Tale Signs will cause debate as fans argue over which version they like better. Thankfully, Dylan and his producers aren’t easily pleased and keep striving for more. The alternate version “Can’t Wait,” which Dylan can be heard suggesting they play in B Flat, sounds very good with different lyrics, and Dylan on piano and delivering a different vocal intonation, but the right choice was made with the released version, especially the dynamic organ that drives it.

Of the five live tracks, “High Water (For Charley Patton)” from 8/23/2003 at Niagara Falls, Ontario, Canada is the best. The band sounds fantastic as they rock the house. A bootleg release of this evening deserves to be Volume 9. The vocal isn’t clear “Lonesome Day Blues,” but the band still sounds great.

Tell Tale Signs could have been subtitled “Best Of” instead of “Bootleg Series.” While by no means comprehensive of the best of the era, a reasonable argument could certainly be made that this is Dylan at his best: an artist trying out different ideas, proving it’s the journey not the destination. Most of these songs other musicians would gladly have released. It is rare for songs that don’t make the cut to be this good.

The only disappoint with the release is knowing there’s third disc of similar material, which has to be just as good, but it’s in a ridiculously priced deluxe set that comes with a 150-page book. Some editions include a 7" vinyl single with two tracks from the set. It’s extremely frustrating and sure to be bootlegged. Feel free to pass it along to me.

Nina Simone: Live in ’65 & ’68

In its third wave of DVDs Jazz Icons presents Nina Simone from two different European television performances. The Holland 1965 session runs about 40 minutes and the England 1968 session runs about 23. In both she delivers personal, powerful performances that made her such a unique performer.

The Holland session opens with Oscar Brown Jr.’s “Brown Baby.” Simone is at the piano and Lisle Atkinson accompanies on bass. He plays so subtly underneath it is barely detectable. The lyrics reveal a mother’s wishes for her a little girl, “you’re gonna have things that I never had.” It’s especially poignant coming from an African American woman in 1965 as civil rights were still being fought for back home in the United States. The anguish on Nina’s face punctuates the song.

Simone’s “Four Women” has four different African-American women, each a different color, briefly tell their story. Aunt Sarah is black and has suffered long from racism, a pain that’s “been inflicted again and again and again.” Saffronia is yellow due to being biracial; her conception is marked by racism as she reveals “My father was rich and white/ He forced my mother late one night.” Sweet Thing, not likely her name, is tan and works as a prostitute. On the bridge, Simone strikes the keys harder and continues into the next verse, singing in a rougher voice. Peaches is brown and “awfully bitter these days/ because my parents were slaves.” Her rage against what she and her people have suffered is understandable and tragic if the previous women are all the archetypes she has. No wonder she’ll “kill the first mother I see.”

Simone covers Bob Dylan’s “The Ballad of Hollis Brown.” She changes the order of the lyrics of a brutal story about a man who suffers so much ill fortune that the only solution he sees for himself and his family is “the shotgun/ That's hangin’ on the wall.” Nina moves around on the piano bench like she’s riding horseback, sharing this tale of woe across the countryside.

Another highlight from Holland is “Mississippi Goddamn,” her response to events in the Civil Rights movement like the murder of Medgar Evers and the bombing of a church in Birmingham, Alabama where four black children were killed. She rejects the notion of having to go slow to gain acceptance and “equality/ for my sister my brother my people and me” from whites, and who could argue. The music is played like an upbeat jazzy show tune in contrast to the subject matter, but the juxtaposition doesn’t offset the emotion or power.

The England 1968 session for or Granada TV runs about 24 minutes. Simone opens with Morris Bailey’s “Go To Hell,” but the effect of her warning is blunted by how glorious she makes the song sound. “Ain’t Got No / I Got Life” is from the Broadway musical “Hair.” She details what she doesn’t have but then joyfully affirms what is important in life with her list of what she has got. Simone wrote “Backlash Blues” with Langston Hughes and plays it with a slow, funky rhythm as she calls out Mr. Backlash for thinking “that alla colored people/ Are just second class fools” and don’t understand they are being given “second-class houses/ And second class schools.”

Simone changes into an African dress and headscarf. She plays two abridged covers, coming in under two minutes. First, Screamin’ Jay Hawkins’ “I Put A Spell On You” and then Tin Pan Alley writer Bennie Benjamin’s “Don’t Let Me Be Misunderstood.” Simone mentions that The Animals had a hit with the latter, which came out a year after she recorded it. Her version is soft and subdued. She closes out the set with the gut-wrenching “Why? (The King of Love Is Dead)” written by her bassist Gene Taylor after Martin Luther King, Jr.’s assassination. The music plays like a gospel number as she wonders whether King died for something or in vein. In 1968 that had to be a question not only every African American pondered, but every decent person.

Nina Simone – Live in ’65 & ’68 is a great showcase of her talents because her songs and performances tell a greater story about the African-American experience, yet she makes it accessible to anyone willing to listen. Simone has that special gift to make music transcendent. This DVD is well worth checking out.

Real Moments: Bob Dylan by Barry Feinstein

Photographer Barry Feinstein has had a successful career as a photographer. His website lists his work as having appeared in Life, Look, Time, Esquire, Newsweek and many others. He has also shot the album covers for Janis Joplin’s Pearl, George Harrison’s All Things Must Pass, Barbra Streisand’s Stoney End, and of particular significance, Bob Dylan’s The Times They Are A Changin’.

Dylan and Feinstein were friends, which led to Feinstein being hired on as the exclusive photographer during Dylan’s tour of Europe in 1966, his first since going electric, and he was backed by The Band minus Levon Helm. The vast majority of the book’s photos are from this time.

The hardcover book is 12.8” x 10.1”, allowing the photos to be a nice size on the pages. They are all in black and white and being in Europe bring to mind D.A. Pennebaker’s documentary of the 1965 European tour, Don't Look Back. With his style of dress, shaggy hair, and dark sunglasses Dylan stands out as a unique figure wherever he goes, whether working as a musician or just passing time. Most of the shots are taken of Dylan offstage because, as Feinstein explains, “I didn’t really enjoy taking performance pictures... If you want to see a performance, but a ticket.”

While Feinstein gets many good, interesting shots, the images aren’t so compelling that they will transcend and be of any interest to anyone outside of Dylan fans. Outside the album cover, the most familiar shot is likely to be Dylan in Bristol at the Aught Ferry terminal, which was used in 2005 as the cover for both the CD and DVD of Martin Scorsese’s No Direction Home.

A few print sheets grace the book, revealing Feinstein in action and his creative process. He provides brief commentary for each shot to give some insight behind it. Elsewhere, he reveals his thoughts about these tours in the documentary Bob Dylan World Tours 1966-1974: Through the Camera of Barry Feinstein.

The last 20 of the 157 pages are of the 1974 American tour with The Band, 40 shows over six weeks. The music was documented on After The Flood. Dylan looks more like the common man in these photos. His clothes aren’t so unique, he has a small beard, and his eyes aren’t hidden behind sunglasses as often. One photo is of Dylan meeting Jimmy Carter. It states it is in Washington, but Feinstein’s notes mention the meeting took place at the governor’s mansion, which should have been Georgia unless Carter had another mansion.

It was the last tour Feinstein ever went on because he believed “it would never be as great as this.” Hard to imagine that if you could get paid to do be a tour photographer, you wouldn’t jump at the chance. If any of Mr. Dylan’s representatives are reading this and have an opening, please drop me a line.

Images from the book can be found at Feinstein’s website.

Traveling Wilburys
THE TRAVELING WILBURYS COLLECTION

Every young man has had the fantasy of playing in a band with his friends, but that dream becoming a reality has never been more impressive than when George Harrison gathered some pals for a recording session and ended up forming the supergroup Traveling Wilburys.

In 1987, Harrison released Cloud Nine, his first album in five years. It was a success and there came a time when he needed to record a B-Side for “This Is Love,” the album’s third single. As the story goes, Harrison was in Los Angeles and got in touch with his friend Jeff Lynne, former Electric Light Orchestra leader, who co-produced Cloud Nine with him. Lynne was working with Roy Orbison on what would be his last album, the posthumously released Mystery Girl, and Orbison volunteered to take part. The only studio they could book time in belonged to Bob Dylan, who agreed to sit in, and when Harrison went to pick up his guitar from Tom Petty’s home, Petty tagged along.

Harrison explained what happened in the studio. “And so everybody was there and I thought, I'm not gonna just sing it myself, I've got Roy Orbison standing there. I'm gonna write a bit for Roy to sing. And then, as it progressed, then I started doing the vocals and I just thought I might as well push it a bit and get Tom and Bob to sing the bridge.” The song they created was “Handle With Care.”

This impressive roster of talent and history was a music executive’s dream, and the song was a very catchy number, so it wasn’t surprising when Mo Ostin and Lenny Waronker of Warner Bros. Records heard it, they realized they had much more than a B-Side. The musicians had so much fun together, they all agreed to create an album. They called themselves Traveling Wilburys, the word “wilbury” being an inside joke between Harrison and Lynne regarding accidents in the studio. Most likely for legal reasons because there is no way anyone would not recognize their voices, they didn’t use their real names and posed as a fictitious group of brothers, using the pseudonyms: Nelson (Harrison), Otis (Lynne), Lucky (Dylan), Lefty (Orbison) and Charlie T. Jnr (Petty).

Released in October 1988, Traveling Wilburys Vol. 1 was received well, reaching #3 on the U.S. charts and earning a Grammy for Best Rock Performance by a Duo or Group with Vocal (album). It is simple and straightforward, a good collection of songs mostly about love, longing, and loss. The vocals alternate between songs from one lead and sharing leads. In some of the choruses it’s sometimes hard to tell who of the band is there.

Dylan’s “Dirty World” is a fun, sexy romp that plays with car metaphors while “Congratulations” goes to the other extreme, as the narrator is left “alone in my bed.” Jeff Lynne’s up-tempo “Rattled” would have been a perfect song for Elvis or Jerry Lee Lewis. Orbison’s “Not Alone Any More” finds him still with an amazing voice, and easily stacks up with any of the classics from his career. Petty’s “Last Night” is funny tale about the trouble women can cause set to island rhythms. Dylan’s odd New Jersey tale about “Tweeter and The Monkey Man” sounds like a Bruce Springsteen spoof, playful not mean, but Petty has denied that in interviews.

Vol. 1 doesn’t rise to the level of the band members’ individual accomplishments, but that’s an unrealistic expectation, which also may explain the Wilbury names. There is a little too much studio polish applied, but it is a pleasant listening experience. Orbison died six weeks after the album’s release. In the video for “End of the Line,” his picture and a rocking chair with a guitar are shown during his parts.

In October 1990, the band returned as a quartet with Vol. 3. Vol 2 is considered to be Tom Petty’s solo album, Full Moon Fever, which featured everyone in the band except for Dylan. Possibly in acknowledgment of the new dynamic they would have, new Wilbury names were chosen to signify they were a different group: Spike (Harrison), Clayton (Lynne), Muddy (Petty) and Boo (Dylan).

The songs on Vol. 3 continued with similar stories, but the music’s palette expanded. “She’s My Baby” is a rockin’ group song that gets the album rollin’ with guitar work by Gary Moore. By the second song, “Inside Out,” you realize Orbison is unfortunately not going to be joining them as others take parts that would have sounded perfect for him.

Other than the fun, silly, dance number “Wilbury Twist,” the songs are forgettable, and it goes beyond the absence of Orbison. If this had been their first album, there wouldn’t have been another. Vol 3. is not an album anyone would select to listen to any of these artists; it’s for hardcore fans and completists.

Both Wilbury albums fell out of print in the mid-90s and are now being re-released as one complete set, The Traveling Wilburys Collection. Each album contains two bonus tracks. Vol. 1 includes “Maxine,” sung by Harrison, and “Like A Ship,” sung by Dylan. Lynne and Harrison’s son Dhani, credited as Ayrton Wilbury, provide additional vocals on both. Lynne adds a guitar solo on the former, as does Dhani on the latter. Vol. 3 has the previously released “Nobody’s Child” from the Romanian orphan benefit album of the same name, and a cover of Del Shannon’s “Runaway,” which was the B-side to “She's My Baby” in the UK. It has been remixed with a new clavioline solo replacing the original guitar/harmonica tracks.

Shannon had been rumored to be Orbison’s replacement until his unfortunate suicide. Petty has denied this, saying “We never considered adding anyone else. That was just rumor and hype;” however the bootleg Traveling Wilburys Complete Collection lists “Del Shannon Sessions.” Drummer Jim Keltner who appeared on both albums and in videos is finally acknowledged as an extended member of the band with nickname “Buster Sidebury.”

The Traveling Wilburys Collection is available in four configurations:

* Standard Package — Features 2 CDs (Volumes 1 and 3) with bonus tracks, bonus DVD of content and a 16-page collectible book.

* Deluxe Edition Set — Linen-bound deluxe edition features 2 CDs (Volumes 1 and 3) with bonus tracks, bonus DVD, and a 40-page collectible book with photos, original liner notes, new liner notes and a uniquely numbered certificate of authenticity.

* Vinyl Edition — Features 2 vinyl releases of Volumes 1 and 3 with an additional 12-inch featuring bonus tracks, a collectible album-sized book, plus additional postcards/posters.

* Digital Edition Bundle — Features downloadable editions of both CDs (Volumes 1 and 3) with bonus tracks, video content and an interactive booklet.