A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
The Age is a daily newspaper, published in Melbourne, since 1854. Owned and published by Nine, The Age serves Victoria but is available for purchase in Tasmania, the Australian Capital Territory and border regions of South Australia and southern New South Wales, it is delivered in both hardcopy and online formats. The newspaper shares many articles with other Fairfax Media metropolitan daily newspapers, such as The Sydney Morning Herald; as at February 2017, The Age had an average weekday circulation of 88,000, increasing to 152,000 on Saturdays. The Sunday Age had a circulation of 123,000; these represented year-on-year declines of somewhere from 8% to 9%. The Age's website, according to third-party web analytics providers Alexa and SimilarWeb, is the 44th and 58th most visited website in Australia as of July 2015. SimilarWeb rates the site as the seventh most visited news website in Australia, attracting more than 7 million visitors per month; the Age was founded by three Melbourne businessmen, the brothers John and Henry Cooke, who had arrived from New Zealand in the 1840s, Walter Powell.
The first edition appeared on 17 October 1854. The venture was not a success, in June 1856 the Cookes sold the paper to Ebenezer Syme, a Scottish-born businessman, James McEwan, an ironmonger and founder of McEwans & Co, for 2,000 pounds at auction; the first edition under the new owners was on 17 June 1856. From its foundation the paper was self-consciously liberal in its politics: "aiming at a wide extension of the rights of free citizenship and a full development of representative institutions," and supporting "the removal of all restrictions upon freedom of commerce, freedom of religion and—to the utmost extent, compatible with public morality—upon freedom of personal action."Ebenezer Syme was elected to the Victorian Legislative Assembly shortly after buying The Age, his brother David Syme soon came to dominate the paper and managerially. When Ebenezer died in 1860, David became editor-in-chief, a position he retained until his death in 1908, although a succession of editors did the day-to-day editorial work.
In 1891, Syme bought out Ebenezer's heirs and McEwan's and became sole proprietor. He built up The Age into Victoria's leading newspaper. In circulation, it soon overtook its rivals The Herald and The Argus, by 1890 it was selling 100,000 copies a day, making it one of the world's most successful newspapers. Under Syme's control The Age exercised enormous political power in Victoria, it supported liberal politicians such as Graham Berry, George Higinbotham and George Turner, other leading liberals such as Alfred Deakin and Charles Pearson furthered their careers as The Age journalists. Syme was a free trader, but converted to protectionism through his belief that Victoria needed to develop its manufacturing industries behind tariff barriers. In the 1890s, The Age was a leading supporter of Australian federation and of the White Australia policy. After Syme's death the paper remained in the hands of his three sons, with his eldest son Herbert Syme becoming general manager until his death in 1939.
Syme's will prevented the sale of any equity in the paper during his sons' lifetimes, an arrangement designed to protect family control but which had the effect of starving the paper of investment capital for 40 years. Under the management of Sir Geoffrey Syme, his chosen editors Gottlieb Schuler and Harold Campbell, The Age failed to modernise, lost market share to The Argus and to the tabloid The Sun News-Pictorial, although its classified advertisement sections kept the paper profitable. By the 1940s, the paper's circulation was smaller than it had been in 1900, its political influence declined. Although it remained more liberal than the conservative Argus, it lost much of its distinct political identity; the historian Sybil Nolan writes: "Accounts of The Age in these years suggest that the paper was second-rate, outdated in both its outlook and appearance. Walker described a newspaper which had fallen asleep in the embrace of the Liberal Party, it is criticised not only for its increasing conservatism, but for its failure to keep pace with innovations in layout and editorial technique so demonstrated in papers like The Sun News-Pictorial and The Herald."
In 1942, David Syme's last surviving son, Oswald Syme, took over the paper. He modernised the paper's appearance and standards of news coverage. In 1948, convinced the paper needed outside capital, he persuaded the courts to overturn his father's will and floated David Syme and Co. as a public company, selling 400,000 pounds worth of shares, enabling a badly needed technical modernisation of the newspaper's production. A takeover attempt by the Warwick Fairfax family, publishers of The Sydney Morning Herald, was beaten off; this new lease on life allowed The Age to recover commercially, in 1957 it received a great boost when The Argus ceased publication. Oswald Syme retired in 1964, his grandson Ranald Macdonald became chairman of the company, he was the first chairman to hand over full control of the paper to a professional editor from outside the Syme family. This was Graham Perkin, appointed in 1966, who radically changed the paper's format and shifted its editorial line from the rather conservative liberalism of the Symes to a new "left liberalism" characterised by attention to issues such as race and the environment, opposition to White Australia and the death penalty.
It became more s
The Stranglers are an English rock band who emerged via the punk rock scene. Scoring some 23 UK top 40 singles and 17 UK top 40 albums to date in a career spanning four decades, the Stranglers are one of the longest-surviving and most "continuously successful" bands to have originated in the UK punk scene. Formed as the Guildford Stranglers on 11 September 1974 in Guildford, they built a following within the mid-1970s pub rock scene. While their aggressive, no-compromise attitude identified them as one of the instigators of the UK punk rock scene that followed, their idiosyncratic approach followed any single musical genre and the group went on to explore a variety of musical styles, from new wave, art rock and gothic rock through the sophisti-pop of some of their 1980s output, they had major mainstream success with their 1982 single "Golden Brown". Their other hits include "No More Heroes", "Peaches", "Always the Sun" and "Skin Deep" and the 2003 Top 40 hit "Big Thing Coming", seen as a return to form.
The Stranglers' early sound was driven by Jean-Jacques Burnel's melodic bass, but gave prominence to Dave Greenfield's keyboards. Their early music was characterised by the growling vocals and sometimes misanthropic lyrics of both Burnel and Hugh Cornwell. Over time, their output grew more refined and sophisticated. Summing up their contribution to popular music, critic Dave Thompson wrote: "From bad-mannered yobs to purveyors of supreme pop delicacies, the group was responsible for music that may have been ugly and might have been crude – but it was never boring." Prior to forming the band, "Jet Black" was in his mid-30s—significantly older than the other members of the band he would assemble. A successful businessman, Black at one point owned a fleet of ice cream vans, ran "The Jackpot", a Guildford off-licence that would serve as the base for the early Stranglers. Black had been a semi-professional drummer in the late 1950s and early 1960s; the Stranglers came to be an influential band in the "British Invasion."
The group that formed between 1974–75 was called the Guildford Stranglers, operated out of The Jackpot. Aside from Jet Black, other original personnel were bass player/vocalist Jean-Jacques Burnel, guitarist/vocalist Hugh Cornwell and keyboardist/guitarist Hans Wärmling, replaced by keyboardist Dave Greenfield within a year. None of the band came from Guildford: Black is from Ilford, Burnel from Notting Hill, Cornwell from Kentish Town and Greenfield from Brighton, while Wärmling came from Sweden and returned there after leaving the band. Cornwell was a blues musician prior to forming the band and had been a bandmate of Richard Thompson, Burnel had been a classical guitarist who had performed with symphony orchestras, Black's musical background was as a jazz drummer, Dave Greenfield had played at military bases in Germany, their early influences included pre-punk psychedelic rock bands such as the Doors and the Music Machine. From 1976 the Stranglers became associated with the burgeoning punk rock movement, due in part to their opening for the first British tours of American punks the Ramones and Patti Smith.
Notwithstanding this association, some of the movement's champions in the British musical press viewed the band with suspicion on account of their age and musical virtuosity and the intellectual bent of some of their lyrics. However, Burnel was quoted saying, "I thought of myself as part of punk at the time because we were inhabiting the same flora and fauna... I would like to think the Stranglers were more punk plus and some."The band's early albums, Rattus Norvegicus, No More Heroes and Black and White, all released within a period of 13 months, were successful with the record-buying public and singles such as "Peaches", "Something Better Change" and "No More Heroes" became instant punk classics. Meanwhile, the band received a mixed reception from some critics because of their apparent sexist and racist innuendo. However, critic Dave Thompson argued that such criticism was oblivious to the satire and irony in the band's music, writing: "the Stranglers themselves revelled in an Monty Python-esque grasp of absurdity."
These albums went on to build a strong fan-following, but the group's confrontational attitude towards the press was problematic and triggered a severe backlash when Burnel, a martial arts enthusiast, punched music journalist Jon Savage during a promotional event. During their 1978 appearance at the University of Surrey on the BBC TV programme Rock Goes to College, the group walked off stage because an agreement to make tickets available to non-university students had not been honoured. In February 1978 the Stranglers began a mini-tour, playing three secret pub gigs as a thank-you to those venues and their landlords for their support during the band's rise to success; the first was at The Duke of Lancaster in New Barnet on Valentine's Day, with further performances at The Red Cow and The Nashville Rooms, West Kensington, in early September. In the half of the 1970s, The Stranglers toured Japan twice, joining the alternative music scene of Tokyo, evolving from the punk sound of Kyoto-based band 村八分, whose music influence spread to Tokyo in 1971.
The Stranglers were the only foreign band to take part in a landmark scene focussed around S-KEN Studio in Roppongi, The Loft venues in Shinjuku and Shimokitazawa from 1977 to 1979. The scene included bands such as Friction, they became friends with the band, Red Li
Hooverdam is an album by Hugh Cornwell released in 2008 as a free digital download with a compact disc and vinyl version released later. A short movie entitled "Blueprint" chronicling the recording of the album had a limited release in cinemas in the UK and was released on a DVD which came with the CD; some tracks like "Philip K. Ridiculous" and "Delightful Nightmare" echo the heavy bass lines present in early Stranglers records; the night after playing in Phoenix in his North America tour during March and August, Cornwell visited the Hoover Dam and recorded a video message there for his fans. He claims he gave the album its name because the Hoover Dam is a huge feat in human engineering and a monument to mankind, he thinks. The album was cited as being one of his best yet with favourable reviews; these reviews resulted in Cornwell being asked to play at certain American venues he had not played in since leaving The Stranglers. "Please Don't Put Me On a Slowboat to Trowbridge" - 3:16 "Going to the City" - 3:32 "Delightful Nightmare" - 4:41 "Within Or Without You" - 5:17 "Rain On the River" - 3:43 "Beat of My Heart" - 3:41 "Philip K.
Ridiculous" - 3:29 "The Pleasure of Your Company" - 4:02 "Wrong Side of the Tracks" - 3:38 "Banging On the Same Old Beat" - 3:48 Hugh Cornwell - vocals, guitar Chris Bell - drums Caroline'Caz' Campbell - bass guitar
Post-punk is a broad type of rock music that emerged from the punk movement of the 1970s, in which artists departed from the simplicity and traditionalism of punk rock to adopt a variety of avant-garde sensibilities and diverse influences. Inspired by punk's energy and DIY ethic but determined to break from rock cliches, artists experimented with sources including electronic music and black styles like dub, free jazz, disco. Communities that produced independent record labels, visual art, multimedia performances and fanzines developed around these pioneering musical scenes, which coalesced in cities such as London, New York, Melbourne and San Francisco; the early post-punk vanguard was represented by groups such as Siouxsie and the Banshees, Public Image Ltd, the Pop Group, Cabaret Voltaire, Pere Ubu, Gang of Four, Joy Division, Talking Heads, Throbbing Gristle, the Slits, the Cure, the Fall, Au Pairs. The movement was related to the development of ancillary genres such as gothic rock, neo-psychedelia, no wave, industrial music.
By the mid-1980s, post-punk had dissipated while providing the impetus for the New Pop movement as well much subsequent alternative and independent music. Post-punk is a diverse genre. Called "new musick", the terms were first used by various writers in the late 1970s to describe groups moving beyond punk's garage rock template and into disparate areas. Sounds writer Jon Savage used "post-punk" in early 1978. NME writer Paul Morley stated that he had "possibly" invented the term himself. At the time, there was a feeling of renewed excitement regarding what the word would entail, with Sounds publishing numerous preemptive editorials on new musick. Towards the end of the decade, some journalists used "art punk" as a pejorative for garage rock-derived acts deemed too sophisticated and out of step with punk's dogma. Before the early 1980s, many groups now categorized as "post-punk" were subsumed under the broad umbrella of "new wave", with the terms being deployed interchangeably. "Post-punk" became differentiated from "new wave".
Nicholas Lezard described the term "post-punk" as "so multifarious that only the broadest use... is possible". Subsequent discourse has failed to clarify whether contemporary music journals and fanzines conventionally understood "post-punk" the way that it was discussed in years. Music historian Clinton Heylin places the "true starting-point for English post-punk" somewhere between August 1977 and May 1978, with the arrival of guitarist John McKay in Siouxsie and the Banshees in July 1977, Magazine's first album, Wire's new musical direction in 1978 and the formation of Public Image Ltd. Simon Reynolds' 2005 book Rip It Up and Start Again is referenced as post-punk doctrine, although he has stated that the book only covers aspects of post-punk that he had a personal inclination toward. Wilkinson characterized Reynolds' readings as "apparent revisionism and'rebranding'". Author/musician Alex Ogg criticized: "The problem is not with what Reynolds left out of Rip It Up... but, that too much was left in".
Ogg suggested that post-punk pertains to a set of artistic sensibilities and approaches rather than any unifying style, disputed the accuracy of the term's chronological prefix "post", as various groups labeled "post-punk" predate the punk rock movement. Reynolds defined the post-punk era as occurring between 1978 and 1984, he advocated that post-punk be conceived as "less a genre of music than a space of possibility", suggesting that "what unites all this activity is a set of open-ended imperatives: innovation. AllMusic employs "post-punk" to denote "a more adventurous and arty form of punk". Many post-punk artists were inspired by punk's DIY ethic and energy, but became disillusioned with the style and movement, feeling that it had fallen into a commercial formula, rock convention, self-parody, they repudiated its populist claims to accessibility and raw simplicity, instead of seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyond punk's focus on the concerns of a white, working-class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs.
These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form". Though the music varied between regions and artists, the post-punk movement has been characterized by its "conceptual assault" on rock conventions and rejection of aesthetics perceived of as traditionalist, hegemonic or rockist in favor of experimentation with production techniques and non-rock musical styles such as dub, electronic music, noise, free jazz, world music, the avant-garde; some previous musical styles served as touchstones for the movement, including particular brands of krautrock, art rock, art pop and other music from the 1960s. Artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories. Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as'sterile' studio perfectionism... by adopting an avant-garde aesth
Dire Straits were a British rock band formed in London in 1977 by Mark Knopfler, David Knopfler, John Illsley, Pick Withers. They were active from 1977 to 1988 and again from 1991 to 1995; the band became one of the world's best-selling music artists, with album sales of over 100 million. Their first hit single "Sultans of Swing", from their self-titled debut album released in 1978, reached the top ten in the US chart and became a top ten hit in the UK the following year; the band released several hit singles in the 1980s, such as "Romeo and Juliet", "Private Investigations", "Twisting by the Pool", "Money for Nothing", "Walk of Life". Their most commercially successful album was Brothers in Arms, which has sold more than 30 million copies and was the first album to sell a million copies on the compact disc format. Dire Straits' sound was drawn from a wide variety of musical influences including jazz and country, as well as the blues-rock of J. J. Cale and Eric Clapton, their stripped-down sound contrasted with punk rock and demonstrated a roots rock influence that emerged from pub rock.
According to the Guinness Book of British Hit Albums, Dire Straits have spent over 1,100 weeks on the UK albums chart, ranking fifth all-time. Brothers in Arms is the eighth-best-selling album in UK chart history, their career spanned 15 years. They split up in 1988, reformed in 1991, disbanded again in 1995 after Mark Knopfler launched his solo career full-time. There were several changes in personnel over both periods, with Mark Knopfler and Illsley the only members who remained throughout the band's career. Dire Straits won four Grammy Awards, three Brit Awards, two MTV Video Music Awards, various other music awards; the band were inducted into the Rock and Roll Hall of Fame in 2018. Brothers Mark and David Knopfler, from Newcastle in northeast England, friends John Illsley and Pick Withers, both from Leicester in the east midlands of England, formed the band in London in 1977. Withers a 10-year music business veteran, was the most seasoned of the quartet, having been a session drummer for Dave Edmunds, Gerry Rafferty, Magna Carta and others through the 1970s, as well as having been part of the group Spring which recorded an album for RCA in 1971.
At the time of the band's formation, Mark Knopfler was working as a teacher at art college, John Illsley was studying at Goldsmiths' College, David Knopfler was a social worker. Mark Knopfler and Withers had both been part of the pub rock group Brewers Droop at different points in around 1973. Known as the Café Racers, the name Dire Straits was given to the band by a musician flatmate of Withers thought up while they were rehearsing in the kitchen of a friend, Simon Cowe, of Lindisfarne. In 1977, the group recorded a five-song demo tape which included their future hit single, "Sultans of Swing", as well as "Water of Love" and "Down to the Waterline". After a performance at The Rock Garden in 1977, they took a demo tape to MCA in Soho but were turned down, they went to DJ Charlie Gillett, who had a radio show called "Honky Tonk" on BBC Radio London. The band wanted advice, but Gillett liked the music so much that he played "Sultans of Swing" on his show. Two months Dire Straits signed a recording contract with the Vertigo division of Phonogram Inc.
In October 1977, the band recorded demo tapes of "Southbound Again", "In the Gallery" and "Six Blade Knife" for BBC Radio London. The group's first album, Dire Straits, was recorded at Basing Street studios in Notting Hill, London in February 1978, at a cost of £12,500. Produced by Muff Winwood, the album was first released in the United Kingdom on Vertigo Records a division of Phonogram Inc; the album came to the attention of A&R representative Karin Berg, working at Warner Bros. Records in New York City, she felt that it was the kind of music audiences were hungry for, but only one person in her department agreed at first. Many of the songs on the album reflected Mark Knopfler's experiences in Newcastle and London. "Down to the Waterline" recalled images of life in Newcastle. That same year, Dire Straits began a tour as opening band for Talking Heads after the re-released "Sultans of Swing" started to climb the UK charts; this led to a United States recording contract with Warner Bros. Records.
They received more attention in the US, but arrived at the top of the charts in Canada and New Zealand. Dire Straits went top 10 in every European country; the following year, Dire Straits embarked on their first North American tour. They played 51 sold-out concerts over a 38-day period. "Sultans of Swing" scaled the charts to number four in the United States and number eight in the United Kingdom. The song became a fixture in the band's live performances. Bob Dylan, who had seen the band play in Los Angeles, was so impressed that he invited Mark Knopfler and drummer Pick Withers to play on his next album, Slow Train Coming. Recording sessions for the group's second album, Communiqué, took place in December 1978 at Compass Point Studios in Nassau, Bahamas. Released in June 1979, Communiqué was produced by Jerry Wexler and Barry Beckett and went to No. 1 on the German album charts, with the debut album Dire S
The Traveling Wilburys were a British–American supergroup consisting of Bob Dylan, George Harrison, Jeff Lynne, Roy Orbison and Tom Petty. Originating from an idea discussed by Harrison and Lynne during the sessions for Harrison's 1987 album Cloud Nine, the band formed in April 1988 after the five members united to record a bonus track for Harrison's next European single; when this collaboration, "Handle with Care", was deemed too good for such a limited release, the group agreed to record a full album, titled Traveling Wilburys Vol. 1. Following Orbison's death in December 1988, the band released a second album, which they titled Traveling Wilburys Vol. 3, in 1990. The project's work received much anticipation given the diverse nature of the singer-songwriters; the band members adopted tongue-in-cheek pseudonyms as half-brothers from a fictional Wilbury family of travelling musicians. Vol. 1 was a critical and commercial success, helping to revitalise Dylan's and Petty's respective careers.
In 1990, the album won the Grammy for Best Rock Performance by a Group. Although Harrison envisaged a series of Wilburys albums and a film about the band, produced through his company HandMade, the group's final release was in February 1991. After several years of unavailability, the two Wilburys albums were reissued by the Harrison estate in the 2007 box set The Traveling Wilburys Collection; the box set included a documentary on the band's formation. George Harrison first mentioned the Traveling Wilburys publicly during a radio interview with Bob Coburn on the show Rockline in February 1988; when asked how he planned to follow up the success of his Cloud Nine album, Harrison replied: "What I'd like to do next is... to do an album with me and some of my mates... It's this new group I got: it's called the Traveling Wilburys, I'd like to do an album with them and later we can all do our own albums again." According to Jeff Lynne, who co-produced Cloud Nine, Harrison introduced the idea of the two of them starting a band together around two months into the sessions for his album, which began in early January 1987.
When discussing who the other members might be, Harrison chose Bob Dylan and Lynne opted for Roy Orbison. The term "Wilbury" originated during the Cloud Nine sessions. Referring to recording errors created by faulty equipment, Harrison jokingly remarked to Lynne, "We'll bury'em in the mix." Thereafter, they used the term for any small error in performance. Harrison first suggested "the Trembling Wilburys" as the group's name. During his Rockline interview, Harrison voiced his support for Dylan, at a time when the latter was experiencing an artistic and commercial low point in his career. Harrison and Lynne became friends with Tom Petty in October 1987, when Petty and his band, the Heartbreakers, toured Europe as Dylan's backing group; the friendship continued in Los Angeles that year. There, Harrison struck up a musical rapport with Petty based on their shared love of 1950s rock'n' roll, Lynne began collaborating with Petty on what became the latter's debut solo album, Full Moon Fever, writing songs with Orbison, Lynne's longtime musical hero, for Orbison's comeback album, Mystery Girl.
According to Petty, Harrison's dream for the Wilburys was to handpick the participants and create "the perfect little band", but the criteria for inclusion were governed most by "who you could hang out with". The five musicians bonded over a shared appreciation of the English comedy troupe Monty Python. Harrison, who had worked with the members of Monty Python on various productions by his company HandMade Films since the late 1970s appreciated Orbison's gift for impersonation and his ability to recite entire sketches by the troupe; the band came together in April 1988, when Harrison was in Los Angeles to oversee the filming of his HandMade production Checking Out. At that time, Warner Bros. Records asked Harrison for a new song to serve as the B-side for the European release of his third single from Cloud Nine, "This Is Love". During a meal with Lynne and Orbison, Harrison asked Lynne to help him record the track and invited Orbison to attend the session, which he arranged to take place at Dylan's garage studio in Malibu since no professional studios were available at such short notice.
Petty's involvement came about when Harrison went to retrieve his guitar from Petty's house and invited him to attend also. Working on a song that Harrison had started writing, the ensemble completed the track, which they titled "Handle with Care" after a label on a box in Dylan's garage; when Harrison presented the recording to Mo Ostin and Lenny Waronker of Warner Bros. the executives insisted that the song was too good to be used as a B-side. In Petty's recollection and Lynne decided to realise their idea of forming a Wilburys band, first invited him to join before phoning Dylan, who agreed to join; that night, Harrison and Petty drove to Anaheim to see Orbison perform at the Celebrity Theatre and recruited him for the group shortly before he went on stage. In Petty's description, Orbison performed an "unbelievable show", during which "we'd punch each other and go,'He's in our band, too.'... We were all so excited." The band members decided to create a full album together, Traveling Wilburys Vol. 1.
Video footage of the creative process was edited by Harrison into a promotional film for Warner Bros. staff, titled Whatever Wilbury Wilbury. The album was recorded over a ten-day period in May 1988, to allow for Dylan's limited availability as he prepared for the start of what became known as his Never Ending Tour and for Orbison's tour schedule; these sessi