The top 10 tracks by The Traveling Wilburys
Not every supergroup lives up to its name after forming. While many expect magic when superstars collaborate, success ultimately hinges on chemistry—whether a track soars or falls flat beyond the studio. Despite The Traveling Wilburys consisting of rock legends, no one foresaw how seamlessly their music would come together within the supergroup.
How often do legendary bands form entirely by chance like this? Though all the members were already friends before uniting, the notion that Tom Petty, George Harrison, Jeff Lynne, and Bob Dylan had leftover solo material that blended so perfectly remains one of rock and roll’s most unexpected yet delightful surprises.
And while their first album is regarded as an undisputed masterpiece, certain aspects of their playfully namedThe Traveling Wilburys’ third volume, Vol. 3which remain some of the best work in their respective careers. Even without Orbison’s presence, that magical connection and sheer joy were unmistakable whenever they blended their voices in harmony.
While many longtime rock enthusiasts might naturally point to bands like Crosby, Stills, Nash and Young as the quintessential supergroup, the music they created stands firmly among the finest collaborative efforts in rock history. What began as what appeared to be casual jam sessions yielded tracks so exceptional that any artist would proudly claim them as their own greatest works.
The top 10 tracks by the Traveling Wilburys:
10. ‘Wilbury Twist’ –Vol. 3
Every member of the Traveling Wilburys had a deep connection to the blues. Though the genre had long been blended into rock and roll, they had no hesitation in delivering a classic 12-bar song when the moment demanded it. While tracks like ‘Rattled’ veered heavily into rockabilly territory, ‘Wilbury Twist’ strikes the perfect balance of enjoyment for this style of music.
Though Orbison’s absence on the track is disappointing, ‘Wilbury Twist’ serves as a playful, lighthearted dance number that acts as a refreshing break. With Dylan writing the majority of lyrics on recent albums, it’s a treat to hear the others step up for lead vocals, evoking the vibe of a casual juke joint performance—especially when the saxophones join in and the song stretches into its drawn-out finale.
Despite the last adjustment onVol. 3As the last song they created during their time together, it feels fitting. By then, most members were immersed in their individual endeavors, yet it’s satisfying to see a group that began with such playful energy conclude on a similarly cheerful note.
9. ‘You Got It’ –Enigmatic Woman
Alright, this might be a slight workaround. While elements of the Traveling Wilburys were forming in the late 1980s, the group didn’t fully come together until they began collaborating on ideas, which eventually led to their first album. Before that, Roy Orbison remained a celebrated icon from rock and roll’s early days, but though another track united the band, ‘You Got It’ secured its place as the unofficial starting point.
While the song stands out as a remarkable solo piece from Orbison’sEnigmatic WomanThe song embodies the essence of a Wilburys staple. Acoustic guitars take center stage, complemented by rich vocal harmonies, capturing the band’s full spirit—particularly with Jeff Lynne and Tom Petty contributing to the writing.
With Harrison layering some rhythmic guitar parts in the mix, the track could use a touch of Dylan’s trademark dry wit to truly offer something for every listener. While some might argue this doesn’t fully qualify as an authentic Traveling Wilburys piece, it’s still a worthwhile listen—especially for those unfamiliar with Orbison’s legendary contributions before he teamed up with his iconic peers.
8. ‘New Blue Moon’ –Vol. 3
The Wilburys’ finest songs came across as a breathtaking homage to classic rock and roll. Unlike their other albums, which leaned into futuristic sounds, many standout tracks on their collaborative records seemed untouched by any music released after 1968. While this approach might label some as outdated, “New Blue Moon” demonstrates exactly why this mindset succeeds.
As Lynne and Petty prepared to immerse themselves in the heartland rocker’s albumUnder the Vast Open Skyafter Lunar Frenzy, This track comes across as a brief interlude, bridging the moments when they bring out acoustic guitars for a group performance. Unlike other Wilburys songs, the standout feature here is the precise harmonies, evoking a blend of the Everly Brothers’ vocal style and the iconic girl group sound that rose to fame in the early ’60s.
Many might have dismissed this as merely a middle-aged rock piece, but its sound suggests it’s not just mining nostalgia for the sake of it. The intention was to reinvent those tracks, and with improved production, ‘New Blue Moon’ comes across as a forgotten gem from another era, as if it were accidentally recorded in 1991.
7. ‘She’s My Baby’ –Vol. 3
Despite the abundance of star power in their lineup, the Traveling Wilburys’ discography featured few moments that showcased guitar heroics. Tom Petty humorously noted that they might have been the only band with five rhythm guitarists, so creating music for shredders was never their aim. The first glimpse of new Wilburys material came with “She’s My Baby,” where Gary Moore joined as an honorary member by delivering a blistering solo.
The track follows the classic Wilburys style, centering on the narrator’s affection for a woman, yet alongside Moore’s fiery playing, everything else fades into the background. While Harrison’s nuanced slide guitar work was a better fit for the song’s tone, this moment marked their return to a heavier sound, injecting vigor just as they began to seem too subdued.
Although this experiment seemed like a one-time endeavor, it’s refreshing to know they embraced risk. They might have easily recycled their remaining content, yet this solo stands out—so exceptional that even Eric Clapton couldn’t have matched it had he been part of the band.
6. ‘No Longer Alone’ –Vol. 1
A sense of fairness prevailed among the bandmates collaborating with their fellow Wilburys. With so many iconic figures in one space, clashes of ego could easily have arisen, yet the prevailing attitude was to leave personal pride aside and let the music speak for itself. That said, if anyone dared to boast about vocal talent, Orbison’s unmatched performance on ‘Not Alone Any More’ would silence any debate.
While the majority of tracks on their first album thrive on balanced contributions from all members, this particular piece serves almost as a showcase for Orbison’s vocals. In the background, Lynne and Harrison softly echo “how long,” as Orbison delivers a soaring, emotionally charged performance that can move listeners to tears.
When he reaches those powerful high notes in the final chorus, many listeners could likely pinpoint the exact moment their soul seems to escape their body. While The Wilburys might have initially appeared as little more than a lucrative opportunity for record labels, this is where the project transcends mere novelty and transforms into a genuine collective effort.
5. ‘Tweeter and the Monkey Man’ –Vol. 1
Given Dylan’s trajectory in the 1980s, collaborating with the Wilburys might have seemed uncertain. His gospel phase as a born-again Christian didn’t resonate with everyone, and despite his ability to craft exceptional songs, their reception was questionable. Yet, after a prolonged slump, Dylan rediscovered his trademark sharpness with *Tweeter and the Monkey Man*.
The most electrifying track on their first album, Dylan intended the song as a playful homage to Bruce Springsteen’s style. He fully commits to the idea, crafting a tale of travelers stranded on the highway and weaving in signature Springsteen touches—references to “Jersey girls” and christening rebellious figures lingering at the town’s outskirts.
Although the track might improve with a revised chorus, it wasn’t designed to be a singalong. Initially, it may have resembled a Springsteen imitation, but it evolved into a timeless campfire tune—the sort cowboys would sing for generations.
4. ‘Heading for the Light’ – A journey toward enlightenment and clarity, symbolizing progress and hope. The phrase evokes a sense of direction and purpose, guiding individuals toward brighter possibilities and renewed optimism. It reflects the universal pursuit of growth and the desire to emerge from darkness into illumination.Vol. 1
George Harrison’s return to the group was marked by considerable uncertainty.Soaring high above, Cloud Nine embodies a state of bliss and ultimate happiness.It was inevitable to sound incredible upon its eventual release, but as he regained his stride as a solo performer, collaborating with an entirely new band was certain to surprise anyone. Yet even as Harrison’s solo work bounced back seamlessly, ‘Heading for the Light’ was simply too exceptional to be discarded.
Though the production quality matches Lynne’s usual standards, the chord progression embodies the essence of Harrison’s finest work. He consistently avoided the obvious path, and his decision to shift from a major to a minor chord at the song’s pivotal moment is a stroke of genius, evoking memories of the era when Harrison stood alongside his fellow English musicians.
Even as a side project, it’s rare to find a song this exceptional, but Harrison never considered it that way. Throughout his life, he regarded the Wilburys as his “other band,” committing fully to ensure the outcome was nothing short of enjoyable.
3. ‘Handle With Care’ –Vol. 1
This is the song that began everything. Emerging from the 1980s, Harrison appeared revitalized for the first time since the late 1970s. With Jeff Lynne’s collaboration, he rediscovered his creative stride through tracks like ‘Got My Mind Set on You’. As they neared the album’s final stages, they were missing one B-side. When Harrison recorded ‘Handle With Care’, he immediately recognized it was too good to be relegated to a filler song.
Hiring Orbison was a brilliant move for the chorus, but recording in Dylan’s studio and borrowing his guitar from Petty’s home sparked Harrison’s idea to turn it into a lasting project. Despite being the initial attempt, every element of the supergroup was already performing at its peak.
Although Harrison takes the lead, handling the vocals and delivering the slide guitar solo that drives the track, there’s a distinctive glow to the song that makes it far more captivating than just another Harrison filler piece. The band still had nine additional tracks to complete for a full album, but with a foundation this strong, they hardly required much more to achieve something remarkable.
2. ‘Inside Out’ – A deep dive into emotions, exploring the inner workings of the mind through a captivating and heartfelt journey.Vol. 3
Following Orbison’s death after the debut’s release, uncertainty arose about whether the Wilburys should carry on. Each member was indispensable, yet despite leaving their egos aside forVol. 3,‘She’s My Baby’ suggested a fresh direction for the group, hinting at a bold departure from their usual style. However, when Dylan’s raw, gritty vocals filled ‘Inside Out,’ any doubts vanished, and confidence in their sound was instantly restored.
Though Orbison’s vocal brilliance remains unmatched, the interplay between the surviving Wilburys feels like a mutual lifeline during tough moments. While Dylan’s singing may polarize listeners, Petty’s commanding choruses and Harrison’s unforgettable bridge—arguably one of the greatest in music history—make the experience invaluable.
The track’s standout element is undoubtedly its tuning, where the tape is slightly manipulated, creating a subtly off-pitch effect. This might render the song challenging to play alongside, but the altered pitch gives ‘Inside Out’ a unique quality, marking the first instance where the band truly seemed to craft something from another realm entirely.
1. ‘End of the Line’ –Vol. 1
Each member of the Wilburys understood the significance of closing an album the right way. The Beatles’ finest records concluded with a powerful finish, and Dylan recognized how a thought-provoking track like “Desolation Row” left a lasting impact. But the Wilburys didn’t aim for that kind of depth—they opted for one of their catchiest, crowd-pleasing tunes instead.
Kicking off with ‘Handle With Care,’ ‘End of the Line’ brilliantly highlights each member’s strengths. Though Dylan is noticeably missing on vocals, the way they play off one another over the rhythmic train-like groove makes for a perfect finale. The collective ‘alright’ chants, reminiscent of an assembly line, add to the track’s charm.
Though it may seem insignificant, the music video deserves particular focus, as Orbison appears symbolically in a rocking chair while the train car’s lights fade during the performance. The band may have confronted their own mortality while creating this visual, but when the time comes for any of them to depart this world or take their final bow, there’s a strong possibility this very song will echo in their minds as a farewell.
