Chords for Traveling Wilburys Jeff Lynne and Tom Petty On Writing Songs
Tempo:
144.4 bpm
Chords used:
Eb
G
F
D
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I think End of the Line is a perfect example of everybody singing a little bit,
everybody writing a little bit, and the thing coming out really nice.
I love that song.
I love the sentiment of it.
Me too.
It was one of our best ones, I think.
Also, I think, probably Handle With Care, that was the very first one
that George had half-written and we went over to Bob's studio to record it.
That was the first time we ever did a Wilburys session.
So that one contains, for me, all the elements of the Wilburys at their best
and our best behaviour as well.
And it was really good.
What a thrill that first one was because when we struck up
and there was the vocals going down and Roy Orbison was singing harmony
with Tom Petty and, you know, just amazing.
What a thrill to sing with Roy.
It was just an honour to sing with him.
And we had a very nice group vocal sound.
That was something else that couldn't have been planned
because everyone's voices are so distinctly different.
And then when we sang together, we made this really nice blend of voices.
I enjoyed that a great deal, of having a kind of harmony group.
It was just kind of too good to imagine.
It was so much fun and felt so at home in a way.
I don't know, I would hear the music at the end of the day and just go,
this is just too much, you know, it's just too good.
When George played it for Mo, Mo Astin,
Mo said, you can't use that as a B-side.
That's what it was going to be at first, as a B-side.
You want to use that for your new group that you've been waiting to do.
And so that's what we did and we just got in touch with everybody
and everybody was ready to just carry on.
Everybody had time to do it, so we just did it there and then.
He came driving up to my house one day, running in the front door,
going, we've got to have a band.
We're going to have a band.
It's great.
It's a really wondrous, magical thing.
It's [G] kind of reached every time, it touched a lot of people, I think.
Because they felt like they knew us in a way.
I think there's a lot of people who felt like different ones of us.
They kind of felt like they, I know those people,
and they enjoyed seeing us together.
But in a way, I wondered at the time if it might not work [D] against us
all being well [N]-known,
that somebody might see it as a gimmick or a novelty.
And that wasn't our point of view on the thing.
But thankfully it all went well.
And George was so funny.
Sometimes somebody would arrive just to hang out at the studio
and George would go, look in this door, look through here.
And somebody would look through and say, it's Bob Dylan.
And it was so sweet, because that's George Harrison, by the way.
It was always very sweet, he really did love Bob.
He did.
Bob was on the road.
We had to just really plan to get sections of time where Bob wasn't busy,
because he likes to tour a lot.
We just felt at the time there's no reason we can't have the band
and do whatever we want to do.
Because the Wilburys didn't go on the road.
I regret that we didn't tour,
because George had this brilliant idea of an aircraft carrier
he was going to get for us.
And we'd go on this aircraft carrier and we'd be called the Sponsorship.
And we'd have a new sponsor every day on the side of it, right?
And then we'd go down the South Sea islands.
Have one guy painting the new sponsor
while the other guy's painting the other one out.
[Eb] And we'd just stop the carrier and play on that.
And he was serious, you know.
Oh, yeah.
Dead serious.
And I didn't doubt that he'd pull it [E] off.
[A] He [Bb] could pull off anything he thought [F] of.
He could.
Seemed to be.
It was never thought [Eb] of in a conventional sense of playing arenas or anything like that.
It was just, George had lots of ideas of unusual ways to do it.
There were lots of discussions.
[G] There were many of them.
One of them was a train, if you remember.
[C] We were going to do a train thing where you let down the side of the car,
play to the people at the station.
And then move on.
But we never got around to it.
And I wish we had.
[Dm] When we did the concert for George, we did the Handle with Care.
And I really thought at that time,
[F] God, [Eb] he would really love this.
We should have pushed him into doing it.
[N]
everybody writing a little bit, and the thing coming out really nice.
I love that song.
I love the sentiment of it.
Me too.
It was one of our best ones, I think.
Also, I think, probably Handle With Care, that was the very first one
that George had half-written and we went over to Bob's studio to record it.
That was the first time we ever did a Wilburys session.
So that one contains, for me, all the elements of the Wilburys at their best
and our best behaviour as well.
And it was really good.
What a thrill that first one was because when we struck up
and there was the vocals going down and Roy Orbison was singing harmony
with Tom Petty and, you know, just amazing.
What a thrill to sing with Roy.
It was just an honour to sing with him.
And we had a very nice group vocal sound.
That was something else that couldn't have been planned
because everyone's voices are so distinctly different.
And then when we sang together, we made this really nice blend of voices.
I enjoyed that a great deal, of having a kind of harmony group.
It was just kind of too good to imagine.
It was so much fun and felt so at home in a way.
I don't know, I would hear the music at the end of the day and just go,
this is just too much, you know, it's just too good.
When George played it for Mo, Mo Astin,
Mo said, you can't use that as a B-side.
That's what it was going to be at first, as a B-side.
You want to use that for your new group that you've been waiting to do.
And so that's what we did and we just got in touch with everybody
and everybody was ready to just carry on.
Everybody had time to do it, so we just did it there and then.
He came driving up to my house one day, running in the front door,
going, we've got to have a band.
We're going to have a band.
It's great.
It's a really wondrous, magical thing.
It's [G] kind of reached every time, it touched a lot of people, I think.
Because they felt like they knew us in a way.
I think there's a lot of people who felt like different ones of us.
They kind of felt like they, I know those people,
and they enjoyed seeing us together.
But in a way, I wondered at the time if it might not work [D] against us
all being well [N]-known,
that somebody might see it as a gimmick or a novelty.
And that wasn't our point of view on the thing.
But thankfully it all went well.
And George was so funny.
Sometimes somebody would arrive just to hang out at the studio
and George would go, look in this door, look through here.
And somebody would look through and say, it's Bob Dylan.
And it was so sweet, because that's George Harrison, by the way.
It was always very sweet, he really did love Bob.
He did.
Bob was on the road.
We had to just really plan to get sections of time where Bob wasn't busy,
because he likes to tour a lot.
We just felt at the time there's no reason we can't have the band
and do whatever we want to do.
Because the Wilburys didn't go on the road.
I regret that we didn't tour,
because George had this brilliant idea of an aircraft carrier
he was going to get for us.
And we'd go on this aircraft carrier and we'd be called the Sponsorship.
And we'd have a new sponsor every day on the side of it, right?
And then we'd go down the South Sea islands.
Have one guy painting the new sponsor
while the other guy's painting the other one out.
[Eb] And we'd just stop the carrier and play on that.
And he was serious, you know.
Oh, yeah.
Dead serious.
And I didn't doubt that he'd pull it [E] off.
[A] He [Bb] could pull off anything he thought [F] of.
He could.
Seemed to be.
It was never thought [Eb] of in a conventional sense of playing arenas or anything like that.
It was just, George had lots of ideas of unusual ways to do it.
There were lots of discussions.
[G] There were many of them.
One of them was a train, if you remember.
[C] We were going to do a train thing where you let down the side of the car,
play to the people at the station.
And then move on.
But we never got around to it.
And I wish we had.
[Dm] When we did the concert for George, we did the Handle with Care.
And I really thought at that time,
[F] God, [Eb] he would really love this.
We should have pushed him into doing it.
[N]
Key:
Eb
G
F
D
E
Eb
G
F
_ _ _ _ _ _ _ _
_ _ I think End of the Line is a perfect example of _ _ _ everybody singing a little bit,
everybody writing a little bit, and the thing coming out really nice.
I love that song.
I love the sentiment of it.
_ _ Me too.
It was one of our best ones, I think.
_ Also, I think, probably Handle With Care, that was the very first one
that George had half-written and we _ went over to Bob's studio _ to record it.
That was the first time we ever did a Wilburys session.
_ _ _ So that one contains, for me, all the elements _ of the Wilburys at their best
_ _ and our best behaviour as well.
_ And it was really good.
What a thrill that first one was because when we struck up
and there was the vocals going down and Roy Orbison was singing _ _ harmony
with Tom Petty and, you know, _ _ just amazing.
What a thrill to sing with Roy.
It was just an honour to sing with him. _
And _ we had a very nice group vocal sound.
That was something else that couldn't have been planned
because everyone's voices are so distinctly different. _
_ And then when we sang together, we made this really nice blend of voices.
_ I enjoyed that a great deal, of having a kind of harmony group. _
It was just kind of too good to imagine.
It was so much fun and _ _ felt so at home in a way.
I don't know, I would hear the music at the end of the day and just go,
this is just too much, you know, it's just too good.
When George played it for Mo, Mo Astin,
_ Mo said, you can't use that as a B-side.
That's what it was going to be at first, as a B-side.
You want to use that for your new group that you've been _ waiting to do.
And so that's what we did and we just got in touch with everybody
and everybody was ready to just carry on.
_ Everybody had time to do it, so we just did it there and then. _
He came driving up to my house one day, _ _ _ running in the front door,
going, we've got to have a band.
We're going to have a band. _ _ _
_ It's great.
_ _ It's a really wondrous, magical thing.
It's [G] kind of reached every time, it touched a lot of people, I think.
Because they felt like they knew us in a way.
I think there's a lot of people who felt like different ones of us. _ _ _
They kind of felt like they, I know those people,
and they enjoyed seeing us together.
_ But in a way, _ I wondered at the time if it might not work [D] against us
all being well [N]-known,
that somebody might see it as a gimmick or a novelty. _
And that wasn't our point of view on the thing. _
But _ _ _ thankfully it all went well.
_ And George was so funny.
Sometimes somebody would arrive just to hang out at the studio
and _ _ George would go, look in this door, look through here.
And somebody would look through and say, _ it's Bob Dylan.
And it was so sweet, because _ that's George Harrison, by the way.
_ _ _ It was always very sweet, he _ really did love Bob.
He did.
Bob was on the road.
We had to just really plan to get _ sections of time where Bob wasn't busy,
because he likes to tour a lot.
We just felt at the time there's no reason we can't have the band
and do whatever we want to do.
_ Because the Wilburys didn't go on the road.
I regret that we didn't tour,
because George had this brilliant idea of an aircraft carrier
he was going to get for us.
_ And we'd go on this aircraft carrier and we'd be called the Sponsorship. _
And we'd have a new sponsor every day on the side of it, right?
And then we'd go down the South Sea islands.
Have one guy painting the new sponsor
while the other guy's painting the other one out.
[Eb] And we'd just stop the carrier and play on that.
_ And _ he was serious, you know.
Oh, yeah.
Dead serious.
And I didn't doubt that he'd pull it [E] off.
[A] He [Bb] could pull off anything he thought [F] of.
He could.
Seemed to be.
It was never thought [Eb] of in a conventional sense of playing arenas or anything like that.
It was just, George had lots of ideas of unusual ways to do it.
There were lots of discussions.
_ [G] There were many of them.
One of them was a train, if you remember.
[C] _ We were going to do a train thing where you let down the side of the car,
play to the people at the station.
_ And then move on.
But we never got around to it.
_ And I wish we had.
[Dm] When _ _ we did the concert for George, we did the Handle with Care.
And I _ really thought at that time,
_ [F] _ God, [Eb] he would really love this.
We should have pushed him into doing it.
_ [N] _ _
_ _ I think End of the Line is a perfect example of _ _ _ everybody singing a little bit,
everybody writing a little bit, and the thing coming out really nice.
I love that song.
I love the sentiment of it.
_ _ Me too.
It was one of our best ones, I think.
_ Also, I think, probably Handle With Care, that was the very first one
that George had half-written and we _ went over to Bob's studio _ to record it.
That was the first time we ever did a Wilburys session.
_ _ _ So that one contains, for me, all the elements _ of the Wilburys at their best
_ _ and our best behaviour as well.
_ And it was really good.
What a thrill that first one was because when we struck up
and there was the vocals going down and Roy Orbison was singing _ _ harmony
with Tom Petty and, you know, _ _ just amazing.
What a thrill to sing with Roy.
It was just an honour to sing with him. _
And _ we had a very nice group vocal sound.
That was something else that couldn't have been planned
because everyone's voices are so distinctly different. _
_ And then when we sang together, we made this really nice blend of voices.
_ I enjoyed that a great deal, of having a kind of harmony group. _
It was just kind of too good to imagine.
It was so much fun and _ _ felt so at home in a way.
I don't know, I would hear the music at the end of the day and just go,
this is just too much, you know, it's just too good.
When George played it for Mo, Mo Astin,
_ Mo said, you can't use that as a B-side.
That's what it was going to be at first, as a B-side.
You want to use that for your new group that you've been _ waiting to do.
And so that's what we did and we just got in touch with everybody
and everybody was ready to just carry on.
_ Everybody had time to do it, so we just did it there and then. _
He came driving up to my house one day, _ _ _ running in the front door,
going, we've got to have a band.
We're going to have a band. _ _ _
_ It's great.
_ _ It's a really wondrous, magical thing.
It's [G] kind of reached every time, it touched a lot of people, I think.
Because they felt like they knew us in a way.
I think there's a lot of people who felt like different ones of us. _ _ _
They kind of felt like they, I know those people,
and they enjoyed seeing us together.
_ But in a way, _ I wondered at the time if it might not work [D] against us
all being well [N]-known,
that somebody might see it as a gimmick or a novelty. _
And that wasn't our point of view on the thing. _
But _ _ _ thankfully it all went well.
_ And George was so funny.
Sometimes somebody would arrive just to hang out at the studio
and _ _ George would go, look in this door, look through here.
And somebody would look through and say, _ it's Bob Dylan.
And it was so sweet, because _ that's George Harrison, by the way.
_ _ _ It was always very sweet, he _ really did love Bob.
He did.
Bob was on the road.
We had to just really plan to get _ sections of time where Bob wasn't busy,
because he likes to tour a lot.
We just felt at the time there's no reason we can't have the band
and do whatever we want to do.
_ Because the Wilburys didn't go on the road.
I regret that we didn't tour,
because George had this brilliant idea of an aircraft carrier
he was going to get for us.
_ And we'd go on this aircraft carrier and we'd be called the Sponsorship. _
And we'd have a new sponsor every day on the side of it, right?
And then we'd go down the South Sea islands.
Have one guy painting the new sponsor
while the other guy's painting the other one out.
[Eb] And we'd just stop the carrier and play on that.
_ And _ he was serious, you know.
Oh, yeah.
Dead serious.
And I didn't doubt that he'd pull it [E] off.
[A] He [Bb] could pull off anything he thought [F] of.
He could.
Seemed to be.
It was never thought [Eb] of in a conventional sense of playing arenas or anything like that.
It was just, George had lots of ideas of unusual ways to do it.
There were lots of discussions.
_ [G] There were many of them.
One of them was a train, if you remember.
[C] _ We were going to do a train thing where you let down the side of the car,
play to the people at the station.
_ And then move on.
But we never got around to it.
_ And I wish we had.
[Dm] When _ _ we did the concert for George, we did the Handle with Care.
And I _ really thought at that time,
_ [F] _ God, [Eb] he would really love this.
We should have pushed him into doing it.
_ [N] _ _