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Credit: Wikimedia<\/p>\n
George Harrison? Talking about skiffle in the Traveling Wilburys<\/a>? For God\u2019s sake, tell us something that we don\u2019t already know.\u00a0<\/p>\n Yes, of course: I\u2019m being tongue-in-cheek about it \u2013 the whole point is that none of Harrison\u2019s career, from The Beatles to the Traveling Wilburys to anything else in between, would have existed if the skiffle hadn\u2019t come first. He knew it, and by proxy, we all then knew it, too. It was part of his lifeblood<\/a> \u2013 simple as that.\u00a0<\/p>\n With the genre rushing through his bloodstream in almost every moment from life to death, it was only a matter of time until it made its way into the heart of each of his endeavours. As part of The Beatles, that opportunity presented itself fairly easily, given that the rest of the band were also raised on the same sweet skiffle nectar. In the Wilburys, however, it took a little more fine-tuning.\u00a0<\/p>\n When he did eventually strike gold within those ranks, he immediately knew that what he had stumbled upon was far too good to ignore. It was the perfect conditions \u2013 a song that suited the style of the band, was still original, and paid homage to the skiffle scores he loved so much. In Harrison\u2019s world, \u2018End of the Line\u2019 was like winning the lottery. <\/p>\n Indeed, the former Beatle once plainly described the song as being \u201cback to my roots, skiffle, really,\u201d and there was no better way of cutting through the noise. Except, he also had to snap back to reality \u2013 he was no longer a 14-year-old listening to records in his bedroom, and this was not the \u201850s. He had other things to consider. <\/p>\n Namely, that involved the black hole enigma that was his Wilburys bandmate, Bob Dylan, who has infamously never been an easy man to impress. But to Harrison\u2019s credit, he saw this as an advantage. \u201cThat\u2019s the good thing \u2019bout when there\u2019s other people in the group,\u201d he said, before adding, \u201cI was trying to think of a song that would feel a bit like something of a Bob Dylan tune. So naturally I got on D, the chord D.\u201d<\/p>\n As it happened, it was this combination of the skiffle voices and a guitarist\u2019s intuition that landed him just in the perfect sweet spot where he wanted to be. From there, it was almost as though the melodies came falling from the sky like some divine blues intervention, and Harrison could see the path forward so clearly now. <\/p>\n Further reading: From The Vault<\/strong><\/p>\n Nonchalantly as ever, he summarised it by saying, \u201cAnd then, after half an hour, we knocked it into shape and wrote the words.\u201d I repeat \u2013 it was as simple as that. Of course, for budding musicians the world over, the concept of smashing out a hit<\/a> like \u2018End of the Line\u2019 in a matter of 30 minutes was the stuff of pure fantasy. But for Harrison and his friends, it was just another day.\u00a0<\/p>\n This is not to say that a band like the Traveling Wilburys ever took their positions for granted. The whole point in them coming together was that they intrinsically knew they were the best of the best, and every song they subsequently put out was an exercise in flexing their powers. In Harrison\u2019s case, though, skiffle was the heart of that \u2013 and he let it shine through at every chance he got.<\/p>\n<\/p>\n
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