In 1985, four country music rebels/icons came together to form a larger-than-life group that people wouldn’t have even dared dream about before their actual union. Johnny Cash, Kris Kristofferson, Waylon Jennings and Willie Nelson formed the country super group, The Highwaymen. The four highly revered friends recorded three albums worth of material, much to the delight of the astonished public. While all of the members were extremely successful in their own rights, their potential egos were set aside to make music as a cohesive unit. They sounded like a polished group, not just some people thrown together as a marketing gimmick.
Then, in 1988, the rock world hit the jackpot when superstars George Harrison, Tom Petty, Roy Orbison, Bob Dylan and Jeff Lynne formed The Traveling Wilburys. Again, these immensely famous, talented and respected people formed a super group that still seems too good to be true to this day. Their unbelievable union created two albums that were repackaged in 2007 with bonus material, which sold surprisingly well for a reissue. Like The Highwaymen, their voices blended amazingly well together as if they were meant to be a group.
Dolly Parton has been a part of two dynamic trios: one with Linda Rhonstadt and Emmylou Harris and the other with Loretta Lynn and Tammy Wynette. Both trios consisted of women equally as talented as the super groups previously discussed, which also provided us with excellent albums as a result.
And of course, anyone who has read anything that I’ve written in the past year or so should instinctively know that my pet super group is The Notorious Cherry Bombs, which was comprised of Rodney Crowell, Vince Gill, Tony Brown, Hank Devito, Richard Bennett, Michael Rhodes, John Hobbs and Eddie Bayers.
As I think of the competitive climate of the music industry today, I’m discouraged to think that such super groups would be next to impossible to unite anymore. Record label disputes prevented Tracy Lawrence’s collaboration with Kenny Chesney and Tim McGraw to be officially released to radio. Likewise, Reba McEntire had to replace Kenny Chesney’s vocals with lesser known artist, Skip Ewing, in order to release “Every Other Weekend” to radio. And these were only disputes over single songs, not even an entire album.
In true essay style form: Without considering record company politics, if you were able to create your own super group who could make at least one album, who would be the members? What would you name the group? Explain.