![]() And he was having lunch with some people from Warner Bros. I said, ‘Oh,’ and I got up and walked around-there was kind of this private dining room - and as I walk in, there’s George. I sat down in my chair, and the waiter came over and he said, ‘There’s a friend of your’s here and he’d like you to come over to the table.’ And that’s all he said. I pulled in the parking lot and we came in. It was kind of our special night restaurant. We had driven over to Studio City, there was this one restaurant there on Ventura called Le Seur, a French restaurant that was a really good restaurant. Petty remembered in Conversations, “I was with my daughter Adria, and we were out Christmas shopping. Less than a month later, Petty and Lynne had yet another chance encounter-this time in the Valley-that brought another key figure back into Petty’s life for the next few years. So we should get together.’” Lynne’s work with Wilson resulted in “Let It Shine,” a track on Wilson’s 1988 self-titled solo album. And I said, ‘Wow, what are you doing here? And I love that album the album’s great.’ He said, ‘I’m working with Brian Wilson.’ And he said, ‘Where do you live?’ I told him where I lived, and he said, ‘That’s weird. ![]() So I honked my horn, and he turned around, and we pulled over. Who I’d only just recently seen in England. ![]() So I’m at the traffic light, and I look over to my left, and there’s Jeff Lynne. So I was going to drive down to the Sav-On in Beverly Hills and buy a dozen ball mitts so everybody could play ball. But I didn’t have enough mitts to play ball. And so I was going to have a softball game at the house. I was at the house in Beverly Hills, and some people were coming over. ![]() As Petty recalled in Conversations, “It was Thanksgiving Day. Then, by chance, Petty and Lynne met again a month and a half later in Los Angeles. This is where Petty met Lynne for the first time. Shortly after the Cloud Nine sessions concluded, George Harrison and Jeff Lynne attended the Dylan and the Heartbreakers concert in Birmingham, England, and the subsequent four-night run at the Wembley Arena in London that ended the Temples in Flames Tour, going backstage to hang with the band after the shows. Released in November 1987, Cloud Nine became one of Harrison’s most commercially successful albums and produced his first #1 Billboard hit single since 1973 with “I Got My Mind Set on You.” The result was perhaps Harrison’s finest album since 1970’s All Things Must Pass. The two collaborated on production of Harrison’s comeback album (with Lynne also cowriting three of the album’s songs) over the first half of 1987. But in Lynne, Harrison had met something of a kindred spirit who understood and appreciated Harrison’s musical influences and sensibilities and, perhaps more importantly, his humor. Depending on the critic’s point of view, Lynne is either a brilliant musician who proudly wears his Beatles influences, or little more than a Fab Four copycat whose production work sounds like he learned all the wrong lessons from George Martin. Lynne, who had self-produced or coproduced most of his own releases and had coproduced two albums for Dave Edmunds (1983’s Information and 1984’s Riff Raff), had long been alternately praised and criticized for creating music in the tradition of the Beatles. George Harrison had not released a new album since 1982’s commercially unsuccessful Gone Troppo, when he approached Electric Light Orchestra multi-instrumentalist Jeff Lynne in late 1986 about collaborating on new music.
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