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Roy Orbison Lonely And Blue (LP)

Lonely And Blue (LP)
 
 
 

catalog number: LPSM14002

weight in Kg 0,300

 

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Roy Orbison: Lonely And Blue (LP)

Video von Roy Orbison - Lonely And Blue (LP)

(Sony Music) 12 tracks - Re-issue of the original 1960 'Monument' LP album - Stereo - LP has download code included


The 'doo-wah. was once merely a timid little background word which vocal groups threw into a song occasionally just to let you know they were there. But — when Roy Orbison hit the scene with 'Only The Lonely., he brought with him a proud, different 'doo-wah' — in fact a whole new arrangement of 'yea-yeas', 'dutn-de-dums., and other pleasing little vocal gim-micks which were artfully woven in and out, through and about the solo, in such a way as to produce a brand new effect. An effect which, when combined with Roy's vocal gymnastics made magic. And the magic was a hit record.

In recording circles, an innovation which can produce a number one hit record is not regarded lightly. In fact most recording execs operate on the 'why change horses as long as this one's winning. philosophy. So, obviously another pretty ballad with the gimmick counter-melody was culled for. Roy Orbison, being a winning horse lover and also nobody's fool saw the logic in this data and immediately came up with 'Blue Angel', a lovely ballad with a companion counter melody chockful of ear-catching 'shah-lah-lahs', 'doobie wahs', and 'yip-yips. to match. Needless to say; Bang Bang! they were off, and Roy's winning horse did it again.

It would be an unpardonable oversight to overlook the contribution of Joe Melson to Roy's meteoric rise to stardom. If you will glance at the list of tides which comprise this album, you will see that .loo's name appears as co-writer on no less than five of the songs. These include 'Only The Lonely., and, 'Blue Angel'. To-gether, they developed the style of writing which has served as such a perfect vehicle for voice. It is a tribute to their ability as a team that other artists are beginning to latch on to their material.

Roy's handling of the various other songs in this selection will give you an idea of his versatility.

Being a song writer myself, I am familiar with the musical horse race and the thrill of watching a winner come in. I as also familiar with the experience of watching the finish only to discover that I've bet on a dog — which brings me to the point. I believe that after you listen to the offerings in the album, you will join me in saying, 'There's not a dog in the bunch..

Boudleaux Bryant
 

Songs

Roy Orbison - Lonely And Blue (LP) Medium 1
1: Only The Lonely  
2: Bye Bye Love  
3: Cry  
4: Blue Avenue  
5: I Can't Stop Loving You  
6: Come Back To Me (My Love)  
7: Blue Angel  
8: Raindrops  
9: (I'd Be) A Legend In My Time  
10: I'm Hurtin'  
11: Twenty-Two Days  
12: I'll Say It's My Fault  

 

Artikeleigenschaften von Roy Orbison: Lonely And Blue (LP)

  • Interpret: Roy Orbison

  • Albumtitel: Lonely And Blue (LP)

  • Format LP
  • Genre Rock 'n' Roll

  • Title Lonely And Blue (LP)
  • Vinyl size LP (12 Inch)
  • Speed / RPM 33 U/min
  • Record Grading Mint (M)
  • Sleeve Grading Mint (M)
  • Release date 2018
  • Label SONY MUSIC ENTERTAINMENT

  • SubGenre Rock - Rock'n'Roll

  • EAN: 0888837747714

  • weight in Kg 0.300
 
 

Artist description "Orbison, Roy"

Roy Orbison

Born on 23 4th 1936 in Vernon, Texas.
Died on 6.12th 1988 in Tennesse.

 

Roy Orbison

The man with the unmistakable voice began as a rockabilly singer, then went as a staff composer (at Acuff - Rose) to Nashville. From his contract with Sun Records, he bought himself free, signed with Monument, where he began the assembly line production fate pregnant pain ballads. Among his classics and evergreens include 'Crying', 'Only The Lonely', 'Dream Baby', 'In Dreams', 'It's Over' and of course 'Pretty Woman' (a total of 29 US-Hits 1956-1967).

1966 accident his wife Claudette deadly on a motorcycle, only two years later both Orbison's sons died in a house fire. On 25 3 1969 Roy married in Nashville, the 19 year old Barbara Anne Wellhonen from Bielefeld (two common sons: Roy Kelton Jr., born in 1970, and Alexander, born 1974). During the 70 years it has been quiet around the superstar, who had to undergo a dangerous heart surgery.

End of the 80 he received a new contract with Virgin, again bubbled the hits, and Orbison was next to George Harrison, Bob Dylan, Jeff Lynne and Tom Petty solid Roy ORBISON Mm member of the Traveling Wilburys. At 6:12. In 1988, he died 'in Nashville a heart attack, his designated successor at the Wilburys, Del Shannon, shot himself.

Orbison's only German-language single is the mega-Rarität- both original titles were übersungen of the production line of Wolf Kabitzky on 06.09.1963 in Hamburg Teldec studio in the Easter Road with German lyrics. 1987 was recorded 'The Big O' in the Rock and Roll Hall Of Fame.

From the Bear Family Book - 1000 pinpricks of Bernd Matheja - BFB10025 -

 

Roy Orbison

If F. Scott Fitzgerald had lived long enough to witness Roy Orbison, he wouldn't have written "There are no second acts in American lives." Roy Orbison's life had a spectacular second act. While most of his contemporaries died dreaming of the Big Comeback, Roy Orbison died in the middle of one.

Through all the upturns and downturns of his long career, he seemed to maintain a Zen-like calm. He was a true enigma. Born in Texas, he made most of his recordings in Nashville and lived most of his life there, yet wasn't a country artist; indeed there was conspicuously little "southern-ness" in his music. His best recordings are curiously timeless and placeless. He was the lonely blue boy out on the weekend. Got a car--no date.

Coming of age in the singles era, Roy Orbison was the master of compression. He could relate a short story, or establish a mood in under three minutes. From the little introductions that, as Bruce Springsteen noted, synthesized everything down so perfectly, to the last climactic note, he produced perfect pop symphonettes. Not a surplus word or note.

Although Roy Orbison's biggest hits came during the early-to-mid Sixties, he was almost an anti-teen idol. He didn't have the looks or the attitude, and unlike most of his contemporaries, his music was very much his own. He wrote most of the songs and effectively coproduced his sessions. A new Roy Orbison record was an event--and rarely one that disappointed. He stretched the boundaries, taxed the imagination. What or where was a Blue Bayou? Sometimes, he was almost surreal. In Dreams was the most poetic, deliciously obscure record to hit the airwaves to that point: "A candy colored clown they call the sandman tiptoes to my room every night..." Very different. Delivered in that voice, very weird. Even the name 'Roy Orbison' had a touch of unreality. Was there ever anyone else called 'Orbison'?

Many of Roy's contemporaries, notably Johnny Cash, Carl Perkins, and Jerry Lee Lewis, emerged with the essentials of their style in place. Roy didn't. He began in country music, switched abruptly to rockabilly, and only after the best part of a decade in the business did he begin to put together his unique vision. When Only The Lonely was wrapped up, it did much more than synthesize everything he had done before. Roy had taken all he knew and all he'd heard, then gone a step beyond.


FOOTBALL, OIL AND SAND

There was very little romance attached to the part of west Texas where Roy Orbison grew up. But you could dream out there. Roy would compulsively go to movies and he knew that what he saw on the screen was unlike anything within driving distance of his home. And you could fantasize out there. Roy, whose full name was Roy Kelton Orbison, used to tell friends that he was named for a relative who owned RKO Pictures (a major movie production company in the Forties). One or two people believed him. Mostly, you could dream and fantasize out there because there wasn't much else to do.

It's unclear where the Orbisons came from or how Roy's immediate family ended up in the west Texas oilfields. There are Orbisons in local American history files as far back as the 1750s, and Social Security records seem to indicate that most Orbisons came from North Carolina. For all that, we know little of Roy's immediate forebears. His father, Orbie Lee, was born in Texas on January 8, 1913, and his mother, Nadine Schultz Orbison, was born on July 25, 1914. Orbie was a rigger, holding down one of the hardest jobs in the country in one of the most inhospitable climates. Nadine seemed to have a more sensitive side. She wrote poetry and loved music. Roy was born in Vernon on April 23, 1936, but Orbie Lee and Nadine moved to Fort Worth shortly after the United States entered the Second World War to work in the defense plants. It was there that Roy acquired his first guitar. Orbie taught him some chords, and took him to see Ernest Tubb playing off the back of a flatbed truck.

The story of Roy's earlier years has been pieced together in two biographies, so there's little need to recapitulate much of it here. Very briefly, Roy was sent back to Vernon in 1942 because of a polio epidemic in Fort Worth. While there, he made his first radio appearance on KVWC (a delightful acronym for Keep Vernon Women Clean). He remembered appearing every Saturday for a while, bicycling down to the station. After the War, Roy and his family moved to the Permian Oil Basin town of Wink. Apparently, Wink acquired its bizarre name from the founding fathers' hope that it would become the county seat of Winkler County, itself named for a Civil War leader, Colonel Winkler. Orbie was working for Olson Drilling, just across the state line in Jal, New Mexico. 

"Football, oilfields, oil, grease, and sand," was how Roy characterized Wink. Born an albino with chronically poor eyesight, he felt an apartness from an early age, out-of-place in such a ruggedly macho environment. "You know," he said later, "I wrote 'Only The Lonely' in west Texas." The implication was obvious.

Music came in many flavors: pop music networked out of New York and Chicago, hillbilly and western swing from local bands, local radio stations, and the powerful border stations, a little R&B on a clear night, and Mexican music. Pop and country formed the major part of Roy's early listening, though. Always sure of his talent, always insecure about his appearance, Roy began to dye his sandy hair black at an early age. He heard something in his voice that promised deliverance from a bleakly predictable future in the oilfields. As he said later, "I didn't think it was a good voice, but I thought it was a voice you would remember if you heard it again." He made his first money in the music business when he won a prize singing Jole Blon at a traveling medicine show. Jole Blon was a hit in 1947, so that was probably the year that Roy appeared on the medicine show.

Talking about music with David Booth, Roy recalled, "My first music was country. I grew up with country radio in Texas. The first singer I heard on the radio who really slayed me was Lefty Frizzell. He had this technique which involved sliding syllables together that really blew me away." Roy and Orbie went to see Lefty. They pulled into the parking lot and saw a car sticking out ten feet further than the other cars. It was Lefty's Cadillac, and that image remained with Roy every bit as much as the music. When he signed a buddy's high school yearbook it was as "Roy 'Lefty Frizzell' Orbison," and when he joined the Traveling Wilburys toward the end of his life he took the name Lefty Wilbury. Lefty Frizzell doesn't explain Roy Orbison, though; not in the same way that Lefty explains, say, Merle Haggard.

Around 1949, Roy formed a high school band, the Wink Westerners. Charles Evans was on bass, James Morrow on mandolin, Richard West on piano, and Billy Pat Ellis borrowed the high school drum kit. They appeared on KERB in Kermit, Texas, and the character of their music can be judged by their name and the Roy Rogers bandanas tied jauntily around their necks. "We played whatever was hot," recalled James Morrow. "Lefty Frizzell, Slim Whitman, Webb Pierce...we did a lot of their numbers. We also played a lot of Glenn Miller-styled songs, like 'Stardust' and 'Moonlight Serenade,' which we adapted for string instruments. I played the electric mandolin and later the saxophone. I fed the mandolin through an Echoplex amp so it sounded like an organ sometimes." It was an eerie, haunting sound, later heard to good advantage on Trying To Get To You.

 
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