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Roy Orbison Mystery Girl (2x180g Vinyl Deluxe Edition)

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catalog number: LPSNY59601

weight in Kg 0,500

$24.14 *
 
 

Roy Orbison: Mystery Girl (2x180g Vinyl Deluxe Edition)

(2014/Sony) 19 tracks, includes download MP3s, Executive Producer Barbara Orbison.

(2014/Sony) 19 tracks


 

Songs

Roy Orbison - Mystery Girl (2x180g Vinyl Deluxe Edition) Medium 1
1: You Got It  
2: In The Real World  
3: (All I Can Do Is) Dream You  
4: A Love So Beautiful  
5: California Blue  
6: She's A Mystery To Me  
7: The Comedians  
8: The Only One  
9: Windsurfer  
10: Careless Heart  
Roy Orbison - Mystery Girl (2x180g Vinyl Deluxe Edition) Medium 2
1: The Way Is Love  
2: She's A Mystery To Me - Studio Demo  
3: (All I Can Do Is) Dream You - Studio Demo  
4: The Only One - Studio Demo  
5: The Comedians - Studio Demo  
6: In The Real World - Studio Demo  
7: California Blue - Studio Demo  
8: Windsurfer - Work-Tape Demo  
9: You Are My Love - Work-Tape Demo  

 

Artikeleigenschaften von Roy Orbison: Mystery Girl (2x180g Vinyl Deluxe Edition)

  • Interpret: Roy Orbison

  • Albumtitel: Mystery Girl (2x180g Vinyl Deluxe Edition)

  • Format LP
  • Genre Rock 'n' Roll

  • Music Genre Rock 'n' Roll
  • Music Style Vinyl - Rock & Roll
  • Music Sub-Genre 553 Vinyl - Rock & Roll
  • Edition 2 BEAR Family Records
  • Title Mystery Girl (2x180g Vinyl Deluxe Edition)
  • Vinyl size LP (12 Inch)
  • Vinyl weight 180g Vinyl
  • Speed / RPM 33 U/min
  • Record Grading Mint (M)
  • Sleeve Grading Mint (M)
  • Release date 2014
  • Label SONY

  • SubGenre Rock - Rock'n'Roll

  • EAN: 0888430596016

  • weight in Kg 0.500
 
 

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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