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Roy Orbison The Classic Roy Orbison 1965-68 (LP)

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(Rhino) 14 tracks - 'MGM' recordings from 1965 to 1968 - Cut-out LP As a singer/songwriter, Roy...more

Roy Orbison: The Classic Roy Orbison 1965-68 (LP)

(Rhino) 14 tracks - 'MGM' recordings from 1965 to 1968 - Cut-out LP

As a singer/songwriter, Roy Orbison was in a dass by himself. Elvis Presley had a dynamic, exciting voice, but his songwriting talents were non-existent. John Lennon and Paul McCartney wrote some unforgettable popular musk, but Roy Orbison penned mini-operatic masterpieces and sang them in a voice that reminded people of Enrico Caruso and Mario Lanza. Roy's achievements as a songwriter become all the more impressive when you realize that they occurred at a time when most popular music writers were churning out unimaginative, monotonous songs using the standard verse-verse-chorus-verse formula.

The typical Orbison composition builds, slowly but surely, to an overpowering finale that assaults your senses and leaves you both exhilirated and emotionally destroyed. But as great as Roy's songwriting was, what really made his music special, even offer you had already heard it hun-dreds of times, was The Voice. Roy could sing songs that required a vocal range of up to two and one-half octaves. When you consider how often you hove heard popular singers butcher 'The Star Spangled Banner,' which 'only' requires a vocal range of one and one-half staves, you begin to realize how special Roy's voice was. (You also get an inkling as to why many of Roy's masterpieces have never been covered by other popular singers.)

The real magic of Roy Orbison's voice, however, lay not in its wide range, but in its stunning power. The some notes that singers like Bobby Vinton struggled to hit in a weak falsetto, Roy could hit at the top of his lungs. And when he did, he sounded so utterly magnificent that people seriously compared him to Caruso. Elvis Presley, on the other hand, simply called him 'the greatest singer in the world': The staggering array of tributes that appeared in Rolling Slone after Orbison's death proves that a lot of other major rock figures think Elvis Presley was right. Unfortunately, there ore music critics who have concluded that the great talents of Roy Orbison, which took the world by storm in 1960 with the release of 'Only the lonely;' suddenly disappeared in 1965 when, following the phenomenal success of 'Oh, Pretty Woman': Roy left Monument Records and signed a lucrative, long-term contract with MGM. Some of these critics have said that Roy's MGM albums were poorly produced and seriously inconsistent. Others hove said that the well-documented personal tragedies Roy suffered in the mid-1960s caused him to quit writing songs and reduced his roaring tenor to a meek shadow of its former self. The result, these critics say, was a dramatic drop in Roy's record sales. This certainly isn't very flattering to Roy, since it is tantamount to saying that he composed only a handful of good songs in his long career.

What's really unfortunate about these criticisms of Roy's MGM music, however, is that they are so blatantly false. In fact, the only true portion is the statement that Roy's record sales dropped dramatically in the mid-1960's. But this was certainly not because 'Oh, Pretty Woman' was his last great song. Rather, Roy's decline in popularity was due to four things that happened to music in the mid-1960c. Their names were John, Paul, George and Ringo. As anyone who was over the age of ten in 1964 knows, the Beatles exploded onto the music scene and dominated it like no one before or since. And from Meet The Bead. to Rubber Soul to Sgt. Pepper's, from 'I Want To Hold Your Hand' to 'Yesterday' to 'Hey Jude': they controlled the development of popular music. If other artists wanted to sustain commerical success, they hod to follow the Beatles'
stylistic lead-period. Roy Orbison refused to do so. And it was because of this commitment to his own style of artistic expression, rather than some mysterious decline in his sing-ing and songwriting skills, that Roy's superstar status came to an end.

During his first four years with MGM (the years covered in this collection), Roy actually wrote more songs than ever before. His first six albums for the label (There Is Only One Roy Orbison, The Orbison Way, The Fastest Guitar Alive, Roy Orbison Sings Don Gibson, The Omsk Roy Orbison and Cry Softly Lonely One) contained 70 songs, of which Roy wrote or co-wrote 42, which is exactly 60 percent. For pur-poses of comparison, of the 67 songs Roy released on Monument from 1960 to 1965, he wrote or co-wrote 38, which is approximately 57 percent. It is also worth noting that the vast majority of Roy's MGM compositions were penned in collaboration with Bill Dees, the some person who co-wrote Roy's Monument classics, 'Oh, Pretty Woman' and 'It's Over'.'

When you have heard The Classic Roy Orbison, you will know all you need to know about the quality of Roy Orbison's MGM records. You will also realize that many of its songs are delightfully reminiscent of his Monument classics. Consider how good you felt listening to Roy's first major hit, 'Only the Lonely' a haunting ballad in which he effortlessly displayed his incredible vocal range while background singers song syllables of pure nonsense. Now listen to 'Cry Softly Lonely One,' and prepare for the some thoroughly enjoyable experience.

Consider 'In Dreams': aptly described by one musician as four or five beautiful melodies fused into a single song. Now listen to 'Crawling Back;' where the some sort of synthesis culminates in another gorgeous Orbison finale, with his voice soaring to magnificent heights. It can literally send chills down your spine. Consider 'Falling': a gentle love ballad with another powerful finale, courtesy of the famous Orbison tremolo—a tremolo so strong that you can actually feel the vibrations in his voice throughout your body. Now listen to 'It Takes One;' and prepare yourself for a slightly more subitle version of the same experience. Consider 'Crying': the jewel that is widely regarded as Roy Orbison's greatest song. 'Crying'combines o complex melody, powerful orchestration, and a vocal in which Roy's tenor soars to other-worldly heights. These elements come together to produce one of the most indescribably moving and beautiful endings in the history of popular music. Think about how you felt the first time you heard 'Crying': and then listen to 'Walk On' and prepare for a similarly melodramatic experience.

All of these comparisons don't mean that the songs in this collection correspond perfectly to Roy's greatest Monu-ment songs. You probably will not find any songs here that remind you of 'Oh, Pretty Woman': ' The Crowd': or 'Blue Bayou: By the same token, you won't find any songs in the Monument catalogue that remind you of some of the unique and magnificent songs on this disc, such as 'Ride Away': 'Too Soon to Know': and 'Crawling Back'.' Yes, these MGM songs there some of the attributes that made Roy's Monument recordings o musical treasure, but they are also great songs in their own right, songs which often show a different side of Roy Orbison.

You may wonder why some of the songs Roy released as singles for MGM were not more commercially successful. 'Ride Away:' for example, was Roy's highest chart record for MGM, but only managed to make it to No. 25. It opens with an acoustic guitar, then merges some of the best musical elements from both the Monument and Spector-styled production techniques. 'Crawling Back;' one of Roy's more subtle and understated pieces of musical drama, only mode it to No. 46. 'Breakin' Up Is Breaking My Heart;' a far more dynamic song, featured Roy returning to his familiar upbeat operatic form. This 1966 single was eventually one of the highest chart records for Roy at MGM, but still only made it to No. 31. 'Twinkle Toes;' a very uncharacteristic, go-go inspired song that exhibited Roy's stylistic diversity, barely crocked the Top 40, peaking at No. 39. 'Too Soon to Know,/ 'Communication Breakdown' and 'Cry Softly Lonely One' all have the magnificent Orbison touch, but none of them ever matched the sales of the Monument sides, either.

Beatles, Byrds, or Stones aside, it is very difficult to understand why some of these songs were not more commercially successful. This package of wonders was in production before Roy's untimely passing. For the many Orbison fans all over the world, it will be only a small sampling of the MGM catalog, which contains more than double the number of songs Roy released for Monument. When you consider how substantial Roy's output on the MGM label was, you will hunger for more of the operatic grandeur that characterizes both the songs in this collection and the songs from Roy's Monument yea's. In the meantime, relish the petals in this collection. They will certainly remind you why so many people cherish the music of Roy Orbison. Simply stated, Roy was a man with on incredible gift...one that he lovingly shared with us all. And no one who was affected by that gift, no one who felt it deep down in their innermost sanctum, will ever forget it. Jim Fahey

Article properties:Roy Orbison: The Classic Roy Orbison 1965-68 (LP)

  • Interpret: Roy Orbison

  • Album titlle: The Classic Roy Orbison 1965-68 (LP)

  • Label RHINO

  • Genre Rock'n'Roll

  • Geschwindigkeit 33 U/min
  • Vinyl record size LP (12 Inch)
  • Record Grading Mint (M)
  • Sleeve Grading Mint (M)
  • Artikelart LP

  • EAN: 0081227071110

  • weight in Kg 0.3
Orbison, Roy - The Classic Roy Orbison 1965-68 (LP) LP 1
01Ride AwayRoy Orbison
02Crawling BackRoy Orbison
03Breakin' Up Is Breakin' My HeartRoy Orbison
04Twinkle ToesRoy Orbison
05Too Soon To KnowRoy Orbison
06Communication BreakdownRoy Orbison
07Cry Softly Lonely OneRoy Orbison
08ClaudetteRoy Orbison
09I'm In A Blue, Blue MoodRoy Orbison
10Losing YouRoy Orbison
11Big As I Can DreamRoy Orbison
12PantomimeRoy Orbison
13It Takes One (To Know One)Roy Orbison
14Walk OnRoy Orbison
Roy Orbison Born on 23 4th 1936 in Vernon, Texas. Died on 6.12th 1988 in Tennesse.  ... more
"Roy Orbison"

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

Historians love to write about how Roy Orbison got started in the music business on the wrong foot, being forced to cut rock 'n' roll until he found his niche with the sort of orchestrated ballads that would cement his place in the Hall of Fame. 

While it is true that Roy himself preferred the softer songs and the pop ballads, and certainly that is where he found his greatest chart success, one thing cannot be denied—Roy Orbison's veins pulsed with the blood of a rocker. Although he always denied it, he was great at rocking, and left behind some of the best-loved rockabilly tracks of all time.

 This collection is perhaps the first of its kind, the first to collect all of Roy's best 'rockin'' material from the different periods in his career—from the early days at Sun Records and at the Norman Petty studios, to the short-lived days as an RCA Victor artist in the late 50s, and the few but fertile rockers that Roy cut in his golden days for Monument Records in the early 1960s.

 When an artist finds such massive success with a radically different style such as Roy Orbison did with his pop hits in the 60s, it is easy to write off early efforts with a dismissive wave of the hand. In fact, in doing the research for these liner notes, I was shocked at how nearly every single book or article about Roy Orbison regurgitated the same details about Roy's early rocking period, usually in a few short paragraphs. The thought occurred to me that had Roy not gone on to record those massive pop hits, he would have had the sort of attention paid to his rockabilly sides as the other greats of Sun Records—Carl Perkins, Billy Lee Riley, Sonny Burgess, Warren Smith, and others who have had every minute detail of their 1950s activities researched and obsessed over time and again.

The fact of the matter is that Roy was another teenager in the mid-1950s who traveled to see Elvis Presley play and got swept up in the fury—women, fame, attention, and Roy's own admission that his only goal was "a Cadillac and a diamond ring by the age of 21."Whether or not he was teen idol material mattered not—for deep in his soul Roy felt the calling of wild bop music known as rock 'n' roll. 

Much has also been written about how unlikely a star Roy Orbison was. True, back in the 1950s as it is today, looks mattered over talent in the pop business, and Roy Orbison was not exactly an attractive man. Born albino, he suffered the eyesight problems of albinism, and in fact in the early days (before he wore glasses on stage) many thought Roy was blind because he had to be led up to the microphone. But he dyed his hair a deep jet black, bought himself the finest hepcat clothes that money could buy, equipped himself with top-of-the-line equipment (teenage Roy had a Les Paul 'black beauty' guitar—the most expensive solidbody Gibson made—and a Ray Butts Echosonic Amp like Scotty Moore—also the most expensive custom-ordered amplifier one could own at the time), and made up his mind that he was going to be a rock 'n' roll star, looks be damned.

In the music business, there has always been a great divide between the gifted and the determined, and Roy was both. The determination paid off—in fact the stubborn Roy stuck at it through high and low times throughout his 40-year stint in the music business. How many artists can say they started off with a hit on their first record, then sank so low as to eat rolled up balls of cornmeal and water (as Roy did between his Sun days and the pop hits), found top 40 success and made a million dollars, lost his wife to a motorcycle accident and two sons to a house fire, then wound up getting inducted to the Rock and Roll Hall of Fame and having a top 10 hit just as he died? The story of Roy Orbison is a story of perseverance and dogged determination more than anything else.

West Texas is precisely the sort of place to breed a determined young man like Roy Orbison. Hot, dusty, and flat—these are the only goodthings that can be said about a place like Wink, Texas, where Roy was raised. Born in April 23, 1936 to hard working parents (Roy's dad Orbie Lee was a rigger in the oilfields), Roy was the classic outcast, a subject that later permeated his hits like Only The Lonelyand In Dreams.

Roy had a good head on his shoulders... 

 

 

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Tracklist
Orbison, Roy - The Classic Roy Orbison 1965-68 (LP) LP 1
01 Ride Away
02 Crawling Back
03 Breakin' Up Is Breakin' My Heart
04 Twinkle Toes
05 Too Soon To Know
06 Communication Breakdown
07 Cry Softly Lonely One
08 Claudette
09 I'm In A Blue, Blue Mood
10 Losing You
11 Big As I Can Dream
12 Pantomime
13 It Takes One (To Know One)
14 Walk On