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Roy Orbison The Fastest Guitar Alive - Your Cheatin' Heart - Soundtrack (LP)

The Fastest Guitar Alive - Your Cheatin' Heart - Soundtrack (LP)
 
 
 

catalog number: LPMGM18

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Roy Orbison: The Fastest Guitar Alive - Your Cheatin' Heart - Soundtrack (LP)

(MGM/EMI) 10 tracks by Roy Orbison 13 tracks by Hank Williams JR. from the original 1966 MGM Motion Picture soundtracks. UK pressing.

Almost since its inception cinema has been at pains to reflect contemporary musical trends and lasso larger audiences - even the days of silent film produced mute epics
crammed with legions of frantic charlestoners! No sooner had sound film arrived in 1927 - significantly with a musical 'The Jazz Singer'- than filmdom plunged into a plethora of musical extravaganzas featuring the singing idols of the day - 'Show Of Show' 'King Of Jazz'and 'Hollywood Review' all queued up to make their mark, before 1930 was out. Short filmic 'promos' enshrining many notable talents -especially from the jazz arena - were shot from as early as 1925 - proving that pop videos are not exclusively a modern phenomenon. Each subsequent era of popular music has been enthusiastically - if selectively - embraced by film. But musical tastes change - and much of cinema's heritage of musical treasures has now passed' comfortably into the laded realm of nostalgia. Many of yesteryear's great vocal artists are all but forgotten - and even for those few who have attained legendary status - it is still difficult for today's young to view them as anything btit old-style and old-hat. Almost impossible,  for :nstance, for the present generation of youth to imagine Bing Crosby as being 'top of the pops' - but in effect, he was.

When following the trail of-Musical trends,stylistic turning points are easy to spot - none being more noticeable or significant as the sudden emergence of Rock and Roll in the early Fifties - the real birth of modern popular music. Since then films have faithfully charted the progression of pop - even to the extent of promoting the occasional excessively sanitised singer to the status of star - sometimes with whole series of movies dedicated to their talents - Elvis Presley, Frankie Avalon and Cliff Richard have been some of the lucky, acceptable few. But the very beginnings of Rock and Roll - the initial dynamic days - might never have been captured by a notoriously conservative film industry if not for the sharp intervention of one man - poverty-row producer Sam Katzman.

Sans Katzman learned his trade and refined the ability to pinch a penny in the low-budget world of early Fifties action series and serials including the original 'Superman' and the television opus 'Jungle Jim' with Johnny Weismüller. Katzman prudently kept his finger on the hot contemporary pulse and was quick to realise the commercial possibilities in exploiting the latest youth craze - the sudden emergence of the Rock and Roll music of Bill Haley and the Comets. Katzman's resulting 'Rock AroundThe Clock' was released in 1956 and caused a sensation - riots whenever and wherever it was shown and mass wild dancing in cinema aisles. Sam Katzman had cleverly captured the birth of Rock and Roll, and successfully packaged it. Katzman ,was to keep a watchful eye on developing trends in popular culture but over the years his youth movies were to become more infrequent and cheeseparing although two other interesting films - noteworthy for different reasons - did emerge from Katzman's stable — 'Your Cheatin' Heart' in 1964 and 'The Fastest Guitar Alive' in 1968.

'The Fastest Guitar Alive' has only retained a certain significance because of the continued popularity of its star - the now legendary Roy Orbison. The plot of this cheerful, cheaply mounted, meandering Civil War western has Orbison and Sammy Jackson as two inept Confederate spies who manage to steal a fortune from the government mint only to find they must surreptitiously replace the money when the war abruptly ends. This disappointingly handled film has an engaging song-score written by Roy Orbison and Bill Dees which helps the plot limp along by doubling as a narrative device. These songs remain the only salvageable asset from 'The Fastest Guitar Alive' - ten 'nnmbers which really constitute an unofficial rip album as they represent nothing less than vintage Roy Orbison. His unique vocal delivery carries the day - orchestrations and choral accompaniment are spare' and sparse - Orbison needs little more support than his'own guitar. From the folk-like 'Whirlwind' to the rhythmic patterns of 'Medicine Man' - from the simple phrasing, 'River' to the Mexicana flavour of 'Pistolero' and Good Time Party - the Orbison magic shines through.

Sam Katzman's films, although enthusiastically put together, were nevertheless usually bottom-of-the-barrel affairs but real critical recognition was achieved with 'Your Cheatin' Heart' which, with some artistic licence, chronicled the brief eventful life of the Country Music legend Hank Williams. The solid down-to-earth sincerity of Country Music has an appeal well outside its vast mid-western homeland and Hollywood has successfully reunited the lives of Country idols Patsy Cline and Loretta Lynn - plus many fictional films with Country Music at their core have been produced - including 'Tender Mercies', 'Nashville' and 'Payday'. Hank Williams penned some five-hundred songs whilst slowly succumbing to alcoholism and tragically died before the age of thirty. Here was certainly the stuff of strong drama - a firm ground-base for 'Your Cheatin' Heart'. Actor George Hamilton effectively shed his tanned playboy image to tackle the demanding role of Hankl Williams and subsequently gained the greatest kudos uf his career. Susan Oliver also turned in a
memorable performance as William's long-suffering wife -- and able scene-stealing support was supplied by old pro's Red Buttons, Rex Ingram and Arthur O'Connell. In fact the quality of the acting in 'Your Cheatin' Heart' seems out of step with the usual level of performances expected in a Sam Katzman production - doubt contributable to the efforts of directorGene Nelson - himself an actor of considerable experience -and' a veteran handler of such Country films as 'Hootenanny Hoot'  and 'Kissin' Cousins'. The soundtrack of 'Your Cheatin' Heart' comprises no less than thirteen Hank Williams songs - faithfully recreated by his son. HankWilliams life may have been stormy and tragic but he has left a considerable legacy - just part of which can he appreciated on this album.
Notes by David Wishart

 

Songs

Roy Orbison - The Fastest Guitar Alive - Your Cheatin' Heart - Soundtrack (LP) Medium 1
1: Roy Orbison - Whirlwind
2: Roy Orbison - Medicine Man
3: Roy Orbison - River
4: Roy Orbison - The Fastest Guitar Alive
5: Roy Orbison - Rollin On
6: Roy Orbison - Pistolero
7: Roy Orbison - Good Time Party
8: Roy Orbison - Heading South
9: Roy Orbison - Best Friend
10: Roy Orbison - There Wont Be Many Coming Home
11: Hank Williams - Your Cheatin Heart  
12: Hank Williams - Hey Good Looking  
13: Hank Williams - I Saw Light  
14: Hank Williams - Jambalaya  
15: Hank Williams - Ramblin Man  
16: Hank Williams - Im So Lonesome I Could Cry  
17: Hank Williams - Jambalaya Ii  
18: Hank Williams - Cold Cold Heart  
19: Hank Williams - Kaw Ligo  
20: Hank Williams - I Couldnt Help It  
21: Hank Williams - Hey Good Looking Ii  
22: Hank Williams - Long Gone Lonesome Blue  
23: Hank Williams - You Win Again  

 

Artikeleigenschaften von Roy Orbison: The Fastest Guitar Alive - Your Cheatin' Heart - Soundtrack (LP)

  • Interpret: Roy Orbison

  • Albumtitel: The Fastest Guitar Alive - Your Cheatin' Heart - Soundtrack (LP)

  • Format LP
  • Genre Country

  • Music Genre Country Music
  • Music Style Vinyl - Country
  • Music Sub-Genre 551 Vinyl - Country
  • Title The Fastest Guitar Alive - Your Cheatin' Heart - Soundtrack (LP)
  • Vinyl size LP (12 Inch)
  • Speed / RPM 33 U/min
  • Record Grading Mint (M)
  • Sleeve Grading Mint (M)
  • Release date 1990
  • Label MGM

  • SubGenre Country - General

  • EAN: 0077779427413

  • weight in Kg 0.200
 
 

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

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, though, and quickly found that while he wasn't good at football and hard, menial labor, he was good at drawing and singing. Perhaps the most telling picture of his early years is a photo of Roy posed in front of a very large blackboard mural. Roy had created an elaborate Christmas drawing, which apparently was so well received that the entire school was taken to view his creation. In the photo, the huge mural dwarfs the diminutive Roy, who stands beaming from ear to ear, his eyes barely visible through his thick coke-bottle glasses. Roy had found that he could use his talents to gain acceptance and praise from others, even if he didn't fit in with the football players and oil riggers.

Roy's musical talents surfaced early on as well, and by his early teens was leading a local aggregation called the Wink Westerners, a group that eventually turned into the Teen Kings. The group began by playing all the country & western hits of the day, with Roy being particularly knocked out by Lefty Frizzell's voice. As was the norm of the day, the group also found itself having to play pop standards like Moonlight Serenadeand Stardust. All that would change the day that Elvis Presley blew through West Texas like a hurricane, changing everything in his path.

The details of exactly where and when Roy saw Elvis for the first time are murky, but it's generally accepted that Roy had heard about the noise Elvis was making in the music world, and in fact his father had told him of seeing a Presley show that he deemed "terrible."Roy made up his mind to see what the fuss was all about, and went to see Elvis play, either at the Big D Jamboree in Dallas or at one of the many shows Elvis played across West Texas in 1954 and 1955.

It's now hard to imagine a time when such things were so shocking or life-changing, but when Roy recounted seeing Elvis for the first time, he remembered Elvis spitting out his chewing gum on stage, breaking guitar strings, talking "with the coarse diction of a truck driver,"rolling around on the floor while singing, and causing a near-riot in the crowd between turning the ladies on and ticking the men off in the process.
Like thousands of other teenagers all over the country, Elvis' music, looks and attitude represented something that their generation could latch on to and call their own. In no time at all, the Wink Westerners were doing their own interpretation of hillbilly bop and looking at getting a piece of the Presley pie for their very own.

The group made some line-up changes, most notably adding rhythm guitarist Johnny 'Peanuts' Wilson to the line-up, who brought with him a healthy love for the new rock 'n' roll music (and later would cut the classic single Cast Iron Arm.) After a spell during which Roy and drummer Billy Pat Ellis went to North Texas State College in Denton, the whole group moved to Odessa, where they all attended junior college together, and changed their name from the Wink Westerners to the Teen Kings. It wasn't long before the group made its first recording, an acetate demo of a song that Roy had learned from two students at North Texas State named Wade Moore and Dick Penner. The song was Ooby Dooby,and although it was a simple song with nonsense lyrics, Roy had seen Wade and Dick make crowds go crazy with the tune.

 

The demo session was intended as an audition for Columbia Records. Columbia saw no future with the band, but A&R man Don Law did give Ooby Doobyto Sid King & the Five Strings to record, who released it on Columbia to little fanfare (these early Orbison demos of Ooby Doobyand Hey Miss Fanniecan be found on the Roy Orbison box set on Bear Family, BCD 16423).

Around this time, Roy and the Teen Kings had caught the eye of local impresario Weldon Rogers, who agreed to put out a Teen Kings 45rpm record as soon as they had something recorded. The group then traveled to the other notable studio in the region, Norman Petty's Studio in Clovis, New Mexico, where they re-cut Ooby Doobyand a new flip side, Tryin' To Get To You, which they had learned from Elvis' live shows (one report has Roy owning a pre-release acetate of Elvis' version). The two numbers were released on the tiny Je-Wel record label, an acronym that stood for the financial backer's daughter Jean Oliver and Weldon Rogers, who handled the music and promotional side of the label.

 The Je-Wel record took off locally, selling hundreds of copies and catapulting the Teen Kings to local fame. The record made so much noise that another local impresario, Cecil Holifield, notified Sam Phillips of Sun Records that the Je-Wel contract was not legally binding, with Orbison and the other boys under the age of 21. When Holifield and Sam Phillips threatened legal action against Je-Wel Records, the Teen Kings were released from their contract and given instructions to come immediately to Memphis to record for Sun.

In the rapidly moving waters of the day, songs could break overnight, and just as easily be forgotten. Sam Phillips knew this, and brought the group to Memphis as fast as possible to re-cut Ooby Doobyyet again, and capture the momentum that the Je-Wel record had promised. When the group arrived in Memphis, Sam rushed them into the studio and explored their potential as new rockabilly hitmakers. The group re-recorded Ooby Doobya total of four times, but Phillips felt they hadn't gotten a good recording of the song, and in fact wound up calling Weldon Rogers seeking to lease the Je-Wel master. This after threatening legal action against him only a month earlier! Weldon offered to sell the Je-Wel master for $1100, but Sam decided to go with the first take the boys had laid down at the Sun Studio instead.

For a flip side, the band came up with a new rocker, Go Go Gowhich was a scorching rockabilly mover that has become one of the 'standards' in the rockabilly song repertoire to this day, though usually called Down The Line, the title that Jerry Lee Lewis gave it when he re-cut the song a year later for the flip side of Breathless

One thing that should be pointed out regarding all of the early rockabilly sides that Roy Orbison and the Teen Kings recorded is that Roy played all the lead guitar parts himself. If nothing else, Roy established himself as one of the great rockabilly axemen, cutting solos that were as tough sounding and biting as any of his contemporaries. Few know that when they hear that classic intro to Go Go Gothat it's Roy himself tearing it up on the guitar! The band also recorded another couple of takes of Tryin' To Get To Youat the first Sun session, but Sam chose the two rockers (and picked Go Go Goas the flip to ensure his own publishing interests) and rushed Ooby Doobyout as Sun 242 as quickly as possible. The single did very well, selling up to 200,000 copies by some reports, and Roy Orbison became a star for the first time.

Roy's tenure at Sun has been rehashed in Orbison biographies many times over. According to Orbison, he kept trying to get Sam Phillips and his in-house producer 'Cowboy' Jack Clement to listen to his ballads, which he felt were his forte. If you believe everything you read, Phillips and Clement forced Orbison to record rock 'n' roll material against his will, while he tried in vain to convince them that he was a ballad singer. Again, according to lore, Orbison eventually showed them with a giant"I told you so"when he scored numerous top ten hits with his ballads in the early 1960s.

 Like a lot of music history, it all makes for a nice story. But human accounts differ from the recorded material—and for that matter photographs—from his time at Sun.

 

 

 

 

 
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