Roy Kelton Orbison (April 23, 1936 - December 6, 1988) is an American singer, songwriter and musician known for his fiery singing style, complex song structures and dark emotional ballads. The combination caused many critics to describe his music as an opera, dubbed "Caruso of Rock" and "the Big O". While most male rock-and-roll players in the 1950s and 1960s projected a challenging masculinity, many of Orbison's songs expressed vulnerability. His voice ranges from baritone to tenor, and music scholars claim that he has a range of three or four octaves. During the show, he is known for standing still and solitary, and for wearing black clothes, to match his dark-painted black hair and dark sunglasses, which gives the air of mystery to his person.
Born in Texas, Orbison began singing in rockabilly and country-and-western bands in high school. He was signed by Sam Phillips, from Sun Records, in 1956, but his greatest success came with Monument Records. From 1960 to 1966, twenty-two of his singles reached Top 40, and he wrote or co-wrote almost everyone who climbed to the Top 10, including "Only the Lonely" (1960), " Running Scared "(1961)," Crying "(1961)," In Dreams "(1963), and" Oh, Pretty Woman "(1964). Soon after, Orbison was struck by a number of personal tragedies while his sales record declined. In the 1980s, he experienced a revival of popularity through the success of several cover versions of his songs, and in 1988, co-founded Traveling Wilburys, a rock supergroup with George Harrison, Bob Dylan, Tom Petty, and Jeff Lynne. He died of a heart attack later that year, at the age of 52. A month later, his song "You Got It" (1989), co-written with Lynne and Petty, was released as a solo single and became the first to break the Top 10 in twenty-five year.
His awards included induction to the Rock and Roll Hall of Fame in 1987, the Nashville Songwriters Hall of Fame in the same year, and Songwriters Hall of Fame in 1989. Rolling Stone placed him at number 37 on list of "Largest Artist of All Time" and number 13 in the list of "100 Greatest Singers of All Time." In 2002, Billboard lists the Orbison magazine at number 74 in Top 600 artist recordings. Early life
Roy Kelton Orbison was born in Vernon, Texas, the middle child of Orbie Lee Orbison (1913-1984), oil well borer and auto mechanic, and Nadine Vesta Shults (July 25, 1913 - May 28, 1992), a nurse. Both his parents were unemployed during the Great Depression and, looking for a job, moved the family to Fort Worth in 1942. He attended the Denver Avenue Primary School until his fear of polio prompted the family to return to Vernon. Then, in 1946, they moved to Wink, Texas. Orbison later described life in Wink as "football, oil fields, oil, oil and sand" and expressed relief that he was able to leave a deserted city. All Orbison children suffer from poor vision; Roy uses thick corrective lenses from an early age. She was not confident about her appearance and began dyeing her almost black-white hair when she was young. He was quiet, silent, and very polite and obliging - a product, biographer Alan Clayson wrote, about his education in Southern. He is readily available to be sung, however, and is often the focus of attention when he does so. He thought his voice was memorable, if not great.
On his sixth birthday Roy, his father gave him a guitar. He then recalls that at the age of seven, "I'm done, you know, for something else"; music is his life. The main influence of music as a youth is country music. He was especially touched by the singing of Lefty Frizzell, with a rambunctious syllable. (When he later joined the British-American supergroup, Traveling Wilburys, he adopted the name "Lefty" Wilbury). He also enjoyed Hank Williams and Jimmie Rodgers. One of the first musicians he personally heard was Ernest Tubb, who was playing behind a pickup truck in Fort Worth. In West Texas, he was exposed to many forms of music: "sepia" (euphemism for rhythm and blues), Tex-Mex, Mantovani orchestra setting, and cajun. The favorite "Jole Blon" cajun is one of the first songs he sang in public. At the age of eight, he started singing on local radio shows. In the late 1940s, he was the master of ceremonies.
In high school, Orbison and some friends formed a band, Wink Western. They played the country standard and Glenn Miller songs at local honky-tonks and held a weekly radio show at CURB in Kermit. When they were offered $ 400 to play at a dance, Orbison realized that he could earn a living in music. After graduating from Wink High School, he enrolled at North Texas State College in Denton, planning to study geology so he could secure work on the oil field if the music did not pay. Orbison heard that his North Carolina schoolboy, Pat Boone, had signed a recording contract, which further strengthened his resolve to become a professional musician. While at North Texas State College Roy hears a song called "Ooby Dooby," composed by Dick Penner and Wade Moore in just a few minutes above a fraternity house on campus, and after the first year of college he returns to Wink with "Ooby Dooby" in hand and continue to perform with Wink Western. Orbison moved to Odessa, Texas, and enrolled at Odessa Junior College. When two band members quit, one to go elsewhere and one to join the Navy, two new members were added to the group, who won the talent contest and got their own television show at KMID-TV in Midland, Texas. The Wink Western continues to perform on local TV, play a dance on weekends, and attend lectures during the day.
While living in Odessa, Orbison saw the show by Elvis Presley, who was only one year older and a rising star. Johnny Cash visited the area in 1955 and 1956, performing on the same local TV show as Wink Western, and suggested that Orbison approach Sam Phillips on Sun Records, home to Presley rockabilly artists Carl Perkins, Jerry Lee Lewis (at the end of 1956 ), and Cash. Orbison phoned Phillips and during the conversation they were briefly told, "Johnny Cash is not running my record company!" The success of their KMID television show made them appear other on KOSA-TV, and they changed their name to King of Youth, as they became more attractive to younger audiences. Due to the early rejection of Sam Phillips, Teen Kings recorded "Ooby Dooby" for the Odessa-based Je-Wel label. According to official Orbison discography by Marcel Riesco, this was the first release by Orbison in March 1956. Phillips was impressed with the song, after local record store owner Poppa Holifield played it for him over the phone, and offered Teen Kings a contract in 1956.
Video Roy Orbison
1956-59: Sun and Acuff-Rose Records
The Teen Kings went to Sun Studio in Memphis, where Phillips wanted to record "Ooby Dooby" again, in his studio. The song was released on Sun 242 in May 1956 and broke into Billboard Hot 100, peaking at number 59 and selling 200,000 copies. The Teen Kings toured with Sonny James, Johnny Horton, Carl Perkins, and Cash. Much influenced by Elvis Presley, Orbison appeared vigorously, doing "all we can to get applause because we only have one hit record". The Teen Kings also began writing songs in rockabilly style, including "Go! Go! Go!" and "Rockhouse". The band eventually split over disputed credits and royalties, but Orbison remained in Memphis and asked his 16-year-old girlfriend, Claudette Frady, to join him there. They live in Phillips's house, sleeping in separate rooms. In the studio, Orbison concentrates on the recording mechanism. Phillips recalled far more impressed with Orbison's mastery of the guitar than his voice. The Orbison ballad wrote, "The Clown", met with a lukewarm response; After hearing it, Sun Records producer Jack Clement told Orbison that he would never make it as a ballad singer.
Orbison had some success on Sun Records, however, and was introduced to Elvis Presley's social circle, once going to take a date for Presley in his purple Cadillac. Orbison wrote "Claudette" - about Claudette Frady whom he married in 1957 - and Everly Brothers recorded it for their next release as the B-side of their big hit "All I Have to Is Is Dream". The first, and perhaps only, Orbison's royalty from Sun Records allowed him to pay a deposit on his own Cadillac. The more frustrated at Sun, he gradually stopped recording. He toured the music circuits around Texas and then stopped performing for seven months in 1958 before touring with Patsy Cline, Eddie Cochran and Gene Vincent.
For a brief period in the late 1950s, Orbison earned a living at Acuff-Rose, a songwriting company concentrating primarily on country music. After spending a whole day writing songs, he will make several demo tapes at once and send them to Wesley Rose, who will try to find music recordings to record them. Orbison attempted to sell to RCA Victor recording his songs by other authors, working with and being impressed with Chet Atkins, who had played guitar with Presley. One song he tried was "Seems to Me", by Boudleaux Bryant. Bryant's impression of Orbison is "a shy and shy boy who seems a bit confused with the whole music scene, I remember the way he sang at the time-soft, pretty but almost shy, as if someone might be bothered by his efforts and admonish him."
Playing the show late into the night and living with his wife and small child in his tiny apartment, Orbison often sought refuge with his guitar in his car and wrote a song there. Songwriter Joe Melson, an Orbison acquaintance, knocked on his car window one day in Texas in 1958, and both decided to try to write some songs together. In three recording sessions in 1958 and 1959, Orbison recorded seven songs at RCA Nashville, producing Atkins, but only two singles were rated worthy of release by RCA; Wesley Rose brought Orbison to the attention of producer Fred Foster at Monument Records.
Maps Roy Orbison
1960-64: Records of the Monument
Initial single
Orbison was one of the first recording artists to popularize "Nashville sound", doing it with a group of session musicians known as A-Team: guitarists Grady Martin, Harold Bradley, Fred Carter, Jr., and Ray Edenton; bassist Bob Moore; pianist Floyd Cramer or Hargus "Pig" Robbins; drummer Buddy Harman; and backup vocals by Jordanaire or Anita Kerr Singers. Nashville's voice was developed by Chet Atkins producer Owen Bradley (who works with Patsy Cline), Sam Phillips and Fred Foster. In his first session for the Monument in Nashville, Orbison recorded a song that RCA has refused, "Paper Boy", which is supported by "With the Bug", but not mapped.
According to musician and writer Albin Zak, the studio (with sound engineer Bill Porter, who experimented with miking near the backing doo-wop singer), was produced by Foster, and the accompanying musician gave Orbison a "polished, professional sound.". ultimately allowing the liberty of liberating Intrinsic tendencies. "To add to the sound of Nashville, Orbison requested a string section in the studio.This combination, he recorded three new songs, the most famous being Uptown, written by Joe Melson Impressed by the result, Melson later recalled , "We stand in the studio, listen to the screenings, and think it's the most beautiful sound in the world." The Rolling Stone Illustrated History of Rock and Roll states that Orbison music made in Nashville "brings a new splendor to rock ", and compared the melodramatic effects of orchestral accompaniment with music producer Phil Spector.
"Uptown" reaches number 72 on the Top 100 Billboard, and Orbison directs its attention to contract negotiations with upscale nightclubs somewhere. The initial success came just as the rock-and-roll era of the 50s subsided. Elvis Presley serving in the US Army, Jerry Lee Lewis has been humiliated after marrying his 13-year-old cousin, and Buddy Holly died in a plane crash. Beginning in 1960, the charts in the United States were dominated by teen idols, new acts, and Motown girl groups.
Top 10 clicks
1960-62
Experimenting with new sounds, Orbison and Joe Melson wrote songs in the early 1960s that used elements from "Uptown", and another song they wrote entitled "Come Back to Me (My Love)", the string used and Anita Kerr doo-a singer friend supporters. It also displays a note stricken by Orbison in the falsetto that exhibits a powerful voice that, according to Clayson's biography, "comes not from his throat but deeper". The song was "Just Lonely". Orbison and Melson tried to lower it to Elvis Presley and the Everly Brothers but were rejected. They even recorded a song in RCA's Nashville studio, with sound engineer Bill Porter trying a completely new strategy: building the mix from top to bottom rather than from bottom to top, starting with back-miced backing vocals in the foreground, ending with rhythm section soft in the background. This combination became Orbison's trademark voice.
"Only the Lonely One" shot to number two on Billboard Hot 100 and hit number one in the UK and Australia. According to Orbison, the next songs he wrote with Melson during this period were built with sounds in his mind, in particular to showcase his range and strength. He said Rolling Stone in 1988, "I love the sound [of my voice].I like to make it sing, make the sounds ring, and I keep doing it And I think that somewhere between" Ooby Dooby "and" Just Lonely ", it turned into a good voice." His success turned Orbison into a star last night and appeared on Saturday Night Beechnut Show Dick Clark from New York City. When Presley heard "Only Lonely" for the first time, he bought a box of coffee to share with his friends. Melson and Orbison followed him with a more complex "Blue Angel", which reached # 9 in the US and # 11 in the UK. "I'm Hurtin '", with "I Can not Stop Loving You" as a B-side, climbed to # 27 in the US but failed to record in the UK.
Orbison can now move to Nashville permanently with his wife Claudette and two sons Roy DeWayne and Anthony King. Back in the studio, looking for a change from the pop sounds "Just Lonely" and "I'm Hurtin '", Orbison works on the new song, "Running Scared", based loosely on Ravel's rhythm BolÃÆ' Â © ro ; The song is about a man looking for his girlfriend's girlfriend before, whom he fears will try to take him away. Orbison had trouble when he found himself unable to reach the highest tune of the song without breaking his voice. He is supported by an orchestra in the studio and Porter tells him that he should sing louder than his accompaniment because the orchestra can not be softer than his voice. Fred Foster then put Orbison in the corner of the studio and surrounded it with a coat rack to form an improvised isolation chamber to emphasize his voice. Orbison was unhappy with the first two picks. However, on the third, he abandoned the idea of ​​using falsetto and sang a high 'A' song naturally, so surprising everyone in attendance that the accompanying musicians stopped playing. On the third take, "Running Scared" is finished. Fred Foster then remembers, "He did it, and everyone looked around in amazement. Nobody had heard of anything like that before." A few weeks later "Running Scared" reached number 1 on the Billboard Hot 100 chart and number 9 in the UK. The following hits composition of Orbison reflects "Running Scared": a story about an emotionally vulnerable man facing loss or sadness, with crescendo culminating in a shock climax that uses Orbison's dynamic sound.
"Crying" followed in July 1961 and reached number 2; it's combined with R & amp; B up-tempo, "Candy Man", written by Fred Neil and Beverley Ross, who reached Billboard Top 30, was on the charts for two months. While Orbison was on an Australian tour in 1962, an Australian DJ called it lovingly as "The Big O", partly based on a great ending to his dramatic ballad, and the moniker stuck with him afterward. The second son of Orbison was born in the same year, and Orbison reached number four in the United States and number two in the UK with "Dream Baby (How Long Must I Dream)", a cheerful song by country songwriter Cindy Walker. (Orbison producers would later form the Candymen quintet, which was the band backing Orbison from 1965 to 1970, while releasing several singles and two albums of their own). Also in 1962, he charted with "The Crowd", "Leah", and "Workin 'for the Man", which he wrote about working in the summer in an oil field near Wink. His relationship with Joe Melson, however, worsened on Melson's growing concern that his own solo career would never get out of the ground.
1963-64
Orbison eventually developed a persona and image that did not reflect his personality. He had no public relations in the early 1960s, therefore he had little presence in fan magazines, and his lion's arms did not show his picture. The Life Magazine called it an "anonymous celebrity". After leaving thick glasses on the plane in 1963, while on tour with The Beatles, Orbison was forced to wear recipe sunglasses on stage and found that he preferred it. His biographers argue that although he has a good sense of humor and never moody, Orbison is very shy and suffers from severe stage fright; wearing sunglasses helped her hide somewhat from attention. Sunglasses are always present to make some people think that the stationary player was blind. His black outfit and despair in his songs radiated images of mystery and introversion. Its dark, thoughtful person, combined with a tremulous voice in the cheerful ballads marketed to teenagers, made Orbison a star in the early 1960s. His string of top 40 hits continued with "In Dreams" (number 7 US, UK number 6), "Falling" (number 22, UK number 9), and "Mean Woman Blues" (number 5 AS, UK number 3 ) plus "Blue Bayou" (US number 29, UK number 3). According to the official US Orbison discography by Marcel Riesco, the rare alternative version of "Blue Bayou" was released only in Italy. Orbison completed 1963 with a Christmas song written by Willie Nelson, "Pretty Paper" (number 15 in 1963, England number 6 in 1964).
When "In Dreams" was released in April 1963, Orbison was asked to replace guitarist Duane Eddy in a British tour over billing with The Beatles, whose popularity is on the rise. When he arrived in England, he saw the number of ads devoted to the quartet and realized that he was no longer the main target. He had never heard of them and, irritated, asked rhetorically, "What is a Beatle?" who was repaid by John Lennon, after knocking on his shoulder, "I". On the opening night, Orbison chooses to go to the stage first, even though he is a more established act. Known for his raucous displays of extraordinary energy, Lennon, Paul McCartney, George Harrison, and Ringo Starr stood astonished behind the stage as Orbison appeared completely silent and only sang through 14 encores. Finally, when the audience started shouting "We want Roy!" Again, Lennon and McCartney prevented Orbison from happening again by holding it physically. Starr then said, "In Glasgow, we were all backstage listening to the incredible applause he got, he just stood there, not moving or anything." However, through the tour, the two actions were quickly learned to run together, a process made easier by the fact that the Beatles admired his work. Orbison feels a kinship with Lennon, but Harrison with whom he will form a strong friendship.
The tour in 1963 took over Orbison's personal life. His wife Claudette started having an affair with a contractor who built their home in Hendersonville, Tennessee. Friends and relatives connect the details of marriage to their youth and their inability to survive alone and boredom. When Orbison toured again in England in the fall of 1963, he joined him. He is very popular wherever he goes, completing tours in Ireland and Canada. Soon he traveled around Australia and New Zealand with Beach Boys and returned to England and Ireland, where he was so besieged by teenage girls that the Irish police had to stop his show to pull the girls away from him. He went on a tour, traveled to Australia again, this time with the Rolling Stones. Mick Jagger then commented, referring to the snapshot he took from Orbison in New Zealand, "a nice figure of a man in the hot springs, him."
Orbison also began collaborating with Bill Dees, whom he knew in Texas. With Dees, he writes "It's Over", the number one hit in the UK and the song that will be one of his typical pieces for the rest of his career. When Claudette walked in the room where Dees and Orbison wrote to say he was heading for Nashville, Orbison asked if he had any money. Dees said, "A beautiful woman never needs money". Just 40 minutes later, "Oh, Pretty Woman" is over. A riff-laden masterpiece that uses the cheerful grunt he gained from the Bob Hope movie, Orbison's grace nickname was pronounced when he could not hit the record, and the merging of his vulnerable and masculine side rose to number one in the season fall 1964 in the United States and remain on the charts for 14 weeks. It climbed to number one in the UK as well, spending a total of 18 weeks on the charts. The single sold over seven million copies. Orbison's greater success in Britain; as noted by Billboard magazine, "In the 68 week period beginning on August 8, 1963, Roy Orbison was the only American artist to have number one in the UK.He did it twice, with 'It's Over' on June 25, 1964, and 'Oh, Pretty Woman' on October 8, 1964. The latter song also went to number one in America, making Orbison immune to the current chart dominance of British Artists on both sides of the Atlantic. " 1965-69: _Career_decline_and_tragedies "> 1965-69: Declining careers and tragedies
Following "Oh, Pretty Woman", Orbison experienced some turmoil. She and Claudette divorced in November 1964 because of her affair, but both reconciled and returned together 10 months later. His contract with Monument ended in June 1965. Wesley Rose, currently acting as Orbison agent, transferred him from Monument Records to Metro-Goldwyn-Mayer (MGM) (though in Europe he remained with Decca's London Records) for $ 1 million, and understanding that he will expand to television and film, as did Elvis Presley. Orbison is a movie buff and, when not touring, writing or recording, will dedicate time to watching up to three movies a day.
Rose also became Orbison's producer. Fred Foster then suggested that Rose's takeover was responsible for the commercial failure of Orbison's work at MGM. Engineer Bill Porter agrees that Orbison's best work can only be achieved with A-Team RCA Nashville. The first collection of Orbison at MGM, an album titled There Is Only One Roy Orbison , sold less than 200,000 copies. With the British Invasion of 1964-1965, the direction of popular music shifted dramatically, and most Orbison generation players were encouraged from the charts.
On another tour in Britain in 1966, Orbison broke his legs down from a motorcycle in front of thousands of fans shouting at the race track; he did his show that evening with a cast. Claudette went to England to accompany Roy for the rest of the tour. It is now being announced that the couple have remarried and returned together (they remarried in December 1965).
Orbison is fascinated with the engine. He is known to follow the car he likes and make the driver an offer on the spot. He had many collections of cars in the late 1960s.
Orbison and Claudette share love with motorcycles; he grew up around them, but he claimed Elvis Presley had introduced him to motorcycles. The tragedy occurred on June 6, 1966, when Orbison and Claudette were on their way home from Bristol, Tennessee. He hit the door of a pickup truck that had been pulled out in front of him on South Water Avenue in Gallatin, Tennessee, and died instantly.
A grieving Orbison threw himself into his work, collaborating with Bill Dees to write music for The Fastest Guitar Alive , a movie MGM has scheduled to star in as well. Originally planned as a dramatic West but rewritten as a comedy. The Orbison character was a stealing spy, and had to protect and send, gold cubes to Confederate Forces during the American Civil War, and equipped with a guitar that turned into a rifle. Prop allows her to deliver the phrase, "I can kill you with this and play your funeral parade at the same time", with - according to Colin Escott's biography - "nil confidence". Orbison was pleased with the film, although it proved to be a critical failure and box office. While MGM puts five movies in its contract, nothing else is made.
He recorded an album dedicated to Don Gibson's songs and other Hank Williams covers, but both sold poorly. During the counter-era, with charts dominated by artists like Jimi Hendrix, Jefferson Airplane, the Rolling Stones, and the Doors, Orbison felt lost and without direction, then said: "[I] did not hear many things I could associate with me like standing it's like a tree where the wind blows and the seasons change, and you're still there and you're blooming again. "
During the British tour and playing Bournemouth on Saturday, September 14, 1968, he received word that his home in Hendersonville, Tennessee, had been burned, and his two eldest sons died. The property was sold to Johnny Cash, who destroyed the building and planted a garden on it. On March 25, 1969, Orbison married a German teenager, Barbara Jakobs, whom he met a few days before his son's death. Wesley (b. 1965), his youngest son with Claudette, was raised by Orbison's parents. Orbison and Barbara had a son (Roy Kelton) in 1970 and another (Alexander) in 1975.
1970s-80s
Struggle
Orbison continued recording albums in the 1970s, but none sold more than a few copies, and in 1976, it has gone through a decade without album charting. In addition to some minor hits in Australia, he also failed to produce a single charting after the 1960s. His fate drowned so low that he began to doubt his own talent and some of his 1970s albums were not released internationally because of low US sales. He left MGM Records in 1973 and signed an album deal with Mercury Records. Author Peter Lehman will later observe that his absence is part of the mystery of his persona: "Since it is never clear where it came from, no one cares where he goes; he just left." However, his influence is very subtle as some artists released their songs, which proved popular. The Orbison version of "Love Hurts", a song made by Felice and Boudleaux Bryant and first recorded by the Everly Brothers, was recreated by Gram Parsons and Emmylou Harris, again by hard rock band Nazareth, and by skilled blues Jim Capaldi. Sonny James sends "Only Lonely" to No. 1 on the country music charts. Bruce Springsteen ended his concert with Orbison songs, and Glen Campbell had a small hit with a remake of "Dream Baby".
Orbison's biggest hits compilation went to No. 1 in England in January 1976. That same year, he began opening concerts for the Eagles, which began as band backups Linda Ronstadt. Ronstadt himself covered "Blue Bayou" in 1977, his version reaching No. 1. 3 on the Billboard charts and stay on the charts for 24 weeks. Orbison praised this cover particularly for evoking his memory in popular minds, if not his career. He signed again with the Monument in 1976 and recorded "Regeneration" with Fred Foster, but proved to be no more successful than before.
At the end of 1977, Orbison was not feeling well and decided to refrain in Hawaii. While there, he went to the hospital where the tests found that he had greatly inhibited the coronary arteries. On January 18, 1978, Orbison underwent coronary bypass surgery. He has been suffering from duodenal ulcers since the early 1960s and has been a heavy smoker since his adolescence. She feels revitalized after a triple bypass, but she continues to smoke, and her weight fluctuates for the rest of her life.
In 1980, Don McLean charted with "Crying" and his version suddenly topped the first charts in the Netherlands, then reached No. 1. 5 in the US and remain on the charts for 15 weeks; it was No. 1 in England for three weeks, and also occupied the Irish Charts. Although he was all forgotten in the US, Orbison reached the most unlikely place for rock and roll legends, such as Bulgaria for example in 1982. He was surprised to find that he was as popular as in 1964; he was forced to stay in his hotel room because he was mobbed in the streets of Sofia. In 1981, he and Emmylou Harris had won a Grammy Award for their duet "That Lovin 'You Feelin' Again" (from the comedy movie Roadie , in which Orbison also had a cameo role) and the stuff take. It was his first award, and he felt hopeful for a full return to popular music. However, it will be a few more years until this is paying off. Meanwhile, Van Halen released the cover of hard-rock "Oh, Pretty Woman" on their 1982 album Diver Down, again exposing the younger generation to the Orbison heritage.
Career revival
Orbison initially rejected David Lynch's request to allow the use of "In Dreams" for the movie Blue Velvet (1986). Lynch keeps using it (though its first choice is "Crying"); this song is presented as one of the few obsessions of a psychopath character named Frank Booth (played by Dennis Hopper). It was lip-synched by a sissy drug dealer played by Dean Stockwell, after Booth who demanded the song to be played over and over, after defeating the protagonist while the song was played. During the filming, Lynch requested that the song be played repeatedly to give a surreal atmosphere. Orbison was initially shocked at his use: he saw a movie at a theater in Malibu and then said, "I'm embarrassed because they're talking about 'candy clowns' in relation to drug deal... I think,' What's in the world.. But later, when I was on tour, we took out the video and I really have to appreciate what David gave for the song, and what the song did to the movie - how he achieved this other world quality that added a new dimension to 'In a dream'. "
In 1987, Orbison's career was fully revived. He released his re-recorded hits album, titled In Dreams: The Greatest Hits . A song she recorded, "Life Fades Away", written with her friend Glenn Danzig, was featured in the movie Less Than Zero (1987). He and k.d. lang performs a "Crying" duet to be included on the movie soundtrack, Hiding Out (1987), winning the Grammy for Best Country Collaboration with Vocals.
Also in 1987, Orbison was inducted into the Nashville Songwriters Hall of Fame and initiated into the Rock and Roll Hall of Fame by Bruce Springsteen, who ended his speech with a reference to his own album Born to Run: "I want a recording with words like Bob Dylan that sounds like Phil Spector - but, most importantly, I want to sing like Roy Orbison.Now, everyone knows that no one sings like Roy Orbison. " In response, Orbison asked Springsteen for a copy of the speech, and told the inductions that he felt "validated" by honor. A few months later, Orbison and Springsteen pair up again to record a concert at Cocoanut Grove night club in Los Angeles. They joined Jackson Browne, T Bone Burnett, Elvis Costello, Tom Waits, Bonnie Raitt, Jennifer Warnes, James Burton, and k.d. lang. Lang then tells how humble Orbison is with the support of so many talented and busy musicians: "Roy looks at us all and says, 'If there's anything I can do for you, please call me.' He's very serious. We are very emotional. "The concert was filmed in one shot and aired in Cinemax with the title of Roy Orbison and Friends: A Black and White Night; it was released on video by Virgin Records, selling 50,000 copies.
Traveling Wilburys and Mystery Girl
It was also in 1988 that Orbison began to collaborate seriously with banditator Electric Light Orchestra Jeff Lynne on the new album. Lynne had just finished her production work on George Harrison's Cloud Nine album, and the three had lunch one day when Orbison accepted an invitation to sing a song from Harrison's new single. They then contact Bob Dylan, who, in turn, allows them to use the recording studio at his home. Along the way, Harrison made a quick visit to Tom Petty's residence to get his guitar; Petty and his band have supported Dylan on his last tour. On that night, the group wrote "Handle with Care", which led to the concept of recording the entire album. They call themselves Traveling Wilburys, representing themselves as half-brothers with the same father. They gave themselves the stage name; Orbison chose him from his musical hero, calling himself "Lefty Wilbury" after Lefty Frizzell. Expanding on the concept of a hoarse musician band, Orbison offered a quote on the group's foundations to honor: "Some people say Daddy is a cad and boundary, I remember him as a Baptist preacher."
Lynne then talked about the recording session: "Everyone just sits there going, 'Wow, that's Roy Orbison!'... Even though he's your friend and you hang out and laugh and go to dinner, as soon as he gets behind the [mic] and he does his business, all of a sudden his time is shuddering. "Orbison was given a solo song," Not Alone Anymore " , in the album. His contribution is highly praised by the press. Travel Wilburys Vol. 1 spent 53 weeks on the US charts, peaking at number three. Reached No. 1 in Australia and was ranked number 16 in the UK. This album won the Grammy for Best Rock Performance by Duo or Group. Rolling Stone put it into the top 100 albums of the decade.
Orbison is in dire need of concerts and interviews once again, and seems to be thrilled. He began writing songs and collaborating with many musicians from his past and newer fans, to develop solo albums,
Mystery Girl is produced jointly by Jeff Lynne, considered by Orbison to be the best producer he has ever collaborated with. Elvis Costello, Wesley Wesley's son and the others offered their song to him. The biggest hit of the album is "You Got It", written with Lynne and Tom Petty. This is posthumously rose to No. 9 in the US and No. 3 in the UK.
In 2014, Orbison's demo "The Way Is Love" was released as part of the 25th anniversary edition of Mystery Girl . The song was originally recorded on a stereo cassette player circa 1986. Orbison's son contributed the instrumentation on the track along with Roy's vocals; this is produced by John Carter Cash.
Although the video for Wilburys "Handle with Care" was filmed with Orbison, the video for "End of the Line" was filmed and released posthumously. During the Orbison vocal parts in "End of the Line", the video shows a guitar in a rocking chair, next to an Orbison framed photo.
Death
Orbison earnestly pursues his second chance as a star, but he expresses his admiration for his success: "It's great to be searchable again, but I still can not believe it." He lost weight to adjust his new image and continuous tour requests, as well as more recent demands to make videos. In the last three months of his life, he gave Rolling Stone wide access magazines to his daily activities; he intended to write an autobiography and wanted Martin Sheen to play it in a biopic. In November 1988, Mystery Girl was finished, and
Orbison performed at the Front Row Theater in Highland Heights, Ohio, on December 4th. Exhausted, he returned to his home in Hendersonville to rest for a few days before flying back to London to film two more videos for Traveling Wilburys. On December 6, he spent the day flying model airplanes with his children and having dinner at his mother's home in Hendersonville. Later that day, he died of a heart attack, at the age of 52 years.
The National Enquirer tabloid suggested on its cover that Orbison had worked to the death. Warnings are held in Nashville, and another in Los Angeles. She was buried in Westwood Village Cemetery Cemetery in an unmarked grave. On April 8, 1989, Orbison became the first musician of the deceased since Elvis Presley had two albums in Big Five US at the same time, with Traveling Wilburys at number 4 and Mystery Girl itself at number 5. In the United Kingdom , he achieved greater success in posthumous, with two solo albums in the Top 3 of the February 11, 1989, Mystery Girl chart at number 2 and The Legendary Roy Orbison compilation at number 3.
Style and inheritance
Orbison is considered a rock-and-roll pioneer and has been cited by many critics as one of the most influential musicians of the genre, but his style is famous for how it departs from the norm. Rock and roll in the 1950s was defined by the driving backbeat, heavy guitar, and lyrical themes that glorified the young rebellion. Some Orbison records have this characteristic. The structure and theme of the song are against the convention, and his voice style is highly praised and his performance is unlike any other rock and roll music. Many of his contemporaries compared his music to trained classical musicians, although he never mentioned the influence of classical music. Peter Lehman sums it up, writes, "He achieved what he did not by copying classical music but by creating a unique form of popular music that appealed to various popular types of music during his youth."
Songwriting
Structure
Music critic Dave Marsh writes that Orbison's composition "defines the world to itself more fully than any other work in pop music". Orbison music, like the man himself, has been described as timeless, shifting from contemporary rock and roll and bordering on eccentricities, in strange hair extensions. Peter Watrous, writing for the New York Times, stated in a concert review, "He has perfected the strange vision of popular music, where eccentricity and imagination beat back all the pressure toward conformity."
In the 1960s, Orbison refused to unite the songs together and insisted on recording them in single shoots with all the instruments and singers together. The only Orbison convention followed in its most popular songs is the deadline for radio fares in pop songs. Otherwise, each seems to follow a separate structure. Using standard thirty-two bars for verses and choruses, normal pop songs follow the chorus-verse-chorus-bridge-verse-chorus arrangement. Where A represents the verse, B represents the chorus, and C the bridge, most pop songs can be represented by A-B-A-B-C-A-B, such as "Ooby Dooby" and "Claudette". Orbison's "In Dreams" is a song in seven movements that can be represented as Intro-A-B-C-D-E-F; no repeating part. In "Running Scared", however, the entire song repeats to build tension to the final climax, to be represented as A-A-A-A-B. "Crying" is more complex, turning the sections toward the end to be represented as A-B-C-D-E-F-A-B'-C'-D'-E'-F '. Although Orbison recorded and composed the standard structure song before "Just Lonely", he claimed never learned how to write it:
I'm sure we have to learn composition or something like that at school, and they'll say 'This is the way you do it,' and that's how I'll do it, so blessed again by not knowing what's wrong or what's right, I'm going my way alone.... So the structure sometimes has a chorus at the end of the song, and sometimes no chorus, it just goes away... But that's always after the facts-I'm writing, everything sounds natural and sequential to me. "
Songwriting partner Elton John and lead lyricist Bernie Taupin write that Orbison songs always make "radical left turns", and k.d. lang states that good songwriting comes from constantly startled, like how the whole "Running Scared" ultimately depends on the last note, one word. Some musicians who work with Orbison are bewildered by what he asks them to do. Nashville session guitarist Jerry Kennedy stated, "Roy fights the stream, the first time you hear something, it will not sound right, but after a few screenings, it will start growing on you."
Themes
Critics Dave Marsh categorized Orbison ballads into themes that reflected pain and loss, and dreamed. The third category is rockabilly uptempo like "Go! Go! Go!" and the simpler thematic "Mean Woman Blues", addressing their feelings and intentions in the masculine braggadocio. In concert, Orbison puts uptempo songs between ballads so as not to be too dark or grimly consistent.
In 1990, Colin Escott wrote an introduction to Orbison's biography that was published in a set of CD boxes: "Orbison is the compression master." Working in a single age, he can tell a short story, or build a mood in less than three minutes. it's easy - try it.The biggest record is pretty perfect, not a surplus word or note for intent. "After attending the show in 1988, Peter Watrous of The New York Times wrote that Orbison songs are" set pieces full of dreams and full of mystery ". Music critic Ken Emerson writes that the "apocalyptic romance" in Orbison music was well-made for the films his songs appeared in the 1980s because his music was "so over-the-top that dreams become delusional, and self-pity paranoia" striking "postmodern nerves". Singer Led Zeppelin, Robert Plant prefers music R & amp; B was a young American, but outside of black musicians, he named Elvis and Orbison primarily as a shadow of emotion that he would experience: "The sharpness of the lyrics and sound mix is ​​amazing. [Orbison] uses drama very well and he writes dramatically."
Lonely in Orbison's most famous songs, he explains and belittles: "I do not think I'm lonely anymore than anyone else... Even if you grow up in West Texas, there are many ways to be lonely." His music offers an alternative to masculinity which are positioned pervasive in music and culture. Robin Gibb from Bee Gees stated, "He made fashionable emotions, that it's okay to talk and sing about very emotional things.For men sing about things so emotionally... Before that no one would do it. " Orbison admits this in looking back to the era in which he became popular: "When [" weeping "] out, I do not think anyone would accept the fact that a man should cry when he wants to cry." Peter Lehman, on the other hand, considers Orbison's theme of constant vulnerability an element of sexual masochism.
Sound quality
Orbison admitted that he did not think his voice was used properly until "Only Loneliness" in 1960, when it was able, in his words, to allow "flowering". However, Carl Perkins toured with Orbison when they both signed with Sun Records and recalled certain concerts when Orbison covered the "Love Call India" standard of Nelson Eddy and Jeanette MacDonald, and made the audience completely silent, in awe. When compared to Everly Brothers, who often use the same session musicians, Orbison is credited with "passionate intensity" which, according to The Rolling Stone Illustrated History of Rock and Roll, makes her "love, life, and , indeed, the whole world [seems] to be over - not with a whimper, but a great and beautiful explosion ".
Bruce Springsteen and Billy Joel both commented on Orbison's sound quality from another world. Dwight Yoakam stated that Orbison's voice sounded like "an angel's appeal fell backward through an open window". Barry Gibb of The Bee Gees goes so far as to say that when he hears "Crying" for the first time, "That's it. To me it's God's voice." Elvis Presley declared that his voice was the greatest and most characteristic he had ever heard. The music and sound of Orbison have been compared to operas by Bob Dylan, Tom Waits, and songwriter Will Jennings, among others. Dylan marked Orbison as a special influence, commenting that there was nothing like him on the radio in the early 1960s:
Likewise, Tim Goodwin, who leads the orchestra in support of Orbison in Bulgaria, has been told that Orbison's voice will be a singular experience to be heard. When Orbison started with "Crying" and pressed on a high note, Goodwin stated: "The strings are being played and the band has been built and, of course, the hair on the back of my neck just started to stand. Bassist Jerry Scheff, who supports Orbison in A Black and White Night concert, writes about him, "Roy Orbison is like an opera singer, his voice melts out of his mouth into the stratosphere and back.He never seems to try singing , he just did it. "
The fears of Orbison's heavy stages were particularly evident in the 1970s and early 1980s. During the first few songs of the concert, the vibrato in his voice was barely controllable, but after that, he became stronger and more reliable. This also happens with age. Orbison noticed that he could not control his tremors in the afternoon and evening, and chose to record in the morning when it was possible.
Performance
Orbison often forgave his motionless appearance by saying that his songs do not allow instrumental parts so he can move or dance on stage, even though a song like "Mean Woman Blues" does offer it. He realized his unique style of appearance even in the early 1960s when he commented, "I'm not a super personality - on stage or off.I mean you can put workers like Chubby Checker or Bobby Rydell in a second-rate show, and they're still shining, but not me, I have to be ready, people come to hear my music, my song, that's what I have to give them. "
Lang compares Orbison with a tree, with a passive but solid beauty. The image of Orbison as being immovable strongly associated with it was parodied by John Belushi on Saturday Night Live, as Belushi dressed up as Orbison crashed while singing "Oh, Pretty Woman", and continued playing as his bandmates made it upright again. However, Lang measured this style by saying, "It is very difficult to explain what Roy's energy is like because he will fill the room with energy and presence but does not utter a word, so he is so attached and so strong and gentle and calm. there. "
Orbison attributes his own passion during his performance to a period when he grew up in Fort Worth while the United States was mobilizing for World War II. His parents worked in a defense factory and his father would bring the guitar at night and their friends and relatives who had just joined the military would gather, and drink and sing earnestly. Orbison then reflects, "I think that level of intensity makes a big impression on me, because it's still there.True it 'do for all the things that are worthy and do now and do well.' Not to analyze it too much, but I think the spirit and passion that everyone feels and portrayed around me have stayed with me all along. "
Discography
Awards
- Grammy
- Best Duo or State Performance Group (1980), with Emmylou Harris
- Best Lecture or Non-Musical Records (1986), with Johnny Cash, Carl Perkins, Jerry Lee Lewis, Sam Phillips, Rick Nelson, and Moman Chips
- Best Country Vocal Collaboration (1988), with k.d. lang
- Best Rock Show by Duo or Group with Vocals (1989), as part of Traveling Wilburys
- Best Pop Vocal Performance, Male (1990)
- Lifetime Achievement Award (1998)
- Rock and Roll Hall of Fame (1987)
- Nashville Songwriters Hall of Fame (1987)
- Songwriter Hall of Fame (1989)
- Stars on the Hollywood Walk of Fame (2010)
- American Music Hall of Fame (2014)
- Memphis Music Hall of Fame (2017)
See also
Broadcast feature videos and shows:
- 1964: "The Roy Orbison Show".
- 1965: "Roy Orbison: Combo Concert"
- 1972: Roy Orbison - Direct from Australia
- 1975: "Roy Sings Orbison"
- 1982: Live in Austin City Limit
- 1968: "Live In Texas"
- 1988: Roy Orbison and Friends: Black & White Night
- 1999: In Dream: The Roy Orbison Story
Note
References
Source
- Amburn, Ellis (1990). Dark Star: The Roy Orbison Story , Carol Publishing Group. ISBNÃ, 0-8184-0518-X.
- Chocolate, Tony; Kutner, Jon; Warwick, Neil (2000). Full English Chart Book: Singles & amp; Album , Omnibus. ISBNÃ, 0-7119-7670-8.
- Clayson, Alan (1989). Just Lonely: The Life and Inheritance of Roy Orbison . St. Martin's Press. ISBNÃ, 0-312-03961-1.
- Clayton, Lawrence; Sprecht, Joe, eds. (2003). The Roots of Texas Music , Texas A & amp; M University Press. ISBNÃ, 1-58544-997-0.
- Creswell, Toby (2006). 1001 Songs: The Greatest Songs of All Time and the Artists, Stories, and Secrets Behind Them . Mouth Quake Press. ISBNÃ, 1-56025-915-9.
- DeCurtis, Anthony; Henke, James (eds.) (1992). The Rolling Stone Illustrated History of Rock & amp; Scroll . Random House. ISBN 0-679-73728-6.
- Hoffman, Frank W., Ferstler, Howard (2005). Encyclopedia of Recorded Sound, Volume 1 . Press CRC. ISBNÃ, 0-415-93835-X.
- Lehman, Peter (2003). Roy Orbison: Invention of Alternative Stone Masculinity . Temple University Press. ISBNÃ, 1-59213-037-2.
- Official Orbison Discography by Marcel Riesco. The Authorized Roy Orbison (page 245). ISBN: 9781478976547.
- Orbison, Alex; Orbison, Wesley; Orbison, Roy Jr.; Slate, Jeff; Riesco, Marcel (2017). The Authorized Roy Orbison . ISBN: 9781478976547.
- Whitburn, Joel (2004). Billboard Top 40 Hits Books. Billboard book. ISBNÃ, 0-8230-7499-4.
- Wolfe, Charles K., Akenson, James (eds.) (2000). Country Music Annual , edition 1. University Press of Kentucky. ISBNÃ, 0-8131-0989-2.
- Zak, Albin (2010). "'Only The Lonely' - Roy Orbison's Sweet West Texas Style", pp. 18-41 at John Covach and Mark Spicer, Sounding Out Pop: Analytical Essay in Popular Music . University of Michigan Press. ISBNÃ, 0-472-03400-6.
External links
- www.royorbison.com - the official website
- Roy Orbison at Discover the Mausoleum
- Roy Orbison at EncyclopÃÆ'Â|dia Britannica
- Roy Orbison at AllMusic
- Roy Orbison at IMDb
- Roy Orbison: The Big Life Stories by Marie Claire Australia magazine
- Hugo Keesing Collection at Roy Orbison - Special Collection in Performing Arts, University of Maryland
Source of the article : Wikipedia
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