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ЛЕНТА НОВОСТЕЙ РОЯ ОРБИСОНА
Goldenday: Здесь материалы, новости, факты и статьи о Рое Орбисоне.
Sergey`M: Если это концерт Black and White Night, то он потрясающий. Я закачал его недавно в формате HDTV - настоящий шедевр! Энергетика концерта зашкаливает!!!
Voldar: Это точно,классный концерт.
Goldenday: Свежие переиздания:
Voldar: 8 Artists Who Were Inspired by Roy Orbison На сайте фирмы Гибсон опубликована статья в которой называются музыканты на которых оказал большое влияние Рой Орбисон.Среди них известные и любимые нами лица. http://www.gibson.com/en-us/Lifestyle/Features/roy-orbison-1111/
Voldar: Специально для наших дам. Барбара Орбисон (Barbara Orbison), вдова певца Роя Орбисона (Roy Orbison), запускает собственную линию парфюмов «Pretty Woman». Она стала не только вдохновительницей данной бизнес-идеи, но и ее абсолютным исполнителем, начиная от создания концепции и микса ингридиентов и заканчивая дизайном упаковки. «Я хотела создать парфюм, который позволил бы воплотить атмосферу тепла и гармонии», - говорит Барбара Орбисон. «Я верю, что любая женщина прекрасна, и мой аромат послужит еще одним инструментом, который поможет донести до окружающих ее красоту, уверенность в себе и своих силах, чувственность и чувствительность». http://www.thegoodlife.ru/image/1465-pretty_woman.html
Goldenday: Даже мне уже хочется попшикаться Остаётся только надеяться, что сей продукт, дойдя до наших мест, не приобретёт заоблачных цен.
ТНЮ: Понюхать бы хотя бы одной ноздрёй.....
Voldar: Как это ни печально - сегодня 21 годовщина смерти Роя Орбисона
Goldenday: Не верится и грустно. Как-то получается, что и Харрисона и Леннона и Орбисона не стало примерно одинаково: поздней осенью или в конце года (кто как считает)
Voldar: Фирма Гибсон,определенно наша союзница.Сегодня на сайте опубликована статья в которой расказывается о истории создания песни “Pretty Woman”.Привожу её полностью. The Story Behind The Song: How Roy Orbison Wrote ‘(Oh) Pretty Woman’ In the fall of 1964, girls around the world gathered around their dial radios waiting, wishing for “(Oh) Pretty Woman” to play again. They weren’t kept waiting long, as the Rob Orbison song coated the airwaves that autumn, reaching the top of the charts in both the U.S. and the U.K. Todayit remains Orbison’s best-known song, selling seven million copies and winning a Grammy in 1991, several years after his death. In his mid-’60s heyday, Orbison’s popularity rivaled the Beatles’, in part because of the wild success that was “(Oh) Pretty Woman.” Those same girls who’d listened so raptly to their radios were the ones who pushed their ironed blouses longingly against the front of stages where Orbison stood; they were the ones who created mobs outside any hotel where he stayed. Orbison later said his image wasn’t deliberate, but hisdark glasses and clothingmade him seem mysterious.Most important was his great, tumbling voice — one of the most expressive and beloved singing voices of all time. Though “(Oh) Pretty Woman” doesn’t showcase the otherworldly capabilities of his voice quite as impressively as hits like “Only The Lonely,” the song remains Orbison’s calling card, 21 years after his death. But few know the backstory behind his biggest hit, including that it was written on his 12-string acoustic Epiphone. Orbison is best associated with the Gibson ES-335 that he was so often pictured with on-stage, but “Pretty Woman’s” signature barreling guitar riff was indeed first plucked on his 1962Epiphone Bard 12-string, which Gibson recreated in his honor this year. Orbison’s guitar choice wasn’t the only thing uncharacteristic about “(Oh) Pretty Woman.” The tune was a light-hearted change of pace for the songwriter, who built his reputation on heartbreakers like “Only The Lonely” and “Crying.” But it was written during acalm spot in an otherwise turbulent relationship, several years before the death of his first wife Claudette, who was killed in a motorcycle accident in 1966 and his two eldest sons, who died in a house fire in 1968. Orbison himself died of a heart attack in 1988, but not before remarrying to a beautiful teenager named Barbara, whom he’d met while on tour. Today Barbara Orbison tends the Orbison estate and carefully guards the memory and the song collection of her beloved husband. Of his biggest hit, she has said, “It’s like Bruce Springsteen said; “‘(Oh) Pretty Woman’ is the best girl-watching rock and roll song ever.” The year was 1963 when Orbison sat down with his friend and fellow Texan Bill Dees— who also helped generate Orbison’s hit “It’s Over.” In a 2008 interview with NPR’s All Things Considered radio program, Dees recalled the fateful night when he helped Orbison write “(Oh) Pretty Woman.” “[Roy and his wife] had been separated and divorced actually and had gotten back together,” said Dees.“When they got back together, he was just a changed person. “The night we wrote ‘Pretty Woman’ ... she came bopping down the stairs and said, ‘Give me some money.’ He said, ‘What do you need money for?’ And she said, ‘Well I have to go to the store.’ And as she walked away they were whispering and kissing bye. And he came back to the table, and I said, ‘Does this sound funny? Pretty woman don’t need no money. He laughed and said, ‘There’s nothing funny about pretty woman.’ He right away started, pretty woman walking down the street. By the time she got back, we had it written.” Of Orbison laying down the word ‘mercy’ over that barreling guitar riff, Dees said, “He turned to me with the guitar lick, and he said, ‘I feel like I need to say something while they’re playing [that guitar lick. I said, ‘Well, you’re always saying ‘mercy,’ why don’t you say mercy?’ You know, I said, ‘Every time you see a pretty girl you say mercy.’” Whether “Pretty Woman” brings to mind Orbison’s early stage presence — his smiling eyes hidden behind Ray Ban Wayfarers — or Julia Roberts’ sashaying hips in her tawdry street walker dress, it’s a song that continues to delight generations of people. It’s lived on in covers by everyone from Van Halen to Green Day, and has played in the soundtracks to dozens of TV shows and movies, most memorably Pretty Woman, the Roberts movie that borrowed its title from Orbison’s song. It’s Epiphone’s hope that Orbison’s limited edition 12-string also helps to keep his memory and his songs alive. The guitar is a faithful reproduction of the 1962 original includes a replica of Roy Orbison’s signature on the back of the headstock, as well as the notation for the first measure of “(Oh) Pretty Woman.” Also included is a hard case with Roy’s signature and “sunglass” icon on it, a certificate of authenticity hand-signed by Barbara Orbison and Roy’s son, Roy Orbison, Jr., a black and white photo of Roy with his original 12-string, a “sunglass” lapel pin and a copy of the “Oh, Pretty Woman” sheet music. “As a young brilliant guitar player growing up in West Texas, Roy would have never dreamt that he would one day have his own Epiphone signature guitar named after him,” Barbara Orbison has said. “Roy wrote ‘(Oh) Pretty Woman’ on his Epiphone 12-string acoustic guitar. [The song] features one of the most instantly recognizable rock and roll guitar riffs … I hope the next generation of artists will feel inspired to write another great rock and roll song thanks to this guitar.”
Voldar: Новости с сайта фирмы Гибсон.На этот раз опубликовано интервью с Барбарой Орбисон. The Gibson Interview: Barbara Orbison It’s a blustery December day in Nashville, and Barbara Orbison is holed up in her office, granting interviews with various news agencies. “I could ice skate it’s so bad,” she says of the weather, her elegant German accent tempered by years of residence in Nashville and Malibu. “You don’t even want to send a dog out.” Despite the dreary weather, you can’t help but to imagine that Barbara’s green eyes shine just the way they did when she met her late husband, Roy, 41 years ago as a teenager. And when she says, “I loved him, madly,” you know it’s true and you know she still does, even 20 years after his death. Speaking intimately, like an old friend, Barbara remarks, “Roy would have told you that we had five different relationships because at the end I managed him, too. He would say, ‘We have the relationship from a lover to a lover, and from a husband to wife – that means ‘Should we buy a washer and dryer?’ – and then a friend to a friend and from a mother to a father – meaning, ‘Oh what’s happened to the kids? Are they flunking in school? Do they need braces?’ And then last but not least was the manager to the singer.’ We learned to separate those and have fun with all of them.” The consummate businesswoman, Barbara talks enthusiastically of her new Pretty Woman perfume, of Roy’s upcoming induction onto the Hollywood Walk of Fame and of her hope that her publishing company will cinch this year’s Grammy for Song of the Year with a certain ubiquitous Taylor Swift song. Barbara talks, too, of the new Epiphone Roy Orbison 12-string — of which she is so proud. Now that the guitar is finished, what’s your impression of it? I love it. Especially when I talk to Sammy Ash of Sam Ash and he tells me how good it’s going and that he has interest from lots of females and young girls. We have one Epiphone guitar that is like the exact model that Roy wrote “Pretty Woman” on in ’64. On the next guitar, we put the “Pretty Woman” logo on the front and that’s going to be our girly guitar. And I love that idea. I just think girls and 12-strings are so sexy. Lots of girls have picked up 12-strings from Epiphone. Do you remember Roy playing his Epiphone 12-String around the house? Yes, I do. It always was around. It was always upstairs in his writing room. He loved the way a 12-string sounded. Was he a big guitar collector? Did he have a lot of guitars around? I don’t know if he was necessarily a guitar collector. What he was is a really good guitar player. That started in West Texas when Roy, at the age of 7, had his first radio show. It was Saturday in Vernon and he would leave his house with his brother or his mother and one of them would carry the guitar and another a stepstool so Roy could reach the mic. He would have to get prepared each week to play on the air for half an hour. He showed me some of the songs he used to play; they were all Western songs. He would have to play standards and practice all week long. He loved playing the guitar. He said it was like his best friend. He said you just go to it when you’re troubled or upset or sad and when you’re happy. It was just a special relationship he had, and he was first famous for being a guitar player. He was very famous in Texas for being a smoking guitar player. The fame for his voice came later? Yes, when the voice came along, I guess nobody really cared about anything else. But I never hardly saw Roy without a guitar. How can you be a rock and roller and not love your guitar? It’s like somebody being a rodeo star and not loving your horse. Rock and roll and guitars go together. He was famous for certain guitars, like the Gibson 335. That was one of his favorites, but he would have different guitars throughout the years. And he loved guitars and all the pieces and parts. I remember a story. I met Roy in ’68 and not long afterwards his house burned here in Tennessee. It was a big house fire and he lost his two sons in it. After I arrived and we had a new house, there were boxes that survived the fire. One of them was a box and it was marked “Jimmy Page.” And he had another box that was marked “Paul McCartney.” And he explained to me that Paul is a left-hander and he had found parts for left-handed guitars. And then there were certain parts that Jimmy always looked for and Roy would find them and take them to him. Jimmy has told me that story many times. A lot of people love Roy Orbison, The Musician. What made you fall in love with Roy Orbison, The Man? He was just so special. I always say, kiddingly, as a pun, that he was a much better husband than he was a singer. Just the way he sang and the way he looked — I thought he was so extraordinary looking with that black hair and the black glasses and those tight pants and those heeled rock and roll boots. He was so designed and he had such a vision. In life, as a human, he was the same way — he was so extraordinary, not just from the outside or his voice but his inside. He was sweet and he was funny and he was patient and he was non-judgmental. I don’t think in 20 years he ever told me ‘I told you so.’ He loved me, and I loved him. How can you not be so in love with somebody who lights up everytime you walk in? We had good laughs together. We had good times together and we had hard times together. You know I met him right after he had lost the two boys. Did that tragedy end up binding you together? I don’t know about that. We had already met before and fallen madly in love and made plans for the rest of our lives together and then that happened. But I think it shows the strength of that love because neither one of us derailed. We just followed through, and as soon as Roy felt better he got on the plane just like he had intended and flew to Germany and asked my parents for my hand and to come live in America. We had 20 years together and not every day was a sunny day but we had a bond and we knew we just had to work it out and we belonged to one another. There was one child, Wesley, left from the marriage to Claudette and then we had two more boys, Roy Jr. and Alex. And Roy loved my parents and I loved his parents so it was a good love. Describe what life was like with Roy. Did you tour with him? I was totally a rock and roll wife. So that meant I traveled with him and when we had kids, our kids traveled with him. We were together 24/7 whatever we did. We liked spending time together. We got up in the morning together, and we went to sleep at night together and it was a great life because I always felt that Roy totally was 100 percent my partner in life, that he shouldered everything with me. That’s what life was about. We had a good thing going. We learned to live with one another. You know, first you fall in love and nothing ever can wrong and then after two or three years you see, oh, somebody has clay feet or they’re human. Then you go through a rough patch, I think, to really make it work. I went through all of those stages. I’m so happy I had him for 20 years. What’s compelled you to keep his memory alive all this time? It’s not just his memory, it’s my memory. I was 36 when I was widowed and I had two kids and there was no sign of being a widow and there were decisions that were made before Roy died. I mean, he was part of the Traveling Wilburys, he had A Black And White Night, one of the kids was graduating, the other was 13 and still needed me, and I had a mother-in-law that depended on me here in Tennessee. I had certain things that were just my everyday life and then the legacy just sort of came to me to handle. And I don’t know what else I could have done. I could have hired somebody but I didn’t and now that’s what I do. So life goes on. It’s fun.
Voldar: Фирма Epiphone начала продажи лимитированной серии 12-ти струнных гитар имени Роя Орбисона. Представлял новую серию Джим Комаччо в Майями вместе с EMI Music Publishing Latin America. http://www.gibson.com/en-us/Lifestyle/ArtistsAndEvents/Stories/roy-orbison-1214/
Goldenday: Красивая фотка, шикарные футляры. Инструмент, думаю, тоже никого не подкачает.
Voldar: Димка,ты футляры с кем нибудь не перепутал?
Goldenday: Нет Я имел в виду всё в целом. На самом деле, помимо персонажей композиция и цветовая гамма мне очень понравились.
Voldar: Очень романтический исполнитель Chris Isaak,решил порадовать общественность новым альбомом 'Mr. Lucky'.С большим удивлением узнал,что Рой Орбисон является его идолом.Интервью с ним можно прочитать здесь. http://www.cleveland.com/popmusic/index.ssf/2009/12/chris_isaak_took_his_time_writ.html
ТНЮ: Он ещё и киноактёр.
Voldar: NASHVILLE SKYLINE: Willie Nelson's Timeless Christmas Song Chet Flippo в своей колонке NASHVILLE SKYLINE утверждает,что знаменитая песня "Pretty Paper" написанная Willie Nelson и увековеченная Роем Орбисоном,была написана о реальном человеке. Roy Orbison made it a standard of his forever when he recorded it, but Willie Nelson wrote his lovely Christmas song, "Pretty Paper," about a guy I knew slightly. He was a man who had lost both his legs above the knee and -- in those pre-miracle artificial limbs days -- had his leg stumps covered with heavy leather padding and wore thick gloves to pull and slide and scoot his way up and down the sidewalk by the palms of his hands and on his stumps. He sold pencils from a tin cup affixed to his back and also peddled paper and ribbons at Christmas time, as I recall. He mainly worked the sidewalks by Leonard's Department Store in Fort Worth, Texas, where I was working parttime in high school. I have sadly forgotten the man's name, but he always had a smile for everyone and a great sales pitch, and I sometimes would stop and say hello when I would see him. Every time I hear "Pretty Paper," I see this man in my mind's eye, to this day. Willie, who was then also living in Fort Worth (I met Willie years later and asked him about the source of "Pretty Paper"), obviously noticed this man, too, and was affected enough to write a lasting tribute to this now-anonymous, handicapped street peddler. Willie later recorded the song, but when Orbison found it in 1963, he made it famous worldwide. Other artists who have recorded the song include Glen Campbell, Kenny Chesney, Chris Isaak and Freddy Fender. Here are some of the lyrics to "Pretty Paper": Crowded streets busy feet hustle by you Downtown shoppers, Christmas is nigh There he sits all alone on the sidewalk Hoping that you won't pass him by Should you stop better not much too busy Better hurry, my, how time does fly And in the distance the ringing of laughter And in the midst of the laughter he cries Pretty paper, pretty ribbons of blue ... http://www.cmt.com/news/nashville-skyline/1628773/nashville-skyline-willie-nelsons-timeless-christmas-song.jhtml
Goldenday: А почему удивился? Вроде Крис, несмотря на сломанный боксёрский нос, определённо имеет орбисоновский тембр, тематика песен схожая, да и каверы делает на его песни.
Voldar: К сожалению,не модно сейчас "орбисонами" вдохновляться.
Goldenday: Ну Айсик Орбисона давно уважает и любит. А коли какой-нибудь козёл подтрунивать начнёт, кулаки у Криса крепкие по жизни. И практика имеется.
Voldar: Вот нам бы таких крисов побольше.
Voldar: Тюбик,всё таки хорошая штука.К предыдущему посту нашлись отличные ролики,прямо чего то защемило в теле. Оригинал от Вилли Орбисон и поппури от него же
Voldar: Колумнист Dave Newhouse из Oakland Tribune назвал Роя Орбисона в числе 15 лучших мужских голосов за всю историю поп музыки,причем поставил его даже на строчку выше Элвиса.Полный список можно посмотреть здесь http://www.mercurynews.com/columns/ci_14159909?nclick_check=1
Goldenday: Voldar пишет: Колумнист Dave Newhouse Я поначалу прочёл "коммунист" Насчёт того, что вокал Роя круче Элвисовского - согласен. У Орбисона очень красивый голос и редкий тембр для рок-певца.
ТНЮ: А Элтон Джон застолбил 13 место из 15!
Goldenday: По-моему, в списке очень много чернокожих певцов. Не знал, что негритянский вокал круче других
ТНЮ: А составитель данного списка какой расы-то?
Goldenday: А составитель данного списка какой расы-то? Он - колумнист! Они повсюду
Voldar: Браво,Димка,"я плакаль".Причем какого они цвета совершенно не важно.
Voldar: На нашей улице опять праздник,ну вернее не на совсем нашей,а точнее на ихнем Сансете.Но все равно,чертовски приятно,что Роя помнят и крепко помнят.Орбисон получит свою звезду на Hollywood Walk of Fame. Roy Orbison to Be Honored With Star on Hollywood Walk of Fame Церемония закладки состоится 29 января.
ТНЮ: Ну, тормозаааааааааа! Человека уж давно нет, а они опомнились! Как бы Роя этот факт растрогал, если б он был жив.
Goldenday: Как говорится: "лучше поздно..." Хотя с другой стороны молодцы, что и спустя многие годы после смерти чтят своих национальных героев.
Voldar: А это вовсе и не Рой,только его подражатель,но ведь похож? He's so like the Big O PERFORMER Dean Bourne has been described as the new Roy Orbison both physically and vocally, especially when he's singing the Big O's most famous tracks. Locals will have their chance to be dazzled when Bourne takes to the Rooty Hill RSL Club stage on Saturday, February 6, in his Roy Orbison Reborn tribute show. Bourne was treated to standing ovations when he toured the country last year and he's hoping he will get a similar reaction this year. Included in the current set are Orbison standards like Pretty Woman, Crying, Dream Baby, Leah, Blue Bayou, Penny Arcade, Only The Lonely, You Got It and Workin For The Man. http://www.blacktownsun.com.au/news/local/news/general/hes-so-like-the-big-o/1734102.aspx
Voldar: Вчера состоялась закладка звезды Роя в Голливуде.На этом мероприятии ожидались весьма не безразличные нам лица,но свежих фоток пока нет.Странно,что не заявлен был Том. January 27 - The Hollywood Chamber of Commerce annouced on Tuesday that rock and roll legend Roy Orbison would posthumously receive the 2,400th star on the Hollywood Walk of Fame this Friday, January 29. Roy's wife, Barbara Orbison and their sons, Roy Jr. and Alex, are expected to attend the event as well as many celebrities including Dan Aykroyd, Michelle Branch, Jeff Beck, Chris Isaak, Jeff Lynne, Jason Mraz, Joe Walsh and Dwight Yoakam.
Goldenday: Ну вот, ещё одной путеводной звездой стало больше. Как это приятно!
Voldar: Мероприятие состоялось,а вот и первые фотки оттуда.
Goldenday: И видео. (какая там гитара с автографами )
Voldar: Это похоже та самая гитара из новой лимитированной серии двенадцатиструнка,в честь Роя.
Voldar: Фирма Гибсон не перестает рекламировать свои изделия с помощью Роя Орбисона.На этот раз речь идет о легендарной гитаре ES-335.Среди десяти лучших "гигантов" игравших на этом инструменте Рой назван под номером 1. 10 Giants of the ES-335 Roy Orbison Chuck Berry Otis Rush Alvin Lee T-Bone Walker Larry Carlton Peter Banks Lee Ritenour Freddie King Justin Hayward http://www.gibson.com/en-us/Lifestyle/Features/10-giants-of-the-es-335/
ТНЮ: Кроме первых двух я никого не знаю.
Voldar: Незнание не освобождает....Я сам ,правда троих не знаю.
Goldenday: Я - четверых. Не в курсе, кто такой Фредди Кинг?
Voldar: Хороший дядечка. http://www.simen.ru/biography/freddy_king/
Voldar: Мемфиский Балет этим летом выступит в центре имени Кенеди.Причем тут Рой Орбисон?Ещё в 2007 году хореограф Trey McIntyre поставил балет на на музыку Роя "In Dreams". Ballet Memphis to perform at Kennedy Center By Christopher Blank Ballet Memphis will take a slice of Tennessee music and dance to the nation's capital this summer. The professional dance company will perform in the John F. Kennedy Center for the Performing Arts "Ballet Across America" biannual program, showcasing dance companies from across the country. It will present a 2007 original work, "In Dreams," set to music of Roy Orbison and choreographed by Trey McIntyre. Other companies appearing on the same program include Pacific Northwest Ballet from Seattle and Ballet Arizona from Phoenix. "This is a very important watermark for Ballet Memphis and the city we represent," said artistic director Dorothy Gunther Pugh. "The Kennedy Center came to us, and they have a very high standard for dance presentation." The Kennedy Center appearance marks the Washington debut for the dance company. "In Dreams" has become a favorite touring piece for Ballet Memphis. It was among the works the company took to New York City for its 2007 debut at the Joyce Theatre, and also to the 2008 Spring to Dance Festival in St. Louis. "It's a really good piece for us to perform because it sets us apart in terms of the different ways we create work to reflect the community," Pugh said. Orbison's early recordings were at Sun Studio in Memphis. http://www.balletmemphis.org/index.php
Goldenday: Красивая фотка!
Voldar: На американском ресурсе Аmerican Тhinker(возможно ли такое?) появилась очередная статья на тему рок-н-рол мёртв,причем в этом случае называется даже конкретная дата - уход от нас Роя Орбисона. Roll Over, Roy Orbison By Pedro Primavera Roy Orbison died a few years ago. He did not die prematurely with groundbreaking music going with him to the grave. Nor did he die from his own excesses or cruel fate. He just passed away, his body old and tired and his impact on the culture long faded away, though some of his music timeless. There is irony in a rock and roll icon dying of old age. A long list of performers lived and died young; that does not endear old age well. It starts with Buddy Holly and the Big Bopper and the list is too long to mention. Don't trust anybody over 30, said Roger Daltry during the Viet Nam War, rock and roll's cultural heyday. Roy Orbison lived to almost twice that age. Because of this, there is no shrine to him and his music, no ashes from some mystical funeral pyre, no self-imposed martyr status. No, he passed away from heart failure, like many his age when they outlived their cultural usefulness. Time always shows the music almost runs dry and Orbison gracefully stepped aside following personal tragedy in 1966. When he died in 1981, the first rock and roll icon to die from old age, he signaled an end to the genre. There will be no other phenomenon like rock and roll. The music itself is an ill-tempered aria with built-in imperfections. The term comes from an earlier colloquialism for a one-night stand. Double entendres are mixed throughout. Thrills are found on Blueberry Hill and Miss Molly sure likes to bump. It has an easy beat, two guitars and three chords and is not meant to appeal to a "civilized" nature. Later, rock and roll -- any rock and roll -- becomes an anthem for a disillusioned youth. It almost defies reality that only a handful of years after Roy Orbison came disco music. Once anathema, established acts take on corporate sponsors. Soon, mindless music videos become part of the recipe for "success." When Roy Orbison dies, rock and roll simply morphed into rock music with loud, big-haired, pencil-thin, drug-obsessed performers. And with rap music to follow, prison time is considered a career step toward stardom. Since WWII, music always targeted a teenage audience. It used to rely on payola, now the recipe includes hype and angst, real or contrived. The music today has little to do with quality or that other word that seems lost these days: art. Nobody will ever define art satisfactorily. As a cultural phenomenon, it is culture's willingness to be led. It is not the universal voice from within, but the clamor of culture, otherwise Skid Row would be full of aspiring artists. If Elvis Presley had introduced his music a generation earlier, he would have been hit over the head with his guitar by unruly Teamsters and gone to work in the local foundry. Only his mother would have thought of him as creative. For the "artist" today, the craft only follows the post-Modern motif of passing off bad art for good, all for a buck. If art mirrors reality today, then we are a dim view of ourselves. With each passing year, each passing morphing of the music, the less it resembles music. Executives fret over dropping record sales when they need to realize the music today sucks. Worse, we who have turned from the popular culture are no longer old, we are the enemy. There will be no more Roy Orbisons, no more British Invasion. There will be no more Woodstock, although it didn't stop the media conglomerates in 1994 and 1999. Karl Marx apparently had Woodstock in mind when he said that history comes about first as tragedy, then repeats itself as farce. Anathema of anathemas, a Rock and Roll Hall of Fame now exists, another irony of going mainstream. Roy Orbison was elected there in 1987. He died a year later from a heart attack, probably from the shock that there was such a thing. http://www.americanthinker.com/2010/03/roll_over_roy_orbison.html один из коментов First, rap is not music. While rock was criticized for only having three cords, rap barely uses one. Second, people are still listening to 50s and 60s rock. It has not died. Think anyone will remember much less listen to Jay Z in 50 years??? 50cent??? Third, it was the repugnant big music industry that for greedy reasons decided to throw rock music and rock groups under the bus in favor of rap and hip hop. They have forced two generations of kids both white and black to listen to rap and hip hop. It was their way of comporting with EEO/AA policies sweeping the nation. Lastly, rock lost its edge when it aligned itself with rap-I blame Aerosmith and MTV for this. And real musical talent has given way to computers and synthesizers. Music today is not music. It is mind-numbing noise.
Voldar: Американские приколы. Roy Orbison's Lost Rolling Stone Cover http://blogs.villagevoice.com/dailymusto/archives/2010/03/roy_orbisons_lo.php
Voldar: Вот что сказал в своем интервью один из сонграйтеров Роя Орбисона Buddy Buie: The best part of his years in the business? "Traveling the world with Orbison, seeing the world with Orbison, having the thrill of him cutting one of my songs," he said.
Voldar: Beatles and the 'Big O' are heading back to The Maltings THE music of Roy Orbison and The Beatles will delight audiences in Berwick with the return of a popular show next week. Barry Steele returns as the 'Big O' together with The Complete Beatles for a show at The Maltings on Saturday, April 10. Barry has toured extensively across the UK, Denmark, New Zealand, Holland, Belgium and Germany. He performed as Roy Orbison to rave reviews in the hit show 'Rockin on Heavens Door,' before leaving in April 2009 to concentrate on his own show. The Complete Beatles are one of the UK's premier tribute bands to the Fab four, and have toured across UK, Europe and the Far East in their own show and perform regularly with Gerry and the Pacemakers in theatres across the country. Opening the show, their performance is totally live, capturing the atmosphere and excitement from those Fab early years! From the early days in the Cavern, to the record-breaking Shea Stadium Concert, they will transport the audience back to the swinging sixties. Opening the second half of the show is Barry Steele, accompanied by a five-piece band. The audience is asked to imagine it is September 30, 1987, and Roy Orbison is in the Coconut Grove Nightclub in Los Angeles recording the sensational 'Black and White Night'. With a rollicking set including 'Ooby Dooby', 'Mean Woman Blues', and 'Uptown', plus the classics, 'Only the Lonely', 'Crying', and 'Blue Angel', right through to Orbison's later hits 'California Blue', and 'You Got it', plus his work with the Traveling Wilburys whose music also features in the show. Both Barry and The Beatles are very excited to be performing together and they will be delivering all the classics from both the Fab Four and 'The Big O' just like in 1963 when both these legends actually toured the UK together. It was during this tour that Roy Orbison and The Beatles forged life long friendships, which lasted right through to the creation of The Travelling Wilburys. For tickets, contact The Maltings on (01289) 330999. http://www.berwickshire-news.co.uk/leisure/Beatles-and-the-39Big-O39.6194566.jp
Voldar: Roy Orbison & Jeff Lynne- Heartbreak Radio Orginale Clip
Voldar: 23 апреля во всем мире готовятся отметить 74 - ю годовщину ДР Роя Орбисона.В связи с этим намечен ряд мероприятий. Roy Orbison's birthday to be celebrated in special events around the world April 23rd would have been Roy Orbison's 74th birthday. Several events are scheduled in Nashville and elsewhere to pay tribute to the man they called "The Big O." 1. Benefit birthday party/Hard Rock celebrations: The Hard Rock Cafe in Nashville will host a birthday bash to benefit Musicians On Call on April 23. And other Hard Rocks around the world will feature his music and videos that day. 2. Roy Orbison Night in Nashville: The Nashville Sounds Baseball Club, a Triple-A affiliate of the Milwaukee Brewers, has declared their April 22 game vs. the Oklahoma RedHawks as Taco Bell Throw Back Thursday and Roy Orbison Night. Barbara Orbison, Roy's widow, will throw out the first pitch. Fans are being asked to wear their best Roy memorabilia and the first 1,000 fans will receive a pair of Roy Orbison sunglasses. Special in-game promotions will feature giveaways of the Roy Orbison "Soul Of Rock and Roll" boxed set and a bottle of Pretty Woman perfume. And Sounds mascot Ozzie will honor some lucky fan as "Pretty Woman of the Game." Gibson also will donate a limited edition "Pretty Woman" guitar. Tickets can be purchased by visiting www.nashvillesounds.com or by calling 615-690-HITS. 3. Times Square visions: The Jumbotron in Times Square will feature photos of Orbison on his birthday. And Gibson Epiphone will launch a photo campaign of images featuring Roy’s trademark glasses. 4. Special playlist: TouchTunes Interactive Networks will promote a special two-week long birthday playlist featuring over 20 Orbison songs. More information on special celebrations to honor Roy Orbison's birthday can be found at his official website, which also says a previously unreleased Roy Orbison album will be released soon. http://www.examiner.com/x-19248-Vintage-Rock-n-Roll-Examiner~y2010m4d6-Roy-Orbisons-birthday-to-be-celebrated-in-special-events-around-the-world
ТНЮ: По фото можно подумать, что он не певец, а академик или доктор технических наук, нобелевский лауреат.....
Goldenday: Точно-точно..
Voldar: Gibson Proud to Join Roy Orbison 74th Birthday Celebrations on April 23 Launching the week of Roy Orbison’s birthday, Epiphone will initiate a photo campaign of iconic images wearing Roy’s trademark glasses. The campaign will culminate on Roy’s birthday with a classic photo of the Big ‘O’ himself on the Jumbotron in Times Square. This Friday, April 23, the Hard Rock Cafe Nashville will host a benefit bash for the charity Musicians On Call. Barbara Orbison will be joined by family, friends and fans as musicians including Harold Bradley & Mallary Hope, Rodney Crowell, Chris Rodriguez & Eden's Edge, Jeffrey Steele, JD Souther, Sweethearts of the Rodeo, plus surprise guests will perform songs spanning Roy's 5 decade career. A rock and roll pioneer, Orbison was one of the first to find international and cross-genre success. He is one of the few artists to have won Grammys in pop, rock and roll and country categories. His hits, including “Ooby Dooby,” “Oh Pretty Woman,” “Only The Lonely,” “Blue Bayou,” “Crying, It’s Over,” “In Dreams,” “You Got It” and “Handle with Care” (as a Traveling Wilbury with Bob Dylan, Tom Petty, George Harrison and Jeff Lynne) are known throughout the world. Funds raised through the event will create a dedicated "Roy Orbison" program at the Bordeaux Long Term Care Facility. The Hard Rock Cafes of Texas, including Dallas, Houston and San Antonio, will honor their native son with a limited edition giveaway of Roy's trademark dark sunglasses and limited edition sunglass-pins. Hard Rock Cafes around the world will be playing Roy's music and videos in all their locations. April 23, 2010 will also see the release of the album Roy Orbison: Live in Las Vegas ’83. Recorded live in the very city where Elvis crowned him "the greatest singer in the world,” Live in Las Vegas is comprised of select cuts from live shows (April 14th-21st, Sept 9th-20th 1983) performed in the Congo Room at the world-famous Sahara Hotel. Live in Las Vegas is available for digital pre-order from the iTunes Music Store. The CD is available for pre-order at the Official Roy Orbison Store. On the eve of Roy's birthday, the Nashville Sounds baseball team, a triple-A affiliate of the Milwaukee Brewers, has declared their April 22, 2010 game vs. the Oklahoma City RedHawks “Taco Bell Throw Back Thursday” and “Roy Orbison Night” at historic Greer Stadium in Nashville. Fans are encouraged to wear their best Roy memorabilia. The first 1,000 fans will receive a pair of Roy Orbison sunglasses. Sounds mascot Ozzie will present the "Pretty Woman of the Game." Barbara Orbison will throw the first pitch, and Gibson will donate a limited-edition Oh Pretty Woman guitar. Tickets can be purchased by visiting www.nashvillesounds.com or by calling 615-690-HITS. Two free tickets will be given away on www.royorbison.com every day from April 15-22. In addition, TouchTunes Interactive Networks, the largest interactive in-venue entertainment network in North America, will promote a special 2 week birthday playlist featuring over 20 hits dedicated to the rock legend. Learn more at www.royorbison.com. http://www.gibson.com/en-us/Lifestyle/News/roy-orbison-0419/
Voldar: Ещё отличная новость с сайта Роя.Выходит новый CD. NEW! Roy Orbison - Live In Las Vegas 83' CD Release Date: April 23rd 2010 Roy Orbison - Live In Vegas 83' Recorded live in the very city that Elvis crowned him "the greatest singer in the world,” Roy Orbison’s "Live in Las Vegas" breaks the famous rule that "whatever happens in Vegas, stays in Vegas." "Live in Las Vegas" is comprised of select cuts from live shows (April 14th-21st, Sept 9th-20th 1983) performed in the “Congo Room” at the world-famous Sahara Hotel. These performances, originally found in poor condition, have been fully restored and digitally re-mastered by the industry's finest audio engineers. Every performer dreams of playing "the Entertainment Capitol of the World," and Roy Orbison was no exception - he loved Vegas! We hope you enjoy this fabulous performance by a true legend. Track listing by date From Best of Sept 9th -20th 1983 - Las Vegas Sahara Hotel/Congo Room Only The Lonely Hey Leah Sweet Dream Baby In dreams Candy Man Crying Ooby Dooby Hound Dog Man Down the line It's Over From Best of April 14th -21st 1983 - Las Vegas Sahara Hotel/Congo Room Blue Bayou Mean Woman Blues Pretty Woman http://store.royorbison.com/newroyorbison-liveinlasvegas83.aspx
Goldenday: Новость, безусловно, отличная! Жаль только, что про ремастированные поздние альбомы Роя ни слова. А пора бы уже...
Voldar: Я так понял,что Барбара весьма пробивная тётя и ремастеры мы скорее всего услышим.
Voldar: Завтра все празднуют ДР Роя,пресса в нетерпении. Roy Orbison Day Is Friday (Growl) It’s hard to believe but one of the greats, Roy Orbison, the man with sunglasses and the growl (see “Oh, Pretty Woman”) has been gone for 22 years. On Friday, he would have turned 74. Luckily, Roy left behind a devoted widow and three terrific sons who keep the flame burning. They’ve got all kinds of stuff planned to commemorate the day, most of which you can check out at www.royorbison.com. Roy’s widow, Barbara, is a force of nature. Like Olivia Harrison, Barbara just keeps on making the right moves so that the public never forgets this great icon. On Friday, for example, she’s got the Hard Rock Cafe in Nashville hosting a benefit for Musicians On Call with a bunch of musicians like J.D. Souther and Rodney Crowell playing Roy’s music. Down in Texas, the Hard Rock cafes are also saluting Roy on Friday. Barbara is also releasing a new album, “Live in Las Vegas ‘83,” with newly remastered performances by Roy from the Conga Room. So light a candle for Roy Orbison on Friday. There was no one else like him, and he can’t be replaced. He was one of a kind. http://www.showbiz411.com/wp/2010/04/21/roy-orbison-day-is-friday-growl
Goldenday: Voldar пишет: So light a candle for Roy Orbison on Friday. There was no one else like him, and he can’t be replaced. He was one of a kind. "Так зажжём свечи в честь Роя Орбисона в пятницу. Подобного ему не было, и ныне он незаменим. В своём роде он уникален." Золотые слова.
Voldar: Вот тоже интересно,что оффсайте Роя никакой информации о всех приготовлениях.
Voldar: Празднование годовщины ДР Роя проходит согласно расписанию,обидно что нешвилский бейсбольный клуб,который устраивал Черно - белую ночь на 24 апреля во время встречи с парнями из Оклахомы - продули и даже Барбара не помогла,хотя и первой ударила по мячу. Roy Orbison Night On Tap At Greer On Thursday NASHVILLE, Tenn. - It will be a special night honoring the memory of rock and roll legend Roy Orbison on Thursday evening at Greer Stadium as the Nashville Sounds host their first Taco Bell Throwback Thursday of the season during their 7:05 p.m. game against the Oklahoma City RedHawks. As part of a weeklong celebration of the legendary singer's birthday, the first 1,000 fans through the turnstiles will receive Roy Orbison sunglasses. Also, a selection of lucky seat winners will be given the Roy Orbison Soul Of Rock and Roll Box Set and a bottle of Pretty Woman Perfume, and Gibson will donate a limited-edition Pretty Woman guitar. Barbara Orbison (Roy's widow) will throw out the ceremonial first pitch before the game.
Voldar: Мы можем посмотреть как проходило празднование ДР Роя 23 апреля в Хард Рок Кафе в Нешвиле. Eric Paslay - You Got It Eden's Edge - Blue Bayou Rodney Crowell & Chris Rodriguez - Handle With Care Jeffrey Steele - Oh, Pretty Woman Rodney Crowell - What Kind Of Love Mallary Hope & The Harold Bradley Band - Only The Lonely Sweethearts of the Rodeo
Goldenday: Несколько фоток с 74-й годовщины ДР Роя Орбисона Барбара Орбисон и сын Алекс с крутейшим школьным хором в Нэшвилле. Барбара готовится сделать первую подачу. Сыновья Роя, Уэсли младший и Алекс демонстрируют свои Epiphone из лимитированной серии 12-струнных гитар Роя Орбисона. (Алекс (крайний справа) реально на отца похож) http://www.royorbison.com/news/photos-74th-birthday-celebration
Voldar: Барбара такая знатная бейсболистка.
Voldar: Вышла книга ещё одного сонграйтера,писавшего в том числе для Роя Орбисона. Mr King's book, Penny Arcade Or What Did You Do In The Sixties, Daddy? Meet the Leeds man who wrote pop songs for 1960s stars Sammy King wrote one of Roy Orbison's greatest hits, and worked alongside many Sixties stars, from The Beatles to Lulu. A one time sales rep from Batley who penned a song which outsold The Beatles and The Rolling Stones has written a book about his life rubbing shoulders with the stars. Sammy King, 68, can remember the exact time and place he wrote the first lines to the song Penny Arcade, which he later pitched to Roy Orbison, who had a world-wide smash with the single. Mr King said: "The inspiration for the song came to me during a camping holiday with some friends in North Wales in 1969. I was enjoying the final moments of an unbelievable sunset. Within a matter of moments I had the first two lines of a song." The song went on to become the hit Penny Arcade, which reached the top 20 in the UK charts but shot straight to number one in Australia and New Zealand, outselling The Beatles and The Rolling Stones. Mr King said he wanted to write the book to set the record straight: "There are a lot of myths about how Roy Orbison swindled me out of the song for a fiver and none of that is true. He was the perfect gentleman and very polite. I can't say it made my fortune because at that time I had to pay a lot of tax on the royalties but I still get them today and it pays for a few little extras for me and the wife. Over and above that, though, it was the prestige which mattered." He went on to write three more songs for Roy Orbison: Say No More, I Got Nothing and After Tonight. Mr King had been involved in numerous bands up to that point, including The Dingos and The Voltaires, who at one time acted as backing group for Sixties stars Cilla Black, Craig Douglas and Danny Williams of Moon River fame. He was also good friends with the singer Gene Pitney, who tried to persuade him to release solo records. Mr King, who is married to Linda and has one daughter, Amanda, by his first marriage and a step-daughter, Julie, said: "I would send demo tapes to Gene, who I knew well, and he would always want to release them as they were, but it was a big commitment in terms of time. You were expected to promote them and it meant being on the road a lot." Mr King, who spent two years in hospital as a teenager after suffering a hip infection, knows about triumph over adversity. "I was devastated when I had to go into hospital. I had always been interested in music but football was my first love. When I came out, my pronounced limp put paid to any thoughts of my playing football ever again. "I bought a drum kit and started playing in pubs and clubs with my elder brother Brian in a band called The Southside Skiffle Group. A little later Brian and I teamed up with a friend, Betty Gledhill, to form The Three Lloyds. "With The Voltaires, we released a song called What's the Secret? It wasn't a massive hit but it had a big enough impact for us to get fan mail, which surprised me. We went on to support Cilla Black, then did the cabaret circuit for a while." The list of people Mr King has worked with is a Who's Who of Sixties showbiz. He was on the same bill as Acker Bilk, The Beatles, Johnny Mathis, Louis Armstrong, Dame Shirley Bassey, Cliff Richard and Lulu, not to mention The Rolling Stones and Johnny Kidd and the Pirates, and many more besides. But he was always willing to lend a hand in any capacity. He said: "I was once working at Batley Variety Club and I used to help my first wife, Dorothy, who worked in the cloakroom. One night, I took this woman's coat and then later I was on stage and I saw her pointing at me and gesturing to her husband, saying, 'that's the man from the cloakroom'. Next thing you know, I was playing guitar in the orchestra when Cliff Richard came on and she was gesturing 'it's him again'. "Then when she was leaving, I was back in the cloakroom helping out and I gave her her coat. She couldn't believe it. I only wished I could have found some way to be her taxi driver for her trip home." * Mr King's book, Penny Arcade Or What Did You Do In The Sixties, Daddy? is available now from amazon online, priced £14.25. http://www.yorkshireeveningpost.co.uk/news/Meet-the-Leeds-man-who.6283815.jp
Voldar: Радио NPR признало голос Роя одним их лучших в мире,всего они насчитали 50. Roy Orbison: A Great Voice, A Lonely Sound Roy Orbison was one of the founding fathers of rock 'n' roll. And, boy, could he rock. But it was his distinctive baritone and melancholy vocal and songwriting style that had the greatest influence on American rock and pop music — and that make him a natural candidate for NPR's 50 Great Voices series. Among rock 'n' roll's pioneers, Orbison was different. Jerry Lee Lewis and Little Richard had that pound-the-piano self-confidence. Elvis Presley had his sexy hip-shake swagger. Chuck Berry had one-of-a-kind guitar riffs to go with his trademark duck walk. But Orbison — with his thick corrective glasses, insurance-salesman looks and stiff stage presence — stood out. He and Buddy Holly shared what you might call geek chic: a unique style expressed in what he sang about and how he sang it. Orbison wasn't afraid to sing about fear, anxiety, loss or insecurity. "Roy's extreme development of those kinds of emotions and the intensity with which he expressed them certainly went against the grain of the kind of macho, confident, masculine display that characterized so much of mainstream rock 'n' roll," Orbison biographer Peter Lehman says. Orbison's song titles alone tell part of the story: "Crying," "Only the Lonely," "Running Scared," "Crawling Back." Lehman, who directs the center for film, media and popular culture at Arizona State University, says Orbison frequently utilized an almost masochistic stage persona, which Lehman says seems to embrace and almost revel in pain and loss. "[Feelings] that that character brings upon himself, that he seems to almost long for," Lehman says. "There's even a kind of public-spectacle aspect to this pain and suffering. And the title 'Crawling Back,' of course, even points to that." Sweet Voice, Dark Vision Orbison had a one-of-a-kind voice with a three-octave range and what one writer called a 'glass-shattering falsetto.' No less than Elvis Presley called Orbison "the greatest singer in the world." Canadian singer k.d. lang — who shared a Grammy with Orbison in 1987 for their remake of the Orbison/Joe Melson classic "Crying" — says that what made Orbison such a moving singer was the juxtaposition of his beautiful voice with a dark vision. "And yet this powerful, high, flowing liquid voice came out of him," lang says. "I think it was that contrast that really moved people. And he was such a gentle, gentle spirit that you felt like you could share your vulnerability in listening to him." Take the lyrics for "In Dreams": A candy-colored clown they call the sandman Tiptoes to my room every night Just to sprinkle stardust and to whisper 'Go to sleep, everything is all right.' Orbison was shy and soft-spoken, but his childhood was pretty normal. He was born in Vernon, Texas, on April 23, 1936. He spent his earliest years there and in Fort Worth. After World War II, the family moved to the small Texas oil town of Wink, a town Orbison once described as dominated by "football, oil fields, oil, grease and sand." Orbison told the BBC in 1985 that he forged his guitar and singing styles by listening incessantly to the West Texas radio stations that drifted into town. He heard country, a little rockabilly, Tex Mex and zydeco. But mostly country. "I listened to the radio all the time," Orbison said. "And so I learned all of the songs. And all of those influences probably just settled into one thing, and I'm the result of whatever that was." He wanted a harmonica for his sixth birthday, but his father bought him a guitar. He wrote his first song, "A Vow of Love," when he was about 8. Rejected Songwriter, Shy Star By the 1950s, Orbison was in Nashville, where he worked as a staff writer for Acuff-Rose Music. He'd already made a few recordings for the Je-Wel and Sun labels and earned some royalties for "Claudette," which was recorded by the Everly Brothers. But the Everlys and Presley rejected "Only the Lonely," so Orbison recorded it himself for Monument Records. The song became a huge hit, going to No. 1 in the U.K. and No. 4 in the U.S. The lyrics were typical Orbison: There goes my baby There goes my heart They're gone forever So far apart But only the lonely Know why I cry Only the lonely Friends say Orbison's brooding musical persona didn't match his real character. He was, they say, a fun- and life-loving guy. The signature dark glasses were an accidental marketing tool. While on tour with The Beatles in 1963, he left his regular glasses on the plane. So that night, he had to wear his thick prescription sunglasses onstage. "Everyone was at the show, and they took these pictures. And they flashed around the world, and we became very popular after that," Orbison told the BBC. "And so I was stuck with the dark glasses. It was embarrassing at the time." Orbison certainly wasn't embarrassed to express his pain if he got dumped or didn't get the girl. Yet even when he got the girl, there was no "look at me" boasting. There was often a sense of longing, a hint of surprise or even downheartedness mixed with triumph. "I always have to remind people that half my songs at least are upbeat and positive," Orbison said. "And even when I sing a song like 'Running Scared,' I get the girl. 'Pretty Woman,' I get the girl. [Yet] there still seems to be a melancholy quality to my voice." That voice was largely ignored in the 1970s, but Orbison came back with a vengeance in the '80s with several collaborations, including the all-star band The Traveling Wilburys. Roy Orbison died of a heart attack on Dec. 6, 1988, just as a new generation was busy rediscovering and embracing his music and voice. The Wilburys had just won a Grammy, and Orbison had just been inducted into the Rock and Roll Hall of Fame. He was only 52. http://www.npr.org/templates/story/story.php?storyId=126475636&ps=cprs
Voldar: Roy Orbison Now Playing on Eos Music Clearwater, FL, May 16, 2010 --(PR.com)-- Eos Music, a provider of background music for business, home to more than 100,000 tracks of both major and independent artists, is excited to announce a licensing agreement with Orbison Records Inc. With artists like Roy Orbison, Bruce Springsteen and Elvis Costello; Eos Music is very excited to include the entire library of Orbison Records Inc. into its playlist. Content Manager for Eos Music, Justin Lollie affirms, “This library is comprised of songs like the famous ‘Blue Bayou,’ ‘Pretty Woman’ and ‘Only the Lonely’ and make excellent additions to our many tracks currently in rotation.” The library of Orbison Records Inc., includes works with Bruce Springsteen, Glen Danzig, Jerry Lee Lewis, Johnny Cash, Will Jennings and Elvis Costello. Roy Orbison, lead artist on Orbison Records Inc, was an American singer-songwriter. He was very well known for his distinctive vocals and fervid ballads. In the 1960’s Orbison reached an prodigious milestone where 22 of his songs were placed on the US Billboard Top 40 list. Of Roy Orbison, Eric Clapton says, “He could do things with his voice that I could only dream of doing.” Eos, the lowest-cost business background music service on the market at $19.95 per month, features 65 channels of pure, uninterrupted business music, free of commercials, DJs and station IDs. No contract is required, and all music royalties are covered. Eos licenses music from a multitude of independent artists across the globe, ensuring the music is always fresh and new. For further information, visit www.eosmusic.com http://www.pr.com/press-release/233116
Voldar: Roy Glasses Everywhere! Под таким заголовком опубликована новость на оффсайте Роя под постером нового фильма.
Voldar: Roy Orbison - "The Final Concert” On 26 July 2010, Eagle Records will release “The Final Concert” by Roy Orbison [Cat No. EDGCD409]. This release is fully supported and endorsed by the Orbison family. The setlist includes many of his classics including the UK Top 10 hits: “Only The Lonely”, “Dream Baby”, “In Dreams”, “Mean Woman Blues”, “Blue Bayou”, “It’s Over”, and “Oh, Pretty Woman”. “The Big O” as Roy Orbison became universally known, was one of the most distinctive singers and songwriters of the Rock ‘n’ Roll era. Starting his career in the late fifties, he really hit the big time at the start of the sixties when a string of wonderful hit singles brought him fame on a worldwide basis. After a quiet period in the seventies he made a comeback in the eighties both as a solo artist and later as a member of the Traveling Wilburys. This live recording, released now for the first time, comes from a concert at the Front Row Theater in Cleveland on December 4^th 1988, just two days before his sudden death from a heart attack on December 6th at the age of only 52. Orbison is in fine form delivering many of his best loved songs in his own unique style and with no indication of the tragedy to come. It is a fitting tribute to a truly great artist. TRACKLISTING: 1) Only The Lonely 2) Leah 3) Dream Baby 4) In Dreams 5) Mean Woman Blues 6) Blue Bayou 7) Candyman 8) Crying 9) Ooby Dooby 10) Go, Go, Go (Down The Line) 11) It’s Over 12) Working For The Man 13) Lana 14) Oh, Pretty Woman Roy Orbison was added to the Hollywood Walk Of Fame in January 2010. He is an inductee into the Rock ‘n’ Roll Hall Of Fame, the Nashville Songwriters Hall Of Fame and the Songwriters Hall Of Fame and the winner of 5 Grammy Awards. We will never see his like again, and “The Final Concert” adds to his incredible legacy. http://hangout.altsounds.com/news/118946-roy-orbison-the-final-concert.html
Voldar: В детском музее Индианаполиса на выставке Rock Stars, Cars and Guitars экспонируется Корвет 1967 года и гитары Роя.
Voldar: На офсайте Роя ко дню независимости разместили ролик в котором перед началом матча Лос-Анджелес Кингс (там тогда играл лучший игрок всех времен в НХЛ - Уейн Гретцки) Рой исполняет национальный гимн а-капелла,аж пробирает. Roy Orbison Sings National Anthem at LA Kings Game - 1988
Voldar: Оказывается Бон Джови тоже большой любитель Роя Орбисона.На всех концертах своего тура Circle Tour он исполняет Pretty woman.
Voldar: Элтон Джон запишет альбом кавер-версий Британский певец и композитор Элтон Джон подумывает о выпуске альбома кавер-версий. Ранее исполнитель записал несколько кавер-версий чужих композиций, но не составлял студийный альбом только из них. Работать сэр Элтон Джон планирует с продюсером T-Bone Burnett и большим сопровождающим оркестром. Пока планируется, что релиз будет содержать 50 треков. В альбоме будет много классических песен в стиле Рики Нельсона и Роя Орбисона, сообщил Элтон Джон в одном из своих интервью. По словам исполнителя, идея создать альбом кавер-версий пришла к нему внезапно. Ранее Элтон Джон отказывался от подобного рода предложений, но сейчас решил освежить в памяти любимые хиты и сделать сборник лучших и любимых песен в классической аранжировке. http://music.km.ru/
Goldenday: Любопытно.. интересно было бы почитать весь трек-лист будущего альбома.
Voldar: Today marks the release of Roy Orbison's final concert on CD Eagle Rock Entertainment will release a recording of Roy Orbison's final concert on August 10, 2011. Recorded on December 4, 1988, just two days before his death, the CD’s song sequence stays true to the original set list of the performance. Enitled Roy Orbison: The Last Concert, it has fourteen tracks that literally represent his last work. Orbison's final concert was held in Highland Heights in Akron, Ohio, the same state that houses the Rock And Roll Hall of Fame, in which he was inducted in 1987. In support of the Hall’s exhibit entitled Haunting and Yearning: The Life and Music of Roy Orbison, which had a successful run through the end of 1996, Gibson Guitar's Custom Division designed a Roy Orbison ES-335 Reissue for it, and gave one his wife Barbara Orbison. The guitar is an exact reproduction of the black ES-335 that Roy used with the Traveling Wilburys, which featured the late Beatle George Harrison, Tom Petty, Bob Dylan and Jeff Lynne. Production of the guitar was limited to 70 pieces honoring Roy’s 70th birthday. Originally released on iTunes only two years ago, this marks its first time being made available on disc. With its flawless sound on the recording, Roy Orbison: The Last Concert is a historically significant addition to Roy Orbison's already lengthy discography. Having won multiple Grammy Awards, and received a star on the Hollywood Walk of Fame in January, 2010, whether it was his solo work, or his recordings with the Travelling Wiburys, his music has continued to sell after his death, with two posthumous Top 5 Billboard charting albums. On his behalf, his wife Barbara accepted the Recording Academy’s Lifetime Achievement Award after his death. An ongoing campaign to have Orbison commemorated on a U.S. postage stamp has been ensuing for the last several years online at a website started by Orbison's widow. Among those who have signed the petition are George Harrison's widow, Olivia Harrison and U2's Bono. The Texas-born singer songwriter generated many hit records throughout the years, often filled with wistful lyrics about longing, sadness and unrequited love. The soft-spoken vocalist died of a heart attack in Nashville, after having dinner with his mother. Orbison was laid to rest in the Westwood area of Los Angeles, in the same cemetery as many iconic Hollywood celebrities, and other legendary musicians, including Frank Zappa and Beach Boy Carl Wilson. Orbison died young, at age 54, with many believing the dedicated musician "worked himself to death." Sure to please, the back-up vocals on Roy Orbison: The Last Concert mesh well with Orbison’s voice. The album opens with what was Orbison’s first major hit, “Only The Lonely,” released forty years ago. The gig’s next song, “Dream Baby,” was made available a year later. “Dream Baby” was issued the year following. The album’s next track “Mean Woman Blues,” was released the subsequent year. The next song in the live performance was “Blue Bayou,” a song that also became a hit for Linda Ronstadt. The concert continues with “Crying,” another career victory for Obrison in the early 60’s. Several other mellow songs grace the album, including “Working For The Man.” Although Orbison penned other popular songs after that year, the most recently written song on the album is “Lana,” originally recorded in 1962. While he had many popular songs, he is most known for his 1964 song “Oh, Pretty Woman,” which was covered by rockers Van Halen on their 1982 Diver Down album. This is the song that ended his final concert. http://www.examiner.com/x-30199-Rock-Music-Examiner~y2010m8d10-Today-marks-the-release-of-Roy-Orbisons-final-concert-on-CD
Voldar: DARTFORD: The Voice of Roy Orbison at The Orchard Theatre Damien Edwards will play Roy Orbison at The Orchard Theatre in Dartford TO MARK the 21st anniversary of Roy Orbison's death, The Orchard Theatre in Dartford will present a special show, featuring his best-loved hits and the music of two other hugely successful artists of this era - The Everly Brothers and Buddy Holly. From his first hit Ooby Dooby, in 1956, until his death, in the words of Elvis Presley, Orbison was simply, "The greatest singer in the world." His career spanned four decades scoring hits with songs, including Only the Lonely, Running Scared, Crying and It’s Over, which was his first UK number one. Then came the biggest selling record of his career - Pretty Woman - which saw sales of seven million records. In the show on September 2, Orbison will be played by Damien Edwards, who won critical acclaim in the role in Bill Kenwright’s The Official Roy Orbison Story. With support from the West End's Tim Harwood and the internationally acclaimed Everlys Experience, their moving and accurate portrayals of these musical icons have seen them wow audiences everywhere from The London Palladium to The Edinburgh Playhouse and across Europe. Together with live backing band The Rockets, they will have you singing your favourite tunes, stomping your feet and shouting for more. http://www.newsshopper.co.uk/leisure/8336425.DARTFORD__The_Voice_of_Roy_Orbison_at_The_Orchard_Theatre/
Voldar: Tribute to the Big O opens Alban Arena season 2010 is the 21st anniversary of the death of Roy Orbison and to mark the occasion the creators of the successful In Dreams are bringing their new show, The Voice of Roy Orbison, to the Arena at 7.30pm next Saturday, September 4. Damien Edwards has played the legendary singer in four tours of The Roy Orbison Story for Bill Kenright as well as in Rock and Roll Heaven and more recently, The Concert They Never Gave. The In Dreams team are the original creators of Rockin on Heaven’s Door and have a track record and pedigree that have seen them tour the UK and Europe for the last 12 years. In 2009 they staged the highly successful show Buddy Holly’s 50th Anniversary. The Voice of Roy Orbison is supported by Everly tribute, The Everly’s Experience. Tickets are £16.50 with concessions £2 off, available from the Arena box office on 01727 844488 or online at www.alban-arena.co.uk Elegant drama I Am Love starring Tilda Swinton is the first film of the new season. A tragic love story, it is being shown at 7.30pm next Tuesday and Wednesday, and at 1.30pm on Wednesday. The Italian drama is about repression and breaking free and focuses on the wealthy Recchi family at the turn of the new millennium. The family’s lives undergo sweeping changes as the family patriarch, Eduardo Sr, decides to name a successor at his company. On the following two nights, September 2 and 3, the Arena is showing the Nicholas Cage film Bad Lieutenant, a remake of the Harvey Keitel original. Cage plays the role of rogue detective Terrence McDonagh, who is as devoted to his job as he is to scoring drugs and playing fast and loose with the law. Set in the aftermath of Hurricane Katrina, McDonagh becomes a high-functioning drug addict who reigns fearlessly over the ruins of New Orleans and, together with his girlfriend Frankie (Eva Mendes) they descend into their own world of desire, compulsion and conscience. Bad Lieutenant starts at 7.30pm and tickets for both films are £6 with concessions £2 off except for the midweek matinee which is £4 and includes a cup of tea and biscuits. http://www.hertsad.co.uk/what-s-on/theatre/tribute_to_the_big_o_opens_alban_arena_season_1_612438
Voldar: Roy Orbison Featured In Emmy Gift Bags! Roy Orbison's In Dreams Greatest Hits CD and Barbara Orbison's Pretty Woman Perfume are both featured in this year's Emmy gift bags, presented to all nominees and presenters! http://www.royorbison.com/news/roy-orbison-featured-emmy-gift-bags
Voldar: This Day in Music Spotlight: The Tragedies of Roy Orbison Roy Orbison was on tour in England on September 14, 1968, when tragedy struck back in Tennessee. His family home in Hendersonville (the Nashville suburb where ’60s country stars like Cash and Conway Twitty built superstar homes) burned to the ground. Two of his sons, Roy Jr. and Anthony, were killed in the fire. The youngest son, Wesley was miraculously saved by Roy’s parents. Orbison was devastated by the terrible tragedy and the blow knocked his career into a temporary holding pattern. That Orbison ever came out of that tragic cloud is amazing. What’s even more remarkable is that in 1968 he was still recovering from a previous tragedy in 1966 – the death of his wife Claudette, who died in a motorcycle accident. Claudette, the inspiration for a song he penned in 1955 and a hit for the Everly Brothers in 1958, was out riding with Roy when she was hit by a truck. Orbison quit music and only ventured back into entertainment game in 1967 with the movie Fastest Guitar Alive. He remained unsure if he’d continue as a musician. His tour of England in 1968 was a major part of his musical comeback and as he struggled to deal with the fire tragedy, the early ’70s would be dark days indeed for Orbison. And if that wasn’t enough, in 1973, Roy’s elder brother Grady Lee also died in a motor accident in Tennessee while on his way to a family celebration for Thanksgiving at Roy’s house in Nashville. Hardly surprising perhaps that 10 years after Orbison lost his two songs in that Hendersonville fire he’d suffer a major heart attack while still a relatively young man in his early 40s. He recovered, however, and enjoyed a well-deserved career renaissance in the ’80s after his “In Dreams” featured so prominently in David Lynch’s cult movie Blue Velvet. Back in the limelight, Orbison re-recorded some of his hits with T-Bone Burnett and re-emerged in the music business as one of the original pioneers of rock and roll, rightly praised and feted by the stars of the day. His stint with supergroup, the Traveling Wilburys put him back at the top. Sadly his last album, the excellent Mystery Girl, was released posthumously, after his death on December 8, 1988. http://www.gibson.com/en-us/Lifestyle/Features/day-in-music-0914/
Voldar: На продажу выставлена фотка с Роем и другими известными персонажами 1985 года. Roy Orbison (from left), Jerry Lee Lewis, Carl Perkins, Johnny Cash and producer Chips Moman sing during the recording of Class Of 55 on Sept. 20, 1985. Moman recorded the reunion album at his old American Recording Studio on North Thomas using the four legendary rock 'n' rollers, each of whom got their start in Memphis. The face between Cash and Moman is lead guitar player Reggie Young. http://www.commercialappeal.com/photos/2010/sep/19/187631/
Voldar: Shades of Roy Orbison “Dum-Dum-Dum-Dumby-Doo-Waaaaaah....” The unforgettable introductory lines of Roy Orbison’s “Only the Lonely” first emanated from AM radios in the summer of 1960, along with other memorable sounds, such the clip-clop percussion of Fats Domino’s “Walking to New Orleans,” and the lazy, drawling vocals of “Alley Oop,” a gimmick song by the Hollywood Argyles. And the plaintive, scion-of-scat-singing intro of “Only the Lonely” heralded one of many Orbison songs that would become classics, and it still holds up fifty years after it debuted. To say that Roy Orbison’s work was memorable is an understatement, because nobody—nobody—ever sang like him. Orbison was gifted with what was arguably the most passionate voice in pop music history, and his admirers over the decades included Elvis Presley and U2’s Paul “Bono” Hewson, among other famous vocalists. Orbison’s songs were popular not only because of his heart-wrenching vocals, but also because many of his songs were types of mini-operas accompanied by a drum kit; i.e., dramatic and encaustic musical excursions for most listeners. There were gargantuan arrangements that included the use of strings, unexpected stop-and-start sections in the middle of songs, and abrupt endings that can best be described as hitting a sonic brick wall. And with all due respect to Johnny Cash, Orbison actually came off as a “Man in Black” onstage first, primarily because of those ubiquitous and seemingly-impenetrable black sunglasses, supplanted by a black outfit, black hair, and a black guitar. The Orbison repertoire wasn’t all melodramatic, however. He could still have fun on songs like “Mean Woman Blues” and “Ooby Dooby”, often throwing in a trademark guttural inflection that was sort of a tomcat-like gargling growl. Tragedies in the life of the bespectacled singer had the potential put him out the public eye forever: His first wife was killed in a motorcycle accident, and his two oldest sons died in a fire, yet Orbison endured, even if he wasn’t riding the top of the charts anymore. A major comeback began in the latter half of the Eighties, with a live album and concert video called A Black and White Night. Orbison was backed by Elvis Presley’s band, and guests such as Bruce Springsteen performed...and yes, the show was filmed in black and white. There was also his participation in a, er, “whimsical supergroup” called the Traveling Wilburys. Other members included George Harrison, Bob Dylan, Tom Petty, and Jeff Lynne, and when Orbison took his vocal turn on the hit single “Handle with Care,” there wasn’t any doubt who it was. He also recorded a new solo album called Mystery Girl. Then, all of a sudden he was gone, dead of a heart attack at the age of 52, on December 6, 1988. Mystery Girl, released posthumously, beget a smash single, “You Got It,” that was as classic as anything Orbison ever did, probably because it was exactly the same type of song that had propelled him to the top decades earlier. From its doubled-up snare drum licks in the bridge between the verse and chorus, lush arrangement,booming tympanis, and of course, soaring vocals, it would have easily been at home on the charts in the early Sixties. In August of this year, Orbison’s last concert, recorded in Cincinnati just two days before his death, was released on CD. It’s a magnificent-yet-simple tribute to Orbison’s life and career. The performance is presented in a competent, straightforward-yet-loose manner (and no superstar guests), with that almighty voice ringing out clearly in front of eager listeners. The back cover photo on Roy Orbison: The Last Concert shows the singer waving to an audience, with a bemused-and-appreciative half-smile on his face. There’s no caption for that picture, but it speaks volumes about Roy Orbison and his musical legacy. http://www.thewetumpkaherald.com/opinion/article_5719a84a-d0d1-11df-8d1e-001cc4c002e0.html
Goldenday: В Америке появилась возможность купить картонного Роя в натуральную величину (или небольшого) от 30 до 35 долларов. Кстати, рост Роя - 5'11 (1.75 см) Lifesize, standing 5'11" tall just like the Big O' himself. Roy Orbison free standing cardboard standup. Great for parties, and photo opportunities. Also available in a smaller version which stands 36" tall. *US Only
Voldar: Напоминает известный анекдот про попугая:"хоть чучелом,хоть тушкой...."пускай так приобщаются.
Voldar: Roy Orbison in Worthing A HERALD photograph from 1967 has revealed the amazing story of musical great Roy Orbison and his connection with a back-street Worthing garage. The picture – printed in 2006 – shows the singer surrounded by admiring fans as he signs autographs in a previously unknown street. That road has now been identified as London Street, with locals past and present contacting us to tell their memories. Some were brought back to the scene of those memories for a new photograph, 40 years on. The tales they have told reveal Orbison’s visit was far from a one-off. http://www.worthingherald.co.uk/community/nostalgia/roy_orbison_in_worthing_1_1571757
Voldar: Новая биографическая страница на офсайте Роя - Soul Of Rock And Roll открылась статьей сына ROY KELTON ORBISON, JR. THE SOUL OF ROCK AND ROLL Into The 1950’s The Big O. “The New Teen Sensation.” The Voice. The greatest singer in the world. Lefty Wilbury. The Soul of Rock and Roll. There is only one Roy Orbison. And there are many. Blue-haired Rockabillys, Japanese leather rockers, All-American college girls whose favorite movie is Pretty Woman, Elvis-lovers, country music fans, 15-year-old Goths who paint their fingernails black, Pavarotti and classical music buffs, Ramones punk rockers, Johnny Cash disciples, and good old-fashioned Roy Orbison diehards who have stood by him from the beginning. They all see a different Roy Orbison. They all see their own Roy Orbison. Roy Orbison stands alone on a lofty branch in the Family tree of Rock and Roll. Yet in the history of recorded music, he was closer to the roots. By the time he cut his first single, “Ooby Dooby” (Sun 242), in May of 1956 at Sam Phillips’ Mecca of Rock and Roll, Sun Studios, Orbison was already a veteran musician. With his own radio show for 10 years, and a television show in Texas with his band, The Teen Kings, his audience was over 10,000 people by the time he was 17. His musical world was equal parts country and blues, with a few extra elements added in. The regional Mexican music that seeped in on the airwaves left an indelible stain on him very early in life (the Mexican music, itself a mixture of Spanish and American-Indian music, had dramatic rhythms and smoothly sung melodies). Another necessary ingredient was the profound effect of American cinema. John Wayne actually had a generation of kids like Elvis, Buddy Holly, and Roy Orbison believing they could do anything they set their minds to. And do they did. Roy carved the path for Buddy Holly to go to Norman Petty’s studios in Clovis, New Mexico, and Buddy cleared the way for the world to be proud to wear glasses. The story of Roy Orbison could not be told without Buddy Holly. Roy was from Wink, Buddy was from Lubbock. They played the same local venues and shopped at the same guitar shops. At times they were friends eating peanut butter and jelly sandwiches and trading guitar riffs as teenagers. At times “cross-town” rivals cursing outside each other’s shows. Buddy would cover many of Roy’s songs, including “A True Love Goodbye” and “An Empty Cup.” Orbison’s time at Sun started the same sort of “leap-frogging” and interaction with Elvis, Carl Perkins and Warren Smith. Roy was the next Rock and Roller at Sun Records. Coming later would be Jerry Lee Lewis, Billy Riley and Charlie Rich, along with every other 50’s Rock and Roller outside Sun who would soon copy the Sun Records style (and all those that came after). Jerry Lee Lewis first walked through Sam Phillips’ doors during the Roy Orbison session for the song “Rockhouse.” Soon Jerry Lee cut Orbison’s song “Go! Go! Go!” The actual name Roy used for the song was “Down The Line.” Sam Phillips renamed it “Go! Go! Go!” to add excitement (Sam did the same thing with Perkins’ “Gone! Gone! Gone!” and Cash’s “Cry! Cry! Cry!”). Orbison also befriended the musical director Bill Justis and engineer/producer/songwriter Jack Clement, who would work with Roy in the future. Sam Phillips heard the world different from other people. He wanted fast music with a beat. And he got it. The sound was crisp, defiant, and perfectly clear. It still is. In “Ooby Dooby,” Roy unleashes two “in-your-face” guitar solos in two minutes at speeds not played before at Sun. “Domino” is so raw that you can feel it about to break at any second. Roy’s band, The Teen Kings, was already popular from their high school days. They were: Roy Orbison on guitar and vocals, Billy Pat Ellis on drums, Johnny “Peanuts” Wilson on rhythm guitar, James Morrow on electric mandolin and Jack Kennelly on bass. The music they made was remarkably good. Bands like this are special, because they are friends to start with. They made great cuts like “Rockhouse” and “You’re My Baby” roll and rock. Then like all friends, they got in an argument, but this one was in Sun Records’ studio, and whoever owned the car took off with the band and left Roy high and dry in Memphis. Sam Phillips and Jack Clement took Roy next door to the café to calm him down. It hurt Roy a lot to lose his friends and his band and have to move on without them. He lived at Mr. Phillips’ house for several weeks at a time, working with the regular Sun musicians -- Roland Janes on guitar, Stan Kesler on bass and J.M. Van Eaton on drums. Warren Smith was Roy’s good friend. Smith did Orbison’s song “So Long I’m Gone,” and Orbison used Smith’s band on some of the Sun Records package tours put on by Bob Neal’s Stars Incorporated. Between tour dates, Roy stayed at Carl Perkins’ house. On a few occasions when Roy opened the show, he caused riots, and the show would be canceled before anyone else had the chance to play. They were banned from several towns, and things did get out of hand regularly. Any stories you could hear wouldn’t measure up to the reality of what happened: Roy and Jerry Lee and Jack Clement buying three motorcycles on a whim one day. No licenses, no helmets. Elvis and Roy exiting a radio station and finding themselves in the middle of a fistfight between Johnny and Dorsey Burnette of The Rock and Roll Trio. Carl and Roy running down the street with girls ripping their clothes off. Johnny Cash was there for every bump in the road of Roy’s life. Roy loved Johnny. Johnny loved Roy. Their friendship would fill many books. Most of their stories, they took with them. Orbison was the first to do a Johnny Cash song, “You’re My Baby.” On the road at Sun, Roy and Johnny would be in one car, and Jerry Lee and Carl in another. Inside jokes, pranks, promises and bets with no money—If Heaven has a backstage, Roy and Johnny are probably still at it. Claudette Frady was Roy’s teenage sweetheart. He wrote the song “Claudette” for her. The Everly Brothers, Roy’s dear friends, covered the song in 1958. They released it as the B-side to the Boudleaux Bryant song “All I Have To Do Is Dream.” That put “Claudette” on every jukebox in America. In a way, it’s Orbison’s first big hit, except that “Ooby Dooby” was number one everywhere Roy went in 1956. Roy was a dreamer, and Claudette was the girl of his dreams. The kind of beauty to compete with the images he saw on the silver screen. In the desert of Texas, the cinema was the only window of opportunity to see that there was anything beyond the horizon. Women like Lana Turner didn’t exist in West Texas. But by all accounts, Claudette was special and more beautiful. In his high school yearbook, Roy wrote: “To lead a Western band is his after school wish, and of course to marry a beautiful dish.” In September 1957, Roy and Claudette were married. Both of his wishes had already come true. The “1956 Guitar Pull Medley” is an interesting rarity that has Orbison playing Top 40 hits of the day, many of them by Elvis Presley. These are among the earliest cover versions of what would become the most classic of all Rock and Roll songs. It’s lucky for us there was a mobile recorder in West Texas that night. Hail! Hail! Rock and Roll! As they left Sun Records, Johnny Cash went to Columbia and Roy followed Elvis to RCA Victor. There, he worked with Chet Atkins, Floyd Cramer and Boots Randolph. If you could go back to any particular place in time in music history, Nashville’s legendary Studio B with Mr. Guitar, Mr. Piano and Mr. Saxophone would be high on the list. Roy cherished working with Chet Atkins in particular as a personal highlight of his career. RCA Victor proved to be a transitional period for Orbison. The “calm between the storms” produced the song “With The Bug.” In “Pretty One,” you can hear the swagger of Sun in the vocals giving way to the more sophisticated arrangements and singing style that Roy preferred. It’s as though each song Roy ever recorded shows him learning to harness and control the tremendous power of his voice. The Voice. At this time he still took off his glasses onstage and for publicity pictures, but this would happen less and less. Buddy Holly had softened the stigma of glasses for America. Soon Orbison delivered the knockout punch, elevating sunglasses to super-cool status and bringing them mainstream. He just took his simple-poorboy-drugstore glasses and had a pair custom-made with dark lenses. Genius. Today even New York supermodels are wearing them as fashion statements. INTO THE 1960s TO EXPERIENCE Roy Orbison on the radio during the years 1960-1965 at Monument must have been a thrilling ride as Roy outdid himself again and again. Each time making the song bigger or louder, the notes higher and longer, the arrangements more complex and more natural. These were the days of singles; you got a B-side, but the A-side was all that mattered. It was a high-wire act. With Roy as the lyricist and songwriter, singing and playing the songs, they hit like a complete package. And hit they did. In this period, Roy Orbison was undeniable. Biggest record sales. Biggest audiences. Biggest tours. Manhandling the charts worldwide. Orbison was the only American to chart regularly during the British invasion. “Only The Lonely” hit #2 on the American charts and #1 on the U.K. charts. Roy was strengthened by the amazing talent he had surrounded himself with. There was Fred Foster, president of Monument Records. Fred Foster believed in Roy’s talent. There were Boudleaux and Felice Bryant, the wonderful husband-and-wife songwriting team, who took Roy under their wing. The best musicians in Nashville added to the extremely high level of quality: Harold Bradley, Hank Garland, Jerry Kennedy, Floyd Cramer, Boots Randolph, Charlie McCoy (Mr. Harmonica), Bob Moore and Buddy Harman Jr. Roy’s publisher and manager was Wesley Rose of Acuff-Rose. Roy and Wesley Rose shared a similar relationship to Fred “Pappy” Rose and Hank Williams. Joe Melson, Roy’s new songwriting partner, was already a great songwriter. The combination produced unique, extraordinary songs, great care going into them, like chiseling a statue out of stone. Songs like “Only The Lonely,” “Blue Angel,” “Running Scared,” “Crying,” “Blue Bayou” and “The Crowd” speak for themselves better than any attempt to explain them. By “In Dreams,” all the classic Orbison elements are in place. When he could, he preferred recording his own songs. He “got a better feeling of them that way.” “In Dreams” is, in a way, the most “Orbison” song. He wrote it fading into sleep, and upon waking, he had it done and ready to go. He just had to pick up a guitar to check the chords he dreamt. “In Dreams” was written while he was asleep. That’s about as magic as it gets in real life. Magic is transferred to the tape on many Orbison songs. “Crying” is rolling along, Roy says “…then you stopped,” and the music stops completely for a beat. In the song “Falling,” when Roy sings the word “falling,” his voice drops from a high note to a low one. In “I Drove All Night,” Roy’s voice mimics a car engine shifting through the gears and fading into the distance. Can things like this be planned? Can you ever really harness fire? Scattered among the selections on Disc Two are the songs considered to be Roy Orbison’s greatest hits, but Roy’s B-sides were often better than other people’s A-sides. Case in point, a song called “Love Hurts,” which was buried on the B-side of “Running Scared.” Most people never turned the record over. “Running Scared” was that good. “Pretty Paper” is Roy’s Christmas song. Roy was one of the first people to do a Willie Nelson song (Willie still had short hair, so that tells you how far back it was). INTO THE 1970s “MEAN Woman Blues” is a standard of Rock and Roll. Roy’s new lyrics and re-working turned it into a Roy Orbison original. (In his live shows, Carl Perkins always included a hidden tribute to Roy by doing Orbison’s version.) Was Orbison using rockers to set up his ballads, or ballads to set up his rockers? Does it matter when you’ve got songs like “What’d I Say” from a concert in Holland in 1965, Roy at peak form and belting out Ray Charles’ classic with his road band, The Candymen? “It’s Over” was recorded March 10, 1964, and was Roy’s secret weapon. Whatever your favorite Roy Orbison song, “It’s Over” will make you think twice. The chords, the dynamics, the drama, the naturalness could only be Roy Orbison. Unlike most of his other songs, this one isn’t covered too often. He stood alone on stage, and barely moved, yet could bring people in his audience to tears. Even band members frequently missed parts because they choked up. Through his life, this tremendous talent he had for ballads eclipsed all other elements of his persona. The black clothes, upturned collar and dark sunglasses, the inventive songwriting, the tragedy in his life, his vocal talent, and the lyrics all became an extension of the sadness of the ballads. With Elvis, wearing all black was sexy. With Johnny Cash, wearing all black was cool. Orbison blackness is a bit colder, more blue-black, more lonely. In the summer of 1964, Roy was playing a 12-string acoustic Epiphone guitar. He always wrote on acoustic guitars. He and co-writer Bill Dees were piecing together a song that needed a riff; the riff that Roy hit straight off was to become one of rock music’s greatest treasures. Orbison made special arrangements for this song. He knew he wanted pounding drums to kick it off, so he brought a second drummer to the session so the drums would be twice as loud. He also wanted to shake up his usual recording team and brought a handful of guitarists. Billy Sanford and Jerry Kennedy were the two session aces Roy chose for the special session. The song, “Oh, Pretty Woman,” reached number one globally. Guitarists have been playing it ever since. Eddie Van Halen took the song to number 12 in 1982. “Oh, Pretty Woman” has a wonderful quality; while you’re actually listening to it, it is the greatest song you have ever heard. From Julia Roberts in the film Pretty Woman to Jim Carrey in Dumb and Dumber, the song is in all your favorite movies too. It has been to the United States Supreme Court and back. Now, it’s on ringtones, YouTube, SingStar and Guitar Hero. If you really have to get your “Pretty Woman” fix, it’s on MySpace and Facebook 24 hours a day. Little kids are rocking out to it right now. Like Roy himself, “Oh, Pretty Woman” changes into something new every few years. Roy’s opening acts while touring in Australia every year form a little musical history of its own. Each band immediately borrowing certain elements of what they saw Roy do live: With the Beach Boys in 1964. With The Rolling Stones in 1965. With the Yardbirds in 1967, spending time with Peter Grant, future manager of Led Zeppelin, and Jimmy Page. “Ride Away” highlights Roy’s love for motorcycles. Roy was an avid motorcycle and automobile collector (at one time, he had so many cars he bought the local drive-in theater to store them all). Early on, Elvis showed Roy his new Harley-Davidson. Roy had to have one. Later phone calls between the two usually included congratulating each other and talking about customizing Harleys. However, motorcycles would become a symbol of tragedy in Roy Orbison’s private life. On June 6, 1966, Claudette Orbison died in Roy’s arms after being struck by a truck while they were motorcycling in Tennessee. The second of Roy’s three sons with Claudette, Anthony King Orbison, asked him “if Mama rode to Heaven on a Harley?” and Roy replied, “Yes, Mama rode to Heaven on a Harley.” “Crawling Back” sneaks up on you. After you’ve heard it a few times, it changes from a song of beauty and grabs you by the throat. The vulnerability develops to an almost unbearable level. Orbison could give you so many different pictures and shades of sadness. Further tragedy struck when a fire destroyed his home on the lake in Tennessee, killing two of his three children. Roy Dwayne Orbison, who loved karate, was 10 years old and Anthony was 6. Anthony’s favorite television show was Get Smart. Roy sold the land to Johnny Cash, whose house burned on the same spot in 2007. One of Roy’s favorite houses in Malibu also would burn in 1993 with much of Roy’s belongings. So to say fire was a curse and a monster is not far from the truth. “Walk On” shows what Bob Dylan meant with the words: “Roy sang like a professional criminal.” Orbison was a pro, and his intensity does feel like life or death. He seemed to know some things that can’t be taught. Studio footage of him singing “Walk On” shows his hand tightening into a fist on heavy notes. His facial expressions projecting a “now or never” attitude. He took his music deadly seriously. Orbison was so popular that in addition to the first $1 million contract ever, MGM offered him a movie deal. The movie is called The Fastest Guitar Alive and contains great video footage of Roy performing several songs. One of the best is “Pistolero.” He fell in love with Southern California while filming the movie. Roy believed God, music, time and love could cure all things. Something had happened to give Roy the hope of love. Just when he needed it most, he met the girl who would become his wife and constant companion. Roy married Barbara Annemarie Wellhoener Jakobs on May 24, 1969. When Roy would say “Barbara saved my life” in interviews, everyone knew he meant it literally. In Barbara, he had found what he was looking for, the once in a lifetime soulmate love that only happens in dreams. In his live shows, Orbison always had a few extra rockers to add to his “ballad heavy” string of hits. “Land Of 1000 Dances” from a 1972 show in Australia is a good example, recorded with his backing band of the time, The Art Movement. In the 1970s, Roy poured his energy into his family. With his parents, surviving son Wesley K. Orbison, and two new sons, Roy Jr and Alex “Orbi” Orbison, Roy and Barbara found fun in life again. Even during his “Lost Years,” Orbison was still quite active. Winning a Grammy® Award for his duet with Emmylou Harris, “That Lovin’ You Feelin’ Again.” Touring with the Eagles in 1978. Doing benefits like Farm Aid, and appearing on The Dukes Of Hazzard with Daisy Duke. INTO THE 1980s JERRY Lee Lewis, Carl Perkins, Johnny Cash and Roy Orbison got together one last time. The album was called Homecoming, and what a glorious reunion it was. Carl Perkins gave the best vocal performances of his career. Johnny wrote his best lyrics. Jerry Lee was still wild, and Roy Orbison was still emotional. The songs somehow sound better today than the day they were released in 1985. Roy’s solo song, “Coming Home,” contains a spiritual quality. A picture was taken at Sun of Carl, Johnny, Jerry Lee and Elvis and dubbed “The Million-Dollar Quartet.” It would have been “The Million-Dollar Quintet,” except that Roy was in Texas at the time. The name, “The Million-Dollar Quartet,” was considered for the reunion band, but out of respect for Elvis, they called themselves Class of ’55. Along with the death of Elvis Presley, Class of ’55 was the end of the beginning of Rock and Roll. The songs conjure up these friends as a Big Train from Memphis, with Elvis as the engine in the front, Carl the next boxcar, Johnny the next, Roy the next, all the other cool cats from Sun next, and Jerry Lee as the caboose to tear the whole thing down. The passage of time shows just how special that train would prove to be. In the movie Blue Velvet, director David Lynch pointed out the darkness inherent in any Roy Orbison song. In this case, the beautiful song “In Dreams” would be re-imagined as a nightmare. Lynch also made a Spanish version of “Crying” called “Llorando” the set piece for his movie Mulholland Drive. There never was a band that had more fun than the Traveling Wilburys. Like a musical version of Monty Python, Nelson Wilbury, Otis Wilbury, Lefty Wilbury, Lucky Wilbury and Charley T. Junior humbly made music history, notably by actually making great music. George Harrison had befriended Roy when The Beatles were the supporting act for the English leg of Orbison’s 1963 world tour. That friendship came back full-circle when Tom Petty (who was working with Orbison on various projects—The Heartbreakers are all over the album Mystery Girl), Jeff Lynne of the Electric Light Orchestra (Roy’s trusted friend and producer) and Bob Dylan (the best lyricist ever, among other things) formed the dream band. George Harrison was only in two bands for all he achieved in his mighty career. George is still a Beatle, and he is still a Wilbury. Thy Wilbury Done. Roy’s spotlight song on the Traveling Wilburys album, “Not Alone Any More,” is one of his best vocals. It soars like an Angel. “You Got It” is so catchy, it’s almost not fair to the listener. It’s like one big chorus. You can hear how big Roy’s love was by the conviction in his voice. The words of a man who promises the world and can deliver. It’s the true life serenade of Roy to Barbara Orbison. When Roy and Bono of U2 worked together, Bono turned out a gem of a song. “She’s A Mystery To Me” has a wonderful rhythm and many classic Orbison elements. It sounds like it could be from Orbison’s classic Monument period, yet is as modern as what it is—a U2 song with Roy Orbison singing. Roy’s life in the 1980s on the beaches of California was his golden period. From his Pacific Ocean front porch, he could see the beauty of the sunset or hear the thunder over Kanan Dume. He always said the sky there has a special blue color. When he was on the road, a certain time of day always made him miss Barbara. He would look up at the sky and wish he was seeing the cloudless blue sky of California. Like a latter day “Blue Bayou,” Roy captured the emotion of longing again with “California Blue.” Roy Orbison and Friends: A Black and White Night was captured on audio and black-and-white video. No color footage exists. The sounds are vivid enough without it. Great Rock and Roll guitarist James Burton throws cascades of colorful notes across every song. Alex Acuña and the rest of Elvis’ TCB Band playing with Roy gives the show a “Holy Elvis” quality. Bruce Springsteen, Tom Waits, Jackson Browne, Elvis Costello, Bonnie Raitt, k.d. lang and T Bone Burnett turned in heartfelt renditions with a unique chemistry. (Orbison worked frequently with super-talented T Bone Burnett, who was also the musical director for Black and White Night.) On top of all of this was Roy himself, giving the performance of a lifetime. New songs like “(All I Can Do Is) Dream You” burn with the fire of a young man alongside classics like “Oh, Pretty Woman.” Bruce Springsteen helped Roy many times, in many ways. In his early days, Bruce had opened the show for Orbison and would later write “Roy Orbison singing for the lonely” in his song “Thunder Road.” It was Bruce Springsteen who inducted Roy into the Rock and Roll Hall of Fame in 1987 with a riveting speech. Roy loved The Boss’s live shows and received a surprise when Bruce sang “Happy Birthday” to him from the stage in Los Angeles. Springsteen’s integrity was well known to Roy, and it was an association and friendship that made Roy very proud. Thank you Bruce! Right ’til the end, Roy always liked upbeat Rock and Roll. “Heartbreak Radio” could be a song from his Sun days recorded in the year 2050. It’s the same old boogie-woogie in disguise. Jeff Lynne’s talents graced “I Drove All Night.” His deep understanding of music allowed him to match Roy’s voice in ways no one else was ever able. Roy could sing flawlessly over anything Jeff played, and Jeff could play perfectly behind anything Roy sang. They worked well together, and Jeff added yet another chapter of genius to Roy’s life. Roy’s last great long-term songwriting collaboration was with fellow Texan Will Jennings. With Will, Roy created his most mature works. The point of view in these songs isn’t old—it’s ancient. “Wild Hearts Run Out Of Time” was written for a movie about Marilyn Monroe, but the song is so personal, with Roy singing lines about being “in the dying of the light” and “in the sunshine of your mind,” that in retrospect it seems autobiographical. It would be a heart attack that claimed him too early in life. “Life Fades Away” is a spooky song. In the opening lyrics, Roy sings, “My time has come, the clouds are calling / December Wind has come my way.” Produced by Rick Rubin, the song begs the question of what great songs the relationship might have yielded. With Orbison, Rubin began a new direction in his series of successes. Rick put the song on the soundtrack for the movie Less Than Zero. Seeing Roy and Slayer on the same album is the type of cool factor Rick is so good at. Working with Roy led Rick to Johnny Cash. Roy Orbison was buried December 1988, in the most famous cemetery in the world. His pallbearers were the Traveling Wilburys. The sky was raining. BUT HEROES DON’T DIE. Roy Orbison stood alone at 5’11” inches and cast a long shadow over Rock and Roll. He never lost a childlike fascination with music and a humility that he was given admiration and money for what he would have done anyway for free. Music was what it was all about. The guitar was his best friend, and together they had a lot of fun. MERCY !!!! ROY KELTON ORBISON, JR 2008 http://www.royorbison.com/us/node/61
Voldar: Оказывается Рой был примером не только для всех наших любимых персонажей,а и для Кита Ричардса тоже,о чем он пишет в своей книге. My Hero Roy Orbison Roy Orbison! What a beacon in the southernmost gloom. The amazing Roy Orbison. He was one of those Texan guys who could sail through anything, including his whole tragic life. His kids die in a fire, his wife dies in a car crash, nothing in his private life went right for the big O, but I can’t think of a gentler gentleman, or a more stoic personality. That incredible talent for blowing himself up from 5ft 6in to 6ft 9in, which he seemed to be able to do on stage. It was amazing to witness. He’s been in the sun, looking like a lobster, pair of shorts on. And we’re just sitting around playing guitars, having a chat, smoke and a drink. “Well, I’m on in five minutes.” We watch the opening number. And out walks this totally transformed thing that seems to have grown at least a foot with presence and command over the crowd. He was in his shorts just now; how did he do that? It’s one of those astounding things about working in the theatre. Backstage you can be a bunch of bums. And “Ladies and gentlemen” or “I present to you,” and you’re somebody else. © Keith Richards 2010. Extracted from Life by Keith Richards with James Fox, published by Weidenfeld & Nicolson. http://www.royorbison.com/us/news/roy-orbison-featured-life-keith-richards
Goldenday: Офигеть просто! Между ними так много общего...
Voldar: Ballet Memphis Presents "In Dreams," Featured In New York Times he dancers of Ballet Memphis have recently been performing Trey McIntyre's ballet "In Dreams," set to the songs of Roy Orbison! The ballet was presented over the summer as part of the Kennedy Center Opera House's "Ballet Across America" special event series as featured in the New York Times! “In Dreams” is set to Roy Orbison songs. Since Orbison recorded his first album in Memphis, he is part of the musical tradition that Ms. Pugh hopes to tap for her company. Calling him “the Plácido Domingo of country music,” she likened his singing to “the sound of the human heart breaking.” Part of the interest of Mr. McIntyre’s work is that it catches fragments of that heartbreak while never trying to illustrate the songs’ words literally. The lyrics say one thing, the dance says another, but they stay in close connection both in mood and in details of phrasing. And so he negotiates the difficulty of choreographing to music so generally appealing that it might easily overwhelm most dances. Though “In Dreams” makes its dancers look good, it’s not concerned with technical skill. It starts with, and often returns to, a striking formation whereby its five dancers travel, softly and close together, around the stage: this has a dreamlike quality. Then the way one or more dancers separate themselves from the group makes them seem characters in (or dreamers of) the dream. Even when they’re looking out front, they appear to be sightless. A passage of footwork may suddenly tie in to a figure in the musical accompaniment, a sudden lift may catch a salient note in Orbison’s singing, a dancer may arch back on a closing chord, but much of the choreography floats around the music. In solos, duets and trios, different images of need emerge; but even though the duets are intense, it’s as if they’re happening in the traumatized unconscious. “In Dreams” — which I imagine would make more impact in a smaller theater — is distinctive, touching, and ambiguous. http://www.nytimes.com/2010/06/19/arts/dance/19america.html?_r=1
Voldar: В память о Рое... Twenty-two years ago, December 6, 1988, rock and roll legend Roy Orbison passed away from a heart attack outside of Nashville. Orbison was then at the height of his career with two albums in Billboard’s Top 5, Mystery Girl and The Travelling Wilburys. He left behind one of history’s greatest musical legacies. Since his untimely passing, not a day goes by without a glimpse of Roy Orbison’s lasting influence, from his iconic sunglasses to his romantic, unforgettable voice singing some of rock and roll’s most famous songs. The lyrics he wrote echo what millions have felt. What would the world be like without “Oh, Pretty Woman,” “Only the Lonely,” “Crying,” “In Dreams,” “Blue Bayou,” and “You Got It”? Please join us at RoyOrbison.com to celebrate the life of this great singer, songwriter, musician, husband, father, and friend. Please leave your favorite Roy Orbison memory, story, or photo in our special "December 6th Roy Memories" forum or on the Roy Facebook Wall. The 10 best fan submissions will be chosen and displayed on the front page of RoyOrbison.com. Winning fans will also receive exclusive items from the Roy Orbison Store. Sony Legacy and Roy Orbison Enterprises are also gearing up a special campaign to celebrate Roy Orbison’s 75th Birthday early next spring. Please keep an eye out for news and updates. We miss you Roy! Take a moment and listen to Roy's final performance of "Oh, Pretty Woman" from The Last Concert on December 4, 1988 in Heighland Heights, OH: http://www.royorbison.com/us/news/remembrance-legendary-roy-orbison
Voldar: Игорь Наумов,раскрыл мне глаза,на кого же рычал Рой в своем самом известном хите Oh, Pretty woman.Рычал он оказывается на свою собственную жену Клодетт,которая ему таки изменила...,но он её простил и ещё написал такую песню.Остальное можно прослушать в авторской передаче Игоря - музыкальный секондхенд. Oh, Pretty woman - 1 http://www.silver.ru/air/programmes/second-hand/issues/11466/ Oh, Pretty woman - 2 http://www.silver.ru/air/programmes/second-hand/issues/11656/
Goldenday: Как у этого парня хватает фантазии постоянно выдумывать все эти комментарии?
ТНЮ:
Voldar: У них народ уже собирается праздновать.Подарки от офсайта Роя. Merry Christmas and Happy New Year from all of us at Roy Orbison Enterprises and RoyOrbison.com! Два редких видео с рождественского шоу Class of 55 from the 1977 Johnny Cash Christmas Special. а также обои на рабочий на стол и ещё можно скачать видео Roy's Holiday Classic, Pretty Paper! http://www.royorbison.com/us/news/roy-world
Goldenday: Чувство, что Рой не покинул нас
Voldar: Это точно.
Voldar: Это просто подарок на новый год... Burka Woman – Saad Haroon From Pakistani news magazine, NewsLine: It’s a goofy parody, but good enough for a few laughs — even a couple of out-loud ones. In fact, Saad Haroon’s music video send-up of the classic Roy Orbison tune “Oh, Pretty Woman” is a fitting way to close out the troubling year Pakistan has now almost completed. As our society gets further radicalised and divided, we need all the laughs we can get. There is a subtle message of hope to be had too. Perhaps there is hope in the power of technology that has found traction in Pakistan? In the video, Saad Haroon’s purdah-ed romance seems to have been saved by high-tech wizardry. This year, many Pakistanis, too, have done a fine job of adopting technology to combat never-ending crises and support progressive initiatives. So don’t lose hope, “sweetu.” http://mideastposts.com/2010/12/20/burka-woman-saad-haroon/
Goldenday: Н-да, бедные дети гор (я про дам): им Талибан, наверное, хрен даёт слушать Роя.
Voldar: Goldenday пишет: им Талибан, наверное, хрен даёт слушать Роя. Димка,если поставить ещё одну запятую,то будет смешнее.
Goldenday:
Voldar: Появился ещё один кавер на песню Роя и опять из кино.На мой взгляд кавер так себе,но зато можно вспомнить замечательный оригинал и ещё одну перепевку. You Got It performed by Rooney. Roy Orbison - You Got It Bonnie Raitt - You Got It
Voldar: Вчера у верной подруги Роя - Барбары было день рождения.Красивая женщина...
Goldenday: Voldar пишет: Красивая женщина А вдобавок ещё и преданная
Voldar: Один ведущих радио KYA ,вещающего в Сан-Франциско - Gary Mora вспоминает о Рое Орбисоне.Кстати радио специализируется на 60-х и послушать его можно в интернете - http://www.kyaradio.com/.Фотография этого диджея и Роя возможно одно из последних изображений Орбисона. Mora also hosted Roy Orbison's last show, an event he remembers fondly. "He died just shortly after he appeared here. What a show it was!," Mora says. "He'd been retired for 10 years. And Circle Star (Theater, where he appeared locally) was one of the first shows he went back onstage doing. And it was very hard for him. I remember the stage was broken so they were pushing it manually. But he blew that crowd away. I walked offstage with him and to the dressing room. And he was saying he had just recorded an album with the Travelling Wilburys and also that he'd done a song called 'You Got It.' He said, 'I think it's a good one.' And sure enough, he didn't see it but it made it to number one." "He was so unassuming and wonderful," Mora says. "That was the high point of the performers that I got to work with." http://www.examiner.com/beatles-in-national/san-francisco-60s-oldies-station-kya-rocks-on-the-internet-like-it-never-left
Voldar: В магазине офсайта Роя продается замечательный сувенир. Roy Orbison Walk of Fame Star Tile Replica http://store.royorbison.com/royorbisonwalkoffamestartilereplica.aspx
Goldenday: Интересно, что за камень (тёмный)? Похоже на оникс. Должно быть, весит хорошо.
Voldar: The Roy Orbison Guide To Preventing Imitation Have you ever gone to the Rock ‘n Roll Hall of Fame? Apart from the fact that it’s in Northeast Ohio, which means I automatically love it, there are a lot of neat things to see in there. One of my favorites is the room where you can trace influences from one back to another, something that was around long before Pandora came along. Geoff Livingston recently alluded to strings of musical influence, and it got me thinking. As a blogger, it’s really important that you frame yourself not as someone who can be imitated, but as someone who can influence. In the music world, Roy Orbison embodies that balance perfectly. While a lot of people have been influenced by the man in black, for my money, no one has ever come close to imitating him. So how can Roy Orbison help you prevent imitation? Here are some things to think about. Infuse your soul into your work. It’s pretty darned easy to identify a song as one sung by Roy Orbison. With every song you hear, you feel like you’re listening to someone just singing those words for the first time, whether they are words of sheer joy or words of tragic misfortune. Roy Orbison felt every song that he sang. Do you feel every blog that you write? Do you pour your soul into it? It’s a great way to avoid imitation. After all, who else has your soul other than you (If you have a story about a crossroads and the devil, this may not apply to you)? Tell stories you can believe. Some of Roy Orbison’s most famous songs are the ones in which he tells stories. Pretty Woman describes a scene where a fellow is walking down the street and sees a woman that is just too gorgeous to believe. It seems like she’s walking away, but oh, guess what? She walks back to him. In Running Scared, the story is of a lover’s triangle and the singer winning his lady’s love. If you ask me, few song endings are more joyful and triumphant than the endings of those two songs. As a listener, you feel that suspense, and then you feel that surprise joy. Tell your readers stories as you experienced them. Add details that make the stories uniquely yours. Put your own spin on an experience your readers can relate to. Don’t pigeon-hole yourself. It would have been easy for Roy Orbison to choose a single type of song and just stick with that throughout his career. He could have been king of the rockabillies. He could have been a crooner. The problem with mastering just one thing is that then you’re offering people tons and tons of ways to study how you do what you do. You can’t help but develop a technique for doing the same sort of thing over and over. Roy kept exploring until the day he died. He sang solo, he sang duets, and he sang with the Traveling Wilburies. He sang heart-wrenching songs like Crying and silly, catchy songs like Oobie Doobie. Could Only the Lonely and Anything You Want be more different? Yet you know it’s all him. His voice, his style, keep it all tied together. This doesn’t mean niche blogging is bad, by the way. It just means that you can approach that niche in infinite numbers of ways. Try things out. Keep the imitators guessing. Raise other people up. This is something that imitators can’t touch. Roy Orbison easily could have worked solo his entire career, keeping all of his fame to himself. But he did just the opposite. He raised KD Lang to greater heights of fame by singing one of his most famous songs, Crying, with her. His famous concert, Black and White Nights, spotlighted tons of other people including Jackson Browne, Elvis Costello, KD Lang, and of course, Bruce Springsteen. When he joined the Traveling Wilburies he shared the spotlight with Tom Petty, George Harrison, Bob Dylan, and Jeff Lynn – quite an unlikely gathering, by the way. No one can imitate your community building techniques because it’s all about how you interact and engage with people. You just have to do it. All of these things can influence people in major ways, both in general and in the nitty gritty details. You might have people who will come along and try to sing one of your songs. You might run into someone who is compared to you because of a certain nuanced part of how they do what they do. But you’ll still be you. And there’s no imitation for that. http://www.b2cmarketinginsider.com/social-media/the-roy-orbison-guide-to-preventing-imitation-012083/comment-page-1
Voldar: Sony Legacy to Celebrate Roy Orbison's 75th Birthday With Singles Collection Legacy Recordings, the catalog division of Sony Music Entertainment, is celebrating the 75th birthday (April 23, 1936) year of Roy Orbison with the long-awaited release of Roy Orbison: The Monument Singles Collection, a 2 CD/1 DVD set including all the A&B sides recorded by Orbison for the groundbreaking Monument label during an electrifying peak from 1960-1964. Restored to pristine mono mixes for the first time since their original 7" vinyl releases, Roy Orbison: The Monument Singles Collection presents The Big O's core classic catalog the way it's meant to sound. Roy Orbison: The Monument Singles Collection, a 2 CD/1 DVD set, will be available everywhere Tuesday, April 5th. Roy Orbison - The Monument A-Sides will also be available on a single CD. A small independent record label enjoying modest successes in the late 1950s, Monument Records grew to become a major force in American rock and roll, country, jazz and rhythm & blues, its label identity synonymous with its biggest star, Roy Orbison. Other artists on the Monument label have included Kris Kristofferson, Boots Randolph, Dolly Parton, Ray Stevens, Tony Joe White, Charlie McCoy, Willie Nelson and others. The 75th birthday commemorative release of Roy Orbison: The Monument Singles Collection includes the first-ever DVD release of Orbison performing nine songs from "The Monument Concert 1965," including the official video for "Oh Pretty Woman," digitally restored especially for this collection. Roy Orbison: The Monument Singles Collection includes liner notes by Roy Orbison Jr. featuring new interviews with Fred Foster, Joe Melson, Bob Moore and others. Orbison – along with a short list that included Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins – was one of the undisputed originators and architects of rock & roll at Sam Phillips' Sun Records. Orbison cut his first chart hit (it reached #1 on the local charts), "Ooby Dooby," for Sun in 1956, staying with the label for two years before a brief stint at RCA in 1958. Roy Orbison signed with the newly emerging independent label Monument Records in mid-1959. While his second single for Monument, "Uptown," became his biggest hit as a performer since "Ooby Dooby," it was Orbison's third single for the label, "Only The Lonely (Know How I Feel)," which announced to the world the true artistry of Roy Orbison. The song peaked #2 on the Billboard Pop Singles chart, crossed over to #14 on the Billboard Black Singles chart, and rocketed up to #1 on the UK charts. He enjoyed an unbroken four-year string of Top 40 Hits – "Crying," "Candy Man," "Dream Baby (How Long Must I Dream)," "Working for the Man," "Leah," "In Dreams," "Pretty Paper," "Blue Bayou," " Mean Woman Blues," "It's Over" – during which Roy Orbison became America's top-selling recording artist and one of the world's most celebrated entertainers. Roy Orbison was one of the few established hit-makers from the late 1950s and early 1960s to not only hold his ground, but to actually increase his popularity in the wake of the British Invasion. He maintained his popularity through music which displayed an extraordinary variety of themes, structure, tempo and rhythm and an authentic, emotional connection that transcended mere craft, exemplified in his signature classic, "Oh, Pretty Woman," recorded on August 1st, 1964. Written by Orbison with his new writing partner Bill Dees, "Oh, Pretty Woman" became Roy's biggest hit and is one of the most recognized and popular songs of all time. Released in August 1964 in the US and in September of that year in the UK, the song hit the #1 slot in virtually every country in the world where people had record players, selling some seven million copies that year. And this was only the beginning.... Ahead of Roy were 23 world tours, 12 albums for MGM, his starring role in the 1967 MGM feature film "The Fastest Guitar Alive," the 1988 all-star Cinemax special "Roy Orbison and Friends, A Black and White Night," The Traveling Wilburys (with Bob Dylan, George Harrison, Tom Petty and Jeff Lynne), the Class of '55 reunion album (with Jerry Lee Lewis, Johnny Cash and Carl Perkins), television appearances on "Saturday Night Live" and "Austin City Limits," his 1988 Mystery Girl album, the 1992 posthumous collection King of Hearts (Bonus Track) (produced by Jeff Lynne), the posthumous hit singles "You Got It" and "I Drove All Night," not to mention lawsuits, deaths, fires, tragedies, and Grammy awards. When Roy Orbison died in 1988, he had two albums in the Billboard Top 5. In 1990, the Pretty Woman soundtrack topped the charts. In 2010, Roy Orbison got his own star on the Hollywood Walk of Fame in front of the Capitol Records Building alongside John Lennon, George Harrison, Ringo Starr and Garth Brooks. ROY ORBISON: THE MONUMENT SINGLES COLLECTION Disc One: The A-Sides 1. Uptown 2. Only The Lonely 3. Blue Angel 4. I'm Hurtin' 5. Running Scared 6. Lana 7. Crying 8. Let The Good Times Roll 9. Blue Bayou 10. Dream Baby 11. The Crowd 12. Working For The Man 13. In Dreams 14. Falling 15. It's Over 16. Oh, Pretty Woman 17. Goodnight Bonus Tracks: 18. Pretty Paper 19. (Say) You're My Girl 20. Paper Boy Disc Two: The B-Sides 1. Pretty One 2. Here Comes That Song Again 3. Today's Teardrops 4. I Can't Stop Loving You 5. Love Hurts 6. Summer Song 7. Candy Man 8. Mean Woman Blues 9. The Actress 10. Mama 11. Leah 12. Shahdaroba 13. Distant Drums 14. Indian Wedding 15. Yo Te Amo Maria 16. Only With You Bonus Tracks: 17. Beautiful Dreamer 18. Sleepy Hollow 19. With The Bug The Monument Concert - DVD 1. Only the Lonely 2. Running Scared 3. Crying 4. What'd I Say 5. Dream Baby 6. Mean Woman Blues 7. It's Over 8. Oh, Pretty Woman 9. Goodnight http://www.artistdirect.com/entertainment-news/article/sony-legacy-to-celebrate-roy-orbison-s-75th-birthday-with-singles-collection/8692689
Goldenday: В общем-то, ничего нового, но всё равно приятно.
Voldar: Обложка нового бокссета.
Goldenday: Шикарный экслибрис!
Voldar: Roy Orbison tribute at Mae Wilson Theatre When Larry Branson first started playing guitar and using Rock ‘n’ Roll legend Roy Orbison as his inspiration, little did he imagine he would one day be performing in tribute to his idol. But, since 1989 after Orbison died in 1988, Branson has taken the lead role in a variety of shows about the star. He will perform ‘An Evening with Roy Orbison’ at the Mae Wilson Theatre on March 18 at 8 p.m. But it all started when Branson was a young boy. “I used to play guitar with my Dad and he taught me. He said if you are going to play guitar, you should learn to sing as well. “When I was 13 years old, I was very shy and you could not get me to say hello to anybody. I had heard ‘Only the Lonely’ and ‘Crying’ and a few other songs and I thought ‘wow, if I’m going to learn to sing, I would like to sing like Roy Orbison. “I just used Roy as my teacher. Over the years I got more and more interested in his music and singing and I adapted my voice around his,” he said. http://www.mjtimes.sk.ca/Arts/Entertainment/2011-02-24/article-2276916/Roy-Orbison-tribute-at-Mae-Wilson-Theatre/1
Борис: Только что по "Маяку" прозвучала песня Pretty Woman в рубрике Угадай-ка мелодию.
Goldenday: Интересно, со скольки же нот её просили угадать? По мне так с четырёх реально, ну а вдруг на "Маяке" двумя ограничились
Борис: Goldenday пишет: По мне так с четырёх реально, ну а вдруг на "Маяке" двумя ограничились Учитывая комичный стиль, ведущий наигрывал эту мелодию на насосе, что вылилось в половину куплета (до угадывания слушателем).
Voldar: Damien Leith Plans Roy Orbison Tribute Album Ex-Idol Damien Leith is set to release an all-Orbison cover album. Roy will be his fifth studio album, released a week before what would’ve been Orbison’s 75th birthday on April 23. The album has actually been endorsed by Orbison’s estate and his widow (and President of Orbison Music) Barbara has been enlisted as executive producer. Leith recorded the album in LA and Nashville with US producers Damon Elliott (Macy Gray, Beyonce) and Marti Frederikson (Aerosmith, Faith Hill), and in Sydney with Aussie producers Stuart Crichton (Guy Sebastian, Delta Goodrem) and Wayne Connolly (Josh Pyke, Sarah Blasko). Leith said in a press release, “Roy Orbison, his soulful voice and dignified artistry, has touched millions of people across all generations becoming the soul of rock n roll. Today, I am very proud to pay tribute to a man whose work has had a direct and lasting influence on both my songwriting and my singing. Mercy!” Roy will be released through Sony music on April 15. http://www.undercover.fm/news/13981-damien-leith-plans-roy-orbison-tribute-album
Voldar: British tribute show honors Roy Orbison's 75th birthday Had he lived, Roy Orbison would turned 75 on April 23. To celebrate his musical impact, a special tribute show will take place on his birthday at The Castle, 452 Finchley Road, London NW11, in the UK. The show stars Dave Collison as the Big O, plus special guests The Trembling Wilburys featuring Glen Knowler as George Harrison, along with guitarist Dzal Martin, drummer Dave Stark and others. The Trembling Wilburys' show features music by the Wilburys and other songs associated with the various members. (You can see a video promo of the Trembling Wilburys at left.) The setlist will include all the Orbison and Wilburys classics, such as "Oh, Pretty Woman," "Only The Lonely," "Dream Baby," "In Dreams," "Crying," "You Got It," "Handle With Care," "End Of The Line" and "You're Not Alone Any More. Doors open at 7:30 p.m. Tickets cost £5, which also includes a free raffle ticket for prizes provided by Roy Orbison Productions, headed by Roy's widow Barbara who is giving the event her official support and blessing. http://www.examiner.com/beatles-in-national/british-tribute-show-honors-roy-orbison-s-75th-birthday
Voldar: Oh yeah, it's the Big O WHEN Joe Piastrino dons his black sunglasses and slings his guitar over his back, he transforms into his hero, Roy Orbison. Piastrino’s show, Roy Orbison and the Legends of Rock, has been performed around the country to screaming fans and 1960s musos. His wardrobe for the show also includes an Elvis Presley white jumpsuit, a Buddy Holly jacket and an Everly Brothers tuxedo. Piastrino has been emulating these rock stars for the past eight years. But he said his favourite would always be the Big O, who was a true gentleman with an incredible voice. “He really struck me as most of his songs were about his experiences,” he said. “He was true at heart and he overcame tragedy in his life.” Piastrino said he had trained for 10 years to get his voice to sound like Orbison’s, which had a three or four-ctave range. “The vocal heights and the operatic tones he used took a while to master,” he said. “I have been doing Elvis since I was seven years old and I can mimic him very well. “I study the artists to try and get the voice and the characteristics as close as possible. Then I can just fall into the character.” Piastrino said all the songs in the show were performed live and his four-piece band were just as dedicated to making sure their idol’s music lived on. “It brings back a lot of nostalgia for the audience and they know all the songs,” he said. “They can sing all the songs back to us so I should never make a mistake with the lyrics.” http://whitehorse-leader.whereilive.com.au/news/story/oh-yeah-its-the-big-o/
Voldar: Orbison Gets Treatment: Dylan and Rollins Weigh In Next month it’s Roy Orbison who’s booked for what we around here like to call “the treatment” (like going to a spa but with audio tape and digital recording technology involved). This time out it’s the release of a big mono singles collection of Orbison’s recordings for the Monument label, due April 5. “He sounded like he was singing from an Olympian mountaintop and he meant business,” wrote Bob Dylan in Chronicles Volume One. Or did he? Following our thread from last week’s revelation about the tight connection between the work of Bob Dylan and Henry Rollins, Scott Warmuth’s Goon Talk reveals the dynamic duo share an interest in Orbison, as well as an “interest” in Bono. There’s also the matter of literary letters—by the likes of Thomas Wolfe and Henry Miller—which they both like to read, which seems to be a key concept here. Look folks, we don’t make up the news we just report it so please, try to remain calm. Back to mono: This is the first-ever CD release of the Orbison original mono mixes of all the A and B sides he cut for Monument. The package combines two CDS plus a DVD of nine songs recorded for “The Monument Concert 1965,” digitally restored, along with the official video for “Oh Pretty Woman.” With liner notes by Roy Orbison Jr., the Monument A sides will also see release as a single CD. As of now, vinyl isn’t part of the treatment plan. In case you’re new on the scene, Orbison shares status with Buddy Holly as one of the original bespectacled rockers. Born April 23, 1936 in Vernon, Texas, his 1956 Sun Studios session won him a local hit with “Ooby Dooby.” Two years later, his Monument recording of “Only the Lonely” hit #2 in the US and #1 in the UK. It was a career defining performance, featuring the dramatic, operatic, Olympian artistry of Orbison, all wrapped up in a single song. Of course there were more where that came from: “Crying,” “Candy Man,” “Dream Baby (How Long Must I Dream),” “In Dreams,” “It’s Over,” and of course the 1964 hit, “Oh Pretty Woman,” his signature song and a worldwide #1 record. And lest we forget the comeback, Orbison knew how to throw one: His cable special, Roy Orbison and Friends, A Black and White Night, segued into his Traveling Wilbury period which preceded the solo recording, Mystery Girl; all three projects played major roles in the final act of ”the richness, glory, beauty, wonder and magnificence,” of Orbison who died in 1988. Had he lived, Roy Orbison, still singing for the lonely, would’ve been 75 this year. Here’s the Olympian himself with a cast of thousands and at least one demigod friend, stage left. http://www.crawdaddy.com/index.php/2011/03/16/orbison-gets-the-treatment-dylan-and-rollins-weigh-in/
Voldar: GRAMMY MUSEUM FEATURE ON ROY! The GRAMMY Museum will debut a new exhibit, Roy Orbison: The Soul of Rock-n-Roll. It kicks off April 29th and is going to make for a very special 75th Celebration. http://www.royorbison.com/us/news/grammy-museum-feature-roy
Voldar: Подробности... Roy Orbison exhibit at the Grammy Museum: You Got It On April 29, 2011, the Los Angeles based Grammy Museum on the campus of AEG Live will debut a new exhibit, Roy Orbison: The Soul of Rock-n-Roll. Housed on the Museum’s fourth floor, the exhibit will explore the life and legacy of music legend and cultural enigma Roy Orbison. The exhibit is launching in celebration of Orbison’s 75th birthday year, giving a deep look into the man behind the trademark sunglasses. It's not only the lonely that will want to check out this exhibit and celebrate his music. “Roy Orbison has one of the most haunting and emotional voices in the history of American music,” said Grammy Museum Executive Director Bob Santelli. “His too brief, yet brilliant career still lives today, and deserves to be heard. We’re pleased to re-introduce his music to his fans who recall the genius of his work, as well as introduce him to a new generation of fans.” Best recognized around the world for his falsetto voice, jet black hair and black sunglasses, Roy Orbison was both a rock and roll pioneer and prolific singer-songwriter, starting with his first high school band (The Wink Westerners) and shifting into mass consciousness in the 1960s with a string of singles for the Monument label that defined an artist and helped launch a label. Orbison soon became one of the few established hit-makers from the late 1950s and early 1960s to not only hold his won ground, but to actually increase his popularity in the wake of the British Invasion, a feat not accomplished by many of his early contemporaries. He maintained his popularity through music thatas displayed an extraordinary variety of themes, structure, tempo and rhythm and an authentic, emotional connection that transcended mere craft, exemplified in his signature classic, "Oh, Pretty Woman," recorded on August 1st, 1964. Orbison was the recipient of multiple Grammy Awards and received the Lifetime Achievement Award in 1998. Orbison's songs have become radio staples. His songs have been covered by artists including Van Halen and Linda Ronstadt. Advertisement Bringing together more than 40 diverse artifacts, rare photographs and more, the exhibit features items from the private collection of Orbison’s widow, Barbara, and family. On display, visitors will see a wide-ranging array of items, including: Orbison’s prescription black-framed sunglasses, a handwritten set list, signed by Orbison, several of Orbison’s guitars, handwritten lyrics and letters, Orbison ticket stubs, concert posters, fan memorabilia, and much more, including aselection of biographical films and archived footage. "I am honored The Grammy Museum is remembering Roy, a man, who has so often been a total mystery. Now the world will have a glimpse into his life and a chance to know him through more than his music," said Barbara Orbison, Roy’s widow. Roy Orbison: The Soul of Rock-n-Roll will be on display in The Grammyy Museum’s Special Exhibits Gallery through November 28, 2011. Additionally, Legacy Recordings, the catalog division of Sony Music Entertainment, is celebrating Orbison with the long-awaited release of Roy Orbison: The Monument Singles Collection (1960-64), a 2-CD/1-DVD set including all the “A&B Sides” recorded by Orbison for the groundbreaking Monument label during an electrifying peak from 1960-1964. Restored to pristine mono mixes for the first time since their original 7" vinyl releases, Roy Orbison: The Monument Singles Collection (1960-64) presents the classic catalog the way it's meant to sound. In addition to his vast solo catalogue, Orbison was also known for his timeless recordings with the Travelling Wilburys, featuring Tom Petty, Jeff Lynne, Bob Dylan and the late George Harrison. Collecting Rob Orbison memorabilia is a popular activity for his fans. Authorized items can be purchased at the official Roy Orbison website. The Grammy Museum is located at 800 West Olympic Boulevard, Suite A245, and Los Angeles, CA 90015. With an entrance off of Figueroa Street, the Museum resides within the L.A. Live campus, at the intersection of Olympic Boulevard and Figueroa Street in downtown Los Angeles. http://www.examiner.com/rock-music-in-national/roy-orbison-exhibit-at-the-grammy-museum-you-got-it
Voldar: Ещё одно издание о Рое. Album: Roy Orbison, The Monument Singles Collection: 1960-64 (Monument Legacy) It's long been conventional to regard the gap between the fading of rock'n'roll's 1950s thunderclap and the first landing of the British Invasion in 1964 as a sort of taste vacuum in pop. Which is cobblers. The evidence? Motown, Chuck Berry, the Everlys and the Big O: the first stirrings of the gothic in rock, not to mention the first incidence of unadulterated grace. This set teams all the A-sides with their Bs and, in one edition, brings you a live DVD from 1965. Sigh. http://www.independent.co.uk/arts-entertainment/music/reviews/album-roy-orbison-the-monument-singles-collection-196064-monument-legacy-2265975.html
Voldar: Damien Leith releases Roy Orbison cover to coincide with the singer's 75th birthday WHEN Damien Leith hit that signature high note in the Roy Orbison classic Crying during Australian Idol, he sealed his destiny. Five years later and with the blessing of Orbison's widow Barbara, Leith is paying tribute to the Big O with his fifth record Roy, released yesterday. It is the only tribute sanctioned by Barbara to be released worldwide to mark what would have been Orbison's 75th birthday. "It was extremely nerve-racking but when I gave Barbara the music, she gave me the courage to go for it," he said. Like elite athletes, singers also have to train to undertake the vocal gymnastics required. While Leith has put his own musical spin on Pretty Woman, In Dreams and Only The Lonely, he knew the real test would be to hit the notes that have made these songs so popular. "I did lots of training, scales and other vocal exercises. Those high notes are quintessentially Roy and you have to sing them," he said. http://www.dailytelegraph.com.au/entertainment/music/damien-has-some-high-notes-to-fill/story-e6frexl9-1226039884327
Voldar: Навстречу юбилею. A Monumental Talent (Billboard magazine Feature) April 23, 2011 edition On The 75th Anniversary of the Birth of Roy Orbison, a New Set of His Singles on Monument Records Highlights a yearlong celebration. http://www.royorbison.com/us/news/monumental-talent-billboard-magazine-feature-april-23-2011-edition
Voldar: Так же в Билборде сочинили ТОР 100 Роя. Roy Orbison's Top Hot 100 Hits: A Playlist The top 10 highest-ranking songs of Roy Orbison's career span nearly three decades, from his breakthrough "Only The Lonely (Know How I Feel)" in 1960 to his final smash, "You Got It," in 1989. To celebrate the 75th anniversary of his birth, Billboard.com presents a playlist of his top hits on the Hot 100. 1. Oh, Pretty Woman Debut Date: 8/29/1964 2. Only The Lonely Debut Date: 6/6/1960 3. Crying Debut Date: 8/14/1961 4. Running Scared Debut Date: 4/10/1961 5. Mean Woman Blues Debut Date: 9/7/1963 6. In Dreams Debut Date: 2/9/1963 7. Dream Baby Debut Date: 2/17/1962 8. You Got It Debut Date: 1/21/1989 9. It's Over Debut Date: 4/11/1964 10. Blue Angel Debut Date: 9/19/1960 http://www.billboard.com/features/roy-orbison-s-top-hot-100-hits-a-playlist-1005147712.story#/features/roy-orbison-s-top-hot-100-hits-a-playlist-1005147712.story
Voldar: HAPPY 75TH BIRTHDAY, ROY!!! HAPPY 75TH BIRTHDAY ROY ORBISON! Be sure to watch and share this wonderful video today while you play your favorite Orbison tunes. MERCY!!! Stay tuned, as the celebration doesn't stop http://www.youtube.com/watch?v=XbC1lcB_06g&feature=player_embedded
Voldar: Roy Orbison's Widow Recalls His Love of Music, Style and Film on His 75th Birthday He dressed like he was in mourning. His life was marked by tragedy, and his biggest hits were exquisitely broken-hearted. Yet Roy Orbison, who would have been 75 on April 22, led a rich, happy, contented life before his premature death in 1988. "He'd say, 'They need one man to be sad and lonely, and they gave me the crown,'" says the singer's widow, Barbara Orbison. Like his peers, such as Bob Dylan and Keith Richards (both of whom were in awe of the farsighted Texan in the thick glasses), Orbison knew he had a role to play. Not that he was fond of it. He had his sons, his dogs, his classic cars. "I have the greatest life," Barbara recalls her husband saying. After years of rehashed greatest hits collections, Mrs. Orbison, with help from Roy Jr., has just overseen the release of 'The Monument Singles Collection.' The two-disc, one-DVD package restores to the original mono mixes all of the Big O's lush, astonishing songs from his creative peak in the early 1960s -- 'Crying,' 'It's Over,' 'Only the Lonely' -- and their B-sides. "I told them, I can't do another 'Greatest Hits,'" she says. "I'm here to do one thing -- to pass on the history of this incredible man and artist called Roy Orbison." The German-born Barbara Wellhoener Jakobs married the singer in 1969, three years after his first wife, Claudette (pictured on the left), died in a motorcycle accident, and just a year after the tragic deaths of two of his sons in a house fire. Roy and Barbara had two sons together, Roy Jr. and Alex, drummer for the L.A. band Whitestarr, and they raised Wesley, Orbison's surviving son from his marriage to Claudette. Though he was known for wearing dark glasses, Roy loved movie theaters. On tour, he often rented cinemas after hours so he and his crew could watch first-run films after a gig. "In fact, his close friends would have told you he probably should have been a director," says Barbara. His eye for storytelling spilled over into his songwriting. "That's what he did -- he told a story in song," says his widow. Whether 'Running Scared' or 'Oh, Pretty Woman,' his best songs were artful vignettes. "He saw," says Barbara, pictured on the left. "That's what Roy was really great at." When he forgot his reading glasses and wore his sunglasses onstage for the first time, he knew instantly he'd created a look: "When the photos came back, he knew what he had. He was very sure-footed as an inventor." After a brief period with Sun Records, Sam Phillips's rockabilly label, in the 1950s, Orbison almost singlehandedly redeemed the early 1960s from the era's treacly pop hits with his elegant, almost operatic productions. He headlined tours with the bands that would soon dominate the rock 'n' roll resurgence, from the Beach Boys to the Beatles and the Rolling Stones. Bruce Springsteen, an unabashed fan, inducted Orbison into the Rock and Roll Hall of Fame in 1987. When the Traveling Wilburys formed on a lark, the members of the supergroup -- Dylan, George Harrison, Tom Petty, ELO's Jeff Lynne -- all bowed to the master singer. (In 'Chronicles: Volume One,' Dylan wrote that his friend "transcended all the genres ... He sounded like he was singing from an Olympian mountaintop.") And when Orbison recorded his extraordinary comeback album, 'Mystery Girl,' Bono and the Edge contributed a song, as did Elvis Costello. "Roy transitioned well from the '50s into the '60s," says his widow. "In the '70s he was basically rebuilding a life. He didn't want to do anything except be somebody in love, with a little money and lots of fun. By the '80s, he was ready again." When he recorded 'Mystery Girl,' which would be released two months after his death, he knew he had to deliver an album that stood up to the Monument singles. "He never had a throw-away hit," Barbara says. "He either had a hit, or he didn't." If he were alive today, she says, her late husband would say he had yet to write his best song. Considering the songs he left behind, that'd be quite a statement. http://www.spinner.com/2011/04/22/roy-orbison-75-pretty-woman-video-songs
Voldar: Bob Dylan 70th birthday countdown, No. 44-Orbison passed on 'Don't Think Twice' ‘Roy was an opera singer. He had the greatest voice.’ - Bob Dylan after the death of Roy Orbison. Roy Kelton Orbison, a.k.a. "Lefty Wilbury", was born on April 23, 1936 in Vernon, Texas. In the embedded video on the lower left, you can hear him talk about how he passed on recording Bob Dylan's "Don't Think Twice, It's All Right". The clip is from a celebration of the 1985 release of Dylan's Biograph collection, at the Whitney Museum in New York, three years before the formation of The Traveling Wilburys. Orbison died soon after that collaboration, on December 6, 1988. Advertisement There is also a quote from Dave Stewart about how his first professional gig featured only Dylan compositions. http://www.youtube.com/watch?v=pxII-RbwpBY&feature=player_embedded http://www.examiner.com/bob-dylan-in-national/bob-dylan-70th-birthday-countdown-no-44-orbison-passed-on-don-t-think-twice
Voldar: «How Roy Orbison and His Epiphone 12-String Made Rock ‘n’ Roll History» A problem many exceptional guitar players have with songwriting is choosing chords that are right for the melodic and harmonic path of the appropriate vocal performances. And then there was Roy Orbison, a master of both picking and structure with a vocal method that was the American roots music equivalent of Caruso’s — literally a voice for the ages. Although Orbison was most often seen with a Gibson ES-335 on stage, for songwriting he often used a 12-string acoustic Epiphone Bard model. The guitar, with its lush, natural chorusing quality, was the perfect compliment to the heavy purr of his singing. And it’s the instrument that helped him create “Oh, Pretty Woman” with fellow Texas songwriter Bill Dees during a mere 40 minutes in 1963. The Gibson Company immortalized Orbison’s acoustic with the Limited Edition Roy Orbison Bard 12-string. The guitar is a highly accurate reproduction of Orbison’s 1962 original. It has a solid spruce top, a solid mahogany back, a rosewood 12-string bridge and vintage tuners. For this limited edition release, the back of the guitar’s headstock includes a replica of Roy’s signature and the notation for the first measure of the “Oh, Pretty Woman” intro riff. A little known aspect of Orbison’s history is that early in his career Sun Records’ boss Sam Phillips — who signed Orbison’s group the Teen Kings in 1956 and made the minor hit “Ooby Dooby” with them — valued him more for his picking than his songwriting, and that Orbison could tear out a rockabilly solo with plenty of fire. In fact, he played guitar on Sun’s singles for Ken Cook and others. Orbison got his first guitar when he was only six years-old and typically composed the riffs that served as the hooks of his songs himself, including the memorable pattern that opens “Oh, Pretty Woman.” His first significant commercial success was as a songwriter for others, penning his first big hit, “Claudette,” for the Everly Brothers. In fairness, even Orbison contended that his voice wasn’t fully developed until 1960, when he recorded “Only the Lonely.” At first, he tried pitching the tune to his friend Elvis Presley and to the Everly Brothers. Orbison believed so strongly in the song that after they turned it down he cut it himself, and it reached number two on the Billboard charts to make him a star. At that point Orbison had developed a method of singing that came from his chest and abdomen rather than his throat. Further hits like “Crying” and “Running Scared,” the latter based on Maurice Ravel’s famous composition Bolero, cemented his reputation and forever insured that Orbison would be remembered for his voice rather than his guitar. He also developed a memorable look to compensate for his lack of movement on stage, dressing head to toe in black. Unlike most early rock heroes, Orbison was never a slave to the backbeat. His tunes were arranged more to fit the seemingly capricious nature of his vocal lines. They are full of daring chromaticism and defy the variations of the I-IV-V structure of most tunes of the era, in soaring contrast to the works of Chuck Berry, Jerry Lee Lewis and Little Richard, for example. Orbison’s darkly beautiful song “In Dreams,” for example, eschews any verse-chorus-bridge-verse pattern to deliver instead seven distinct verses without a repeated lyric hook or chorus. “Running Scared” repeats its first verse four times before resolving with a chorus and abruptly finishing. And his themes were often plucked from the troubled corners of romance, where love is eternally insecure, often fleeting and loaded with consequences. That gave his songs a more adult perspective than typical teenage fare, with the notable exception of the blithe “Oh, Pretty Woman.” And yet, that song is also partly a wish, with an edge of quiet desperation in the singer’s hope that the lady in the title will look his way. Another testament to his vision is that throughout the 1960s Orbison refused to edit takes together or splice performances. He believed in the collective strength of individual performances and that editing diluted that strength. Despite the depth of his musical resolve, Orbison suffered from stage fright regardless of his ability to create silenced awe in his audiences and win such fans and friends as Bob Dylan and George Harrison, with whom he shared the spotlight in the Traveling Wilburys for a short time before his death from a heart attack in 1988. Orbison left behind an expansive catalog, including 23 authorized solo albums, nearly 100 singles and four live discs. He appears on only the first Traveling Wilbury’s disc and died shortly after it was recorded. But Orbison’s career was once again on an upward arc even before he entered the studio with that supergroup. Director David Lynch used Orbison’s staggeringly powerful song “In Dreams” for a particularly brutal sequence in his surrealist noir revival film Blue Velvet in 1986, which introduced the Other Man in Black to a new generation of hipsters http://www.gibson.com/en-us/Lifestyle/Features/roy-orbison-0422-2011/
Voldar: Roy Orbison - Oh, Pretty Woman (Official Video 2011)
Voldar: Обзорчик нового бокссета. Roy Orbison 'Singles Collection' a must-have set Roy Orbison scored his first hit in 1956 with the simple splendor of “Ooby Dooby” and carried on to a career where he virtually defined the sound of loneliness and eventually became one of rock’s most revered figures, even playing with Bob Dylan, George Harrison, Tom Petty and Jeff Lynne in the Traveling Wilburys towards the end of his career. Posthumously commemorating the man’s 75th birthday, this most impressive three disc collection includes the mono mixes of all the A and the B sides he made for the small label Monument Records from 1960 to 1964. Rock connoisseurs should have no problem spotting the overflowing hits, including “Only the Lonely,” “Blue Bayou,” “It’s Over,” and of course, “Oh, Pretty Woman.” And there are more than enough gems included on the disc of B-sides as well, such as “I Can’t Stop Loving You,” “Love Hurts,” Leah,” and “Candy Man.” As a special bonus, Disc three consists of an ultra-rare, 25-minute concert that was recorded in Holland on March 25, 1965. Filmed in black and white and definitely a product of the times, it includes the singer’s nine-song set that featured masterworks like “Running Scared,” “Crying,” “Dream Baby,” “Oh, Pretty Woman,” and others. It’s a must-have for Orbison collectors and rock fans in general. http://blog.masslive.com/playback/2011/05/roy_orbison_singles_collection.html
Voldar: Elvis, Roy and Buddy are back in 'Superstars'! Rock legends Elvis Presley, Buddy Holly and Roy Orbison return in spirit thanks to three tribute artists who perform the hits at the California Theatre of the Performing Arts on Saturday. Recreating the three are Darryl Reed and the band Southbound as Buddy Holly and the Crickets, James Kruk as Elvis Presley and Bloomington resident Mark Barnett as Roy Orbison, who was famous for hits such as "Oh, Pretty Woman" and "Only the Lonely." Barnett says he began recreating Orbison's legendary stage presence in 1986. "I never really thought about being a Roy Orbison tribute artist until a friend of mine told me that I sound like him and that if I put on a wig and dark glasses, I'd look like him," he said. "So I got a wig, sat down in a mirror and said, `I'll be darned. I do look like him."' Barnett ditched the wig, dyed his hair and has been performing as the music icon ever since, playing shows in Las Vegas other venues across the U.S. Barnett says fans can expect his set to include the artist's biggest hits and a few discoveries, too. "Roy did not interact with the crowd, he was very shy," Barnett said. "He was known for standing still while performing and using his four-octave range. "I'm blessed to have this voice and that I'm able to deliver (his sound) to people who remember Roy," he continued. "To be able to do so is very rewarding." Orbison arrived on the scene in the early 1960s as a solo act. In 1988, he joined the super group The Traveling Wilburys with George Harrison, Tom Petty, Bob Dylan and Jeff Lynne. In 1987, he was inducted into the Rock and Roll Hall of Fame and the Nashville Songwriters Hall of Fame. He was also named one of Rolling Stone magazine's "Greatest Artists of All-Time." In addition to venues across the country, Barnett has performed for several years at the Candlelight Pavilion in Claremont. http://www.sbsun.com/living/ci_18051782
Voldar: The Monument Concert 1965 The Monument Concert 1965 is Roy Orbison's greatest filmed concert. Here's the first song of the set, 1960's "Only the Lonely". Roy at that time was the scariest man in Rock and Roll. Dark as Darth Vader or Dracula, and so sexual that radio initially banned Pretty Woman. We love Roy! http://youtu.be/BHctNtn-5q0 http://www.royorbison.com/us/news/monument-concert-1965
Voldar: "MEAN WOMAN BLUES" You will find no rougher, more aggressive rock and roll song before 1965 than Roy Orbison's "Mean Woman Blues." Not until Led Zeppelin's "Rock and Roll" and AC/DC's "I'm a Rocker, I'm a Roller" (both of which it influenced) would the boogie woogie get tougher. The guitar solo is very fast - Jimmy Page used this soloing style for "Communication Breakdown" and "You Really Got Me." Here's the song from the recently released "Monument Concert 1965," available in the Monument Singles Collection (1960-1964)! http://www.royorbison.com/us/news/mean-woman-blues
Voldar: Roy Orbison & Johnny Cash: "Oh, Pretty Woman" Live on The Johnny Cash Show 1969 Johnny Cash joins Roy Orbison on the song "Oh, Pretty Woman" for Johnny's TV show! The two met in 1955 on Roy's radio show. Both were on Sun Records in Memphis and in the band the "Class of '55" with Carl Perkins and Jerry Lee Lewis. http://www.youtube.com/watch?feature=player_embedded&v=eV9GxtDao9g
Voldar: Roy Orbison not jealous of Beatles INSIDE THREE YEARS OF BEATLES TOURS: A book concentrating on the six UK tours of The Beatles, released last month in Britain, is now available in the U.S. and Canada. "Beatlemania! The Real Story Of The Beatles UK Tours 1963-1965,", also available from Amazon.co.uk, and published by Omnibus Press, examines the early tours through eyewitness accounts. Author Martin Creasy tracked down detailed recollections from musicians and the lone surviving emcee from the tours for their recollections, plus fans, the police, music writers, regional reporters and photographers, cinema staff, technicians and even a hotelier’s daughter who gave up her bed for a Beatle. The book includes Roy Orbison's feelings about them (the Beatles took over the top spot on their tour together). Max, described as "an EMI press guy," talked with the singer and says in the book, "He was a lovely man, Roy Orbison. He was a quiet man and he wasn't the least bit jealous about the reaction the Beatles received. I think he enjoyed it, but he was quite bemused by it all, and he certainly didn't seem bothered about it." http://www.examiner.com/beatles-in-national/beatles-news-briefs-book-examines-fabs-uk-tours-fest-fetes-mccartney-s-b-day
Voldar: Roy Orbison and Jerry Lee Lewis We Love Jerry Lee Lewis! Jerry Lee first walked through Sun Records front door during an Orbison session for the song "Rockhouse". Roy and Jerry Lee performed many songs & shows together from the 1950's to the 1980's. The Rock and Roll Giant recorded "Go!Go!Go! (Down the Line)" in 1958. Jerry Lee also did Roy's Ooby Dooby and other songs associated with Roy. http://www.royorbison.com/us/news/roy-orbison-and-jerry-lee-lewis
Voldar: Tour Sun Studio! If you've never been to 706 Union Avenue in Memphis, TN to visit the Sun Studio Museum, this summer is a great time to go. Rock and Roll was born here and you can feel history in the walls. Here's a cool picture taken of Alex "Orbi" (Roy's son), Barbara (Roy's widow), and Roy Jr (Roy's son) standing in front of a picture of Roy behind Sun Studio. http://www.royorbison.com/us/news/tour-sun-studio
Voldar: Tennessee temptation: Guitars, stars, bars - and why Nashville is no one-note town I'll admit that I travelled to Nashville with one, maybe two, pre-conceptions. To my mind, this famous city of the American South had always conjured up a specific set of images. You know the type - cowboy hats and tassels, line-dancing and ‘so lonesome I could die’ warbling. And with good reason – for country music has long been the city’s most famous export. But far from being a haven strictly for the dyed-in-the-wool country fan, there is - I soon discover - a wider musical and cultural identity to the city, which attracts more than 11million visitors every year. With a booming pop and rock scene – the Kings Of Leon hail from these parts, and Jimi Hendrix is known to have spent some of his formative years here - the varied sights and sounds of Nashville cannot be pigeon-holed. Gospel also thrives in a city that, as home to more than 800 churches, is a buckle to America’s Bible Belt. But to truly experience Nashville, it is best to start - as I do - at the beginning, making the County Music Hall of Fame and Museum an excellent first port of call. It isn't difficult, as I approach this grand statement of a structure, to notice the effort that went into its construction. It adds up to $37million-worth of building, cut to an outlandish design - aptly shaped like a keyboard morphing into a Cadillac tail fin. What waits within is not bad either. The museum boasts a vast collection of artefacts and recordings that illustrate the story of country music in full colour. A frequently updated menu of live performances and rotating exhibits also means you’re likely to see something new each time you visit. Among the gallery’s more quirky current exhibits are a quartet of stuffed squirrels playing various instruments - all shot and mounted by the fabled country musician (and apparently keen taxidermist) Hank Williams. I'm also struck by Tammy Wynette’s collection of wigs - as well as her team of porcelain poodles, which sit on show alongside a Cadillac once owned by Elvis. The car - as any good vehicle once driven by The King should - comes with the ritzy additions of both a telephone and a TV. Of course. A Pontiac Bonneville sits opposite, emblazoned with pistols, steer horns and, curiously a saddle. This was designed by Nudie Cohn, a visionary in the field of country tailoring (he was the head of the iconic Rodeo Tailors) who produced costumes for everyone from Williams to John Lennon. Among the many costumes on display, a number of outfits featuring distinctive spangled lapels catch my eye. A closer look reveals these to be the work of another of Nashville's most celebrated designing sons, a man who goes simply by the name Manuel (although if you want to be formal, you might know him as Manuel Arturo José Cuevas Martinez). Manuel made his (singular) name dressing the likes of Elvis, Johnny Cash and Bob Dylan - and in a happy turn of events, I get to meet him. It is purely by chance that later that evening I strike up a conversation with a personal friend of Manuel’s. A few minutes of chatter later, I find myself invited me to the great man's 73rd birthday celebrations. Here is an event like few I have experienced before. The house is festooned with his creations, and pictures of Manuel with his various celebrity clients and friends. The birthday boy himself is sprightly and bequiffed, dressed in one of his own flamboyant outfits (of course) and swigging cheerfully from a tequila bottle – which he repeatedly offers to me. With his impressive list of clients it is not hard to see that, in dressing the biggest and the best in the music business, he has become part of history himself. With Manuel’s illustrious past still in mind, I pay a visit to the place known as 'The Home Of A 1,000 Hits' - Historic RCA Studio B. From the outside, it does not look like much. In fact, at first, I'm not even sure that I have the right address. But appearances can be deceiving. For this small, unassuming building is where Elvis recorded more than 250 hits. Since it opened in 1957, just about every great American artist has recorded in Studio B - including the likes of Roy Orbison, Willie Nelson and the Everly Brothers. The studios have barely changed since their heyday and the Steinway grand piano where Elvis recorded Are You Lonesome Tonight? still stands in its original spot. Over the decades, the hands of a million tourists have given the piano a slightly worn appearance - but I can't resist the temptation, and pull up a chair at the keyboard where the King's hands once moved. It is humbling to be in the room where he produced some of his best-known tunes, and sitting at the piano, I can almost imagine him at work, lip slightly curled, the crackle of genius on the air. Dolly Parton has also been here. She - quite literally - left her indelible mark on the studio. As well as recording Jolene here in 1973, country music's most ageless blonde accidentally ploughed her car into the side of the building whilst rushing to her first recording session. Signs of the crash, which occurred in 1967, are still visible today. Caught up in such a potent musical environment, it seems an opportune moment for me to try my hand at songwriting. However, I'm tone deaf and dogs cry when I sing - so it is to the relief of my fellow visitors to Nashville that I am taken under the wing of Regie Hamm at the Bluebird Cafe. Known as a haven for everyone from fledgling songsmiths to chart-topping artists, the Bluebird Cafe has long been the place to be for anyone who wants to make it in Nashville. It is not unusual to see established names like Leann Rimes mingling with writers and performers who are just starting out. And it has been the springboard for many a household name. Indeed, Garth Brooks performed at open-mic nights here before he was discovered and signed by Capitol Records. Hamm, who has written over 20 number-one songs himself (including the closing tune for the 2008 Beijing Olympics, as well as various Christian ballads) encourages me to think up a few lyrics - before, somehow, magically, harmonising and crafting them into song. The results probably won't top the charts any time soon - but the process is relaxed and genuinely entertaining. And it’s clear that this is a man who loves what he does. The walls of the venue, which opened in 1982, are plastered with signed photos of the artists who have also taken part in these free-styling sessions. And while I’m under no illusions that my picture will be joining them, I’m definitely comfortable with the process while I’m in Regie’s capable hands. Having mastered the art of lyric-writing, it’s now time for me to get a guitar. Sadly, I can’t play a note - but that doesn’t stop me almost collapsing with excitement at the prospect of visiting the Gibson guitar factory. Gibson is the guitar wielded by every rock hero I’ve ever held dear. To this day, it remains the preferred axe of Eric Clapton, Bob Dylan, Keith Richards and Slash. A sprawling building, the site produces an astonishing 600 guitars a day in every shape and colour, and is also home to the prestigious line of Baldwin pianos. The scale of the production is immense – particularly when you consider that the factory was virtually ruined by floods last year. But a multi-billion dollar refurbishment has set things back on track, with business booming and the brand preparing to release the $5,500 limited-edition Firebird X and a Firebird 10. Far from being stuck in a time warp or a style rut, Nashville has become a melting pot of musical styles. While its foundations of country music will always be significant, it is no longer defined by the low-strung twang and the lonesome yelp. Self-proclaimed ‘architect of rock n’ roll’ Little Richard continues to record and live in Nashville, as does disco queen Donna Summer. The city is the throne of all that is country - but it is more than that in so many ways. And better still, in five days, I don’t see a single cowboy hat. http://www.dailymail.co.uk/travel/article-2001662/Nashville-breaks-Guitars-stars-Tennessees-musical-hotspot.html
Voldar: Roy Orbison and Friends 75th anniversary special gets standing ovation THE Roy Orbison and Friends 75th anniversary special had The Brewhouse audience on their feet, calling for more. Barry Steele performed to a full-house as the infamous singer, playing hits spanning over his career up until the 1980s – from the moving Crying and It's Over, to the upbeat and ever popular Pretty Woman. Steele and the talented five-piece band also performed hits from The Shadows, Ray Charles and Jerry Lew Lewis. Orbison aficionados have credited Steele as one of the most convincing tribute acts. Steele's voice and appearance were remarkably like Big O, which proved a sell-out success in Taunton. The crowd clapped, cheered and finally gave a standing ovation to show their appreciation. He not only entertained with hit after hit, but with humour, wit and a touch of audience banter. Steele, who started his career in the RAF, has toured the UK, New Zealand and Denmark in his own shows to rave reviews. He is currently touring with “The Black and White Knights” and the band entertained in their own right with solo performances. http://www.bridgwatermercury.co.uk/leisure/whats_on/9132406.Roy_Orbison_and_Friends_75th_anniversary_special_gets_standing_ovation/
Voldar: Ассортимент магазина на офсайте Роя пополнился фирменными зажигалками Zippo.
Goldenday: Voldar пишет: Ассортимент магазина на офсайте Роя пополнился фирменными зажигалками Zippo. А как же беспощадная в Штатах борьба с курением?
Voldar: По последним голливудским стандартам зажигалки Зиппо курильщиками не используются,а вот чего- нибудь взорвать или поджечь - это пожалуйста.
Voldar: Grammy Museum featuring Roy Orbison... Hey Roy fans! If you're out in LA looking for something fun to do this summer, there's still time to catch "Roy Orbison: The Soul Of Rock And Roll" feature at The GRAMMY Museum! Featuring some of Roy's guitars, artifacts, and memorabilia! MERCY!!! http://www.youtube.com/watch?v=cmEegKuWTFg&feature=player_embedded http://www.royorbison.com/us/news/grammy-museum-featuring-roy-orbison
Voldar: Tribute to Roy Orbison at Castle Hill RSL DEAN Bourne has been impersonating the music and style of rocker Roy Orbison to rave reviews and standing ovations for 14 years. But he insists that he still gets nervous about imitating such a music icon. ``It’s intimidating now,’’ he said. ``It’s a hard vocal show. I don’t dance around like Elvis, I just stand there and sing and try to recreate it the best I can.’‘ He is currently touring the country with his Roy Orbison Reborn show, with his next stop to be at Castle Hill RSL on Saturday. ``It’s the music and the ability to be able to bring joy and happiness to people that come and watch the show that I enjoy most,’’ Bourne said. He first found success playing the part of Orbison in 1997, when he won the look-a-like and sound-a-like show Follow That Dream. Bourne has not looked back since, winning several awards over the years for his tribute shows. Orbison’s music career spanned over more than 30 years until his death in 1988. Bourne’s two-hour show will include 35 songs spanning Orbison’s entire career, with favourites such as Pretty Woman, Crying, Dream Baby, Leah and Blue Bayou. http://hills-shire-times.whereilive.com.au/lifestyle/story/tribute-to-roy-orbison-at-castle-hill-rsl/
Voldar: Chris Issak Says Early Elvis Is 'In My DNA' Chris Issaksays the forthcoming "Beyond The Sun" -- a collection of songs by Sun Records artists that he recorded in the famed Memphis studio -- is "an album I've been wanting to do probably my whole life." "If you asked me... If I had to be in a life or death situation, or on a game show or quiz show or something and they said, 'Pick your category. What do you know about better than anything else,' I'd have said Sun Studios," Isaak tells Billboard.com. "Those guys -- Elvis (Presley), Johnny Cash, Roy Orbison, Jerry Lee Lewis, that's what I'm made of. That's in my DNA. So to go in there and do this (album) was pretty special." saak says he and his band recorded "enough stuff for three records," at least 40 songs by his estimation. "Beyond The Sun," which comes out Oct. 18, will come out in a 14-song standard set as well as a two-CD Deluxe Edition that adds 11 more songs. A two-LP vinyl release of the deluxe tracklist comes out in November. Among the songs Isaak takes on are Cash's "Ring of Fire" and "I Walk the Line," Lewis' "Great Balls of Fire" and Presley's "Can't Help Falling in Love," "Trying to Get to You" and "It's Now or Never." There's also a selection of more obscure material such as "I Forgot to Remember to Forget," "Dixie Fried," "How's the World Treating You" and "Miss Pearl." "It's always surprising to me how many really good songs that people have forgotten, that aren't on the jukebox at Johnny Rockets or anything," Isaak notes. Michelle Branch duets with Isaak on the song "My Happiness," while the Secret Sisters contribute backing vocals and Sun guitarist Roland James plays on some of the other tracks. And as the title indicates, however, Isaak and company also recorded songs by Sun artists after they left the label. "The common link to all the songs is they're all by somebody that (Sun founder) Sam Phillips discovered and recorded," Isaak explains. "What we tried to do is show you here's what they recorded at Sun, then maybe pick another couple of songs from later in their career. So with Roy Orbison, for instance, we might go from 'It's a Weak Man That Cries' or 'My Baby's Gone,' and the next thing we'll have is 'Oh, Pretty Woman.' So it's kind of showing where rock 'n' roll started and what it grew into." Isaak also wrote some original material for the Sun sessions; "Live It Up" appears on the standard edition, while "Lovely Loretta" is on the deluxe. "I wanted to make sure they fit in with the other (songs), and I think they do," Isaak says. "I was very happy because somebody listened to the thing and said, 'Who's song is that? I don't know that one.' I said, 'That's mine' and they said, 'Oh, I thought it was one of the Sun songs,' and I said, 'Well, good, that's what I wanted.'" Isaak is performing "six or seven" of the Sun songs during shows on his current tour, and he says the experience was "a great joy" as well as a learning experience for he and his band. "We really learned the stuff," he says. "We really listened to it, really practiced it. None of that stuff is a straight, modern rock beat. None of it's played with super loud double guitars or distortion. It's a whole different feel. And sometimes they break every rule. I just liked the attitude; those guys were making stuff up, having fun and weren't looking with one eye towards the future, about being in some Rock and Roll Hall of Fame. They thought it was going to be over in three weeks, so they were just playing, y'know?" http://www.billboard.com/news/chris-issak-says-early-elvis-is-in-my-dna-1005321842.story#/news/chris-issak-says-early-elvis-is-in-my-dna-1005321842.story
Voldar: Life story of Roy Orbison told at Gordon Craig Theatre TWO hours of non-stop rock ‘n’ roll is on the cards when the life story of Roy Orbison is told at the Gordon Craig Theatre in Stevenage. In Dreams: The Roy Orbison Story will be performed at the venue at 7.45pm on Tuesday August 30. It will bring together the music of the Pretty Woman singer, as well as that of the Everly Brothers and Buddy Holly. Members of the audience can sing along to hits including Only The Lonely, It’s Over, Crying, Wake Up Little Suzie, Peggy Sue, Cathy’s Clown and Rave On. Alan Morris will step into the shoes of Roy Orbison while West End actor Tim Harwood will transform into Buddy Holly. http://www.hertfordshiremercury.co.uk/Whats-On-Leisure/Music/Life-story-of-Roy-Orbison-told-at-Gordon-Craig-Theatre-19082011.htm
Voldar: Buddy Holly Like a Brother to Roy Orbison When Roy Orbison signed to Sun Records in 1956, Buddy Holly was jealous (and then was soon rejected by Sun). Buddy learned from Roy about Norman Petty's Studio. On overlapping time at Petty Studio, Orbison and Holly reconciled and spent some time trading guitar riffs. Buddy used Roy's old backup singers, "The Roses" and recorded several Orbison songs. His death in 1959 left Roy shaken and unresolved. Like Buddy was a little brother. http://www.royorbison.com/us/news/buddy-holly-brother-roy-orbison
Voldar: Отличная статья с одним из последних интервью с Роем. Eating Cheese Sandwiches With Roy Orbison By Jon Wilde Shortly before his death in 1988, the great Roy Orbison talked about his sudden rise to fame, overcoming his shyness and and that growl on 'Pretty Woman'. When I interviewed the legendary Roy Orbison at a Central London hotel in the spring of 1987 his career was just about to kick-start itself all over again. Incredibly, he hadn’t enjoyed a hit single in the UK since 1969’s Penny Arcade. After a momentous recording career that had begun at Sun Records in 1956 and included some of the mightiest pop hits of the 60s, Orbison had seemingly disappeared without trace. How was this allowed to happen? After all, The Big O was no ordinary singer. Indisputably, Orbison’s four-octave baritone was one of pop’s most penetrating instruments, an awesome sound full of piquant emotional concentration. No less an authority than Elvis Presley had described him as, “the greatest singer in the world.” Certainly it’s hard to think of any vocalist who articulated the ache of the human heart so eloquently or powerfully. At the time of our meeting, Orbison was slowly but surely edging back into view. The inclusion of his 1963 hit In Dreams in the movie Blue Velvet had brought him to the attention of a whole new generation. He’d briefly been signed to ZTT Records, narrowly missing the charts with the single Wild Hearts. He’d recently been inducted into The Rock’n’Roll Hall Of Fame. Recently signed to Virgin Records, he was about to release a collection of re-recorded Greatest Hits. That particular album barely troubled the charts. But Orbison didn’t have to wait long for his re-booted career to go into orbit. He enjoyed phenomenal success as part of The Traveling Wilburys (along with George Harrison, Bob Dylan, Tom Petty and Jeff Lynne), their debut album selling more than two million in the States alone. He was working on a solo album, Mystery Girl, that would become another huge global hit. He was also touring again. I consider myself richly blessed to have been present at his last ever British show, at a packed Harlesden’s Mean Fiddler, in November 1987, when The Big O performed his tempestuous hits with the kind of keen emotion that would have made the angels weep. Personally invited by Orbison and his wife to the intimate after-show bash, my last memory of the great man is watching him go off in search of a cheese sandwich from the kitchen after he discovered that the all-meat buffet wasn’t to my taste. Three weeks later he suffered a fatal heart attack while at his home in Hendersonville. He was 52. How quickly did you decide that your life was going to be in music? Nothing happened quickly for me. My daddy gave me my first guitar for my sixth birthday and taught me the chords to You Are My Sunshine. It came to me real easy. But it took a long, long time for me to build any confidence in what I was doing. It was a process over many years. Along the way, though, there were a few moments when I knew it was going to happen, a few milestones if you like. One was being allowed to stay up late with the grown-ups when I was six or seven. We lived in Fort Worth, Texas, and my folks were both working in a defense plant during World War II. It was a place where everyone would call round and make some music. I got to stay up with these guys and I got to sing with them. That was an important sign of approval, a kind of sanction. Then there was the first radio show on KVWC’s talent hour when I was eight, the first real breakthrough. At thirteen I had my group. The Wink Westerners, together and we started touring around, later becoming The Teen Kings. We were in this West Texas town once, and a fellow came up and offered us $400 to do a show. That was remarkable to me because I’d been shoveling tar on the school holidays and it took me a fortnight to earn what I would make from that one show. But it wasn’t until I was nineteen that I got my first television booking. By that time I’d done a lot of live shows. I was still full of doubts but I got into thinking that I was at least as good as some of the singers out there, and better than some others. See, I’d always liked the sound of my own singing voice. But it was only when I was at Sun Records, doing Ooby Dooby and Rock House, that I started to believe that I had a really good voice. Or, to put it another way, my voice was memorable. That’s how I prefer to look at it. That’s what makes it a distinctive sound. It’s the kind of voice that, once you hear it, you never forget. What were you like as a live performer when you started out? In the early Teen King days, I would move around quite a lot on stage. We had a song called The Bug where we’d throw imaginary insects at each other. When the bug landed, you’d kinda flip out and throw yourself around like you’d been bitten. That got a few laughs but it wasn’t nothing to base a career around. Then, when I went out on my own, I had my guitar with me so I couldn’t easily let go of the guitar, grab the microphone and move around. I was sort of trapped but I realised that suited me. After that I became known for standing motionless on the stage. I guess that became part of my image. What were your first impressions of Sun Records? Oh, I just loved everything about the label. Everything about it was unique, right down to the Sun logo. There was just so much talent there. Elvis, Jerry Lee Lewis, Carl Perkins, Johnny Cash…See, I’d met Cash on a radio show and it was he who suggested I approach Sam Phillips at Sun. When I got to see Sam he wasn’t too impressed that Johnny Cash had sent me along. He said something like, “Cash doesn’t run my record company.” So I was almost straight out of the door. But I persuaded him to give a listen and he offered me a deal. We released Ooby Dooby and it sold 200,000. So, you were suddenly rich and famous? Far from it (laughs). I had myself a little bit of fame. But there wasn’t much money in evidence. The first real money I made was from The Everly Brothers using my song Claudette on the flip side of All I Have To Do Is Dream. That provided me with a down-payment for my first Cadillac. Apart from that, I needed to tour to make ends meet. I was singing in bars for a few dollars a night. Then, in 1958, I stopped performing for around eight months. I became a full-time songwriter as that was the only way to pay the bills. It was only with the release of Only The Lonely that my fortunes picked up. I’d co-written that song but wasn’t planning to record it. I actually drove to Elvis’s house with the idea of offering the song to him. But Elvis was asleep (laughs). Just couldn’t rouse him. So I figured I’d give it a go myself. When I had a hit with it everything changed. After that I’d write the kind of songs that best suited my voice. Though you were friends and label mates, and though you both emerged with rock’n’roll, you and Elvis seemed to inhabit different planets as personalities. Well, the difference was that Elvis was a huge personality. I never had the looks or the confidence to project myself in that way. I mean, let’s face it, nobody was ever going to mistake me for a sex god (laughs). Sexuality has never been a foremost thing in my music, certainly not an aggressive kind of sex. For me, it’s always been more of a gentle, intimate thing. You have always seemed like the shy and retiring type… I’ve always been shy. Performing music happened to be one of the few areas of my life where I’m able to shake off that shyness. There must be a point where the introvert stops and the extrovert starts. Performing enables me to turn one into the other. But that struggle for confidence still goes on to this day. I’m always in need of reassurance. I need people to tell me that I’m on the right track. However successful I’ve been, I’m not one of those people who ever believes they’d made it. At best, I only ever felt that I had it made for one brief moment. Then it was onto the next thing and I had to find the confidence to take up whatever challenge that was. I’ve never felt much relief from the pressure. Maybe I need that pressure. But it doesn’t make for an easy life. Given that self-doubt, how difficult has it been to stand in front of large crowds and sing? The only way I can explain it is that most performers have two sides to them. They might be shy, retiring types but they’re able to summon up the brazen self-confidence you need to perform to an audience. Often it seems that chronic insecurity breeds creativity. The more insecurity there is, the more genius can shine through. Now this can create a kind of vacuum and, in order to keep some balance, a lot of people turn to drink and drugs. Y’know, the road to excessive self-destruction. Mostly the self-destructive element is already there. It just needs bringing out. Would you agree that drugs fuel creativity? I’m not sure it works like that. I don’t think you need to be on drugs to be out on the edge. Some of us are on the edge anyway (laughs). In my case I’ve had a lot of time and experience to let the insecure part of myself be lessened by the public acclaim. All the musical triumphs have bolstered me, so I’ve felt less vulnerable. Or, at least, those triumphs have given me the strength to carry on doing what I do. However successful I’ve been, however, those gaps are never properly filled. I’m always walking a fine line. If everything was real solid and smooth, it might get too dull along the way. I’m always looking for the next great song, the next great recordings, the next great concert. Those are the things that keep me hungry, keep me realistic. How did you handle the fame? When it first happened it took me by surprise. Nobody prepares you for being famous. Very quickly I had to get to grips with a lot of new issues. The way I think about is that I approached stardom from behind. It was with Only The Lonely in 1960 that I jumped into the middle of it. Then I sort of out-ran it. I was ahead of my success because I knew for certain that the next record would be a great one, that it would have the same fire and gusto. I was on a great run. After Only The Lonely came Blue Angel, Running Scared, Love Hurts, Crying, Candy Man, Dream Baby, Working For The Man, Leah, In Dreams…this was all in the space of something like eighteen months. It’s easy to get carried away when you’re on run of massive hits like that. You start thinking you’re capable of anything. Somewhere in the middle of all that I started wondering what other areas I could get into. Maybe movies, maybe novels, even politics. After a time reality sets in and, if you’re lucky enough to have held onto your innocence, you start to really get to grips with what you’re involved with and make the best of it. If you’re not self-obsessed and if you’re not too concerned with becoming even more famous, then you’ll want to bring it back to basics. See, I was lucky enough to hang onto my innocence. I had some perspective on my situation. I realised that what was important was to find out what was really inside me. I could see that it wasn’t important to earn more money or become the world’s biggest star. It was simply about learning to do things as well as I needed to do them. I’ve still got that innocence. A stranger will approach me for an autograph at the gas station. It’s happened a million times but, even after thirty years of it, I’m still taken aback. I’m still amazed that anyone would want me to scribble my name on a piece of paper. Y’know, I’m just a kid from Vernon, Texas. Why would anyone want my autograph? How did you get the idea for the famous growl in Oh, Pretty Woman? There was this guy, Bill Dees, who I’d known in Texas. He’d played in a band called The Five Bops, then he’d become a songwriter. We teamed up for It’s Over and that became one of my biggest hits. The story behind Oh, Pretty Woman is that I was working on some song ideas with Bill and my wife Claudette happened to walk in. She remarked that she was going out to do some shopping. I asked her if she needed any spending money. And Bill said, “There’s probably a song to be had out of this little scenario.” Forty-five minutes later, we had the song all complete. When we came to record it, there was one note I couldn’t get right. So, at that moment in the song, I decided to make a growling sound. I think I got the idea from a Bob Hope movie. The growl must have worked because that 45 sold seven million copies worldwide. I’m glad my wife walked in at that moment. In 1966 you lost Claudette in a motorcycle accident. Two years later two of your three children were killed in a house fire. That must have been an unbearably dark time for you? My life in general hasn’t been so dark. For the most part it’s been a glorious life. Those tragedies happened twenty years ago. Sure, those were rough times but everybody has those to one degree or another. There’s nothing I’ve gone through that nobody else won’t have to go through at some stage in their lives. We all have to deal with bereavement. OK, those were especially large tragedies and they happened in a two-year period. When they happened, maybe I didn’t deal with them emotionally as well as I could have. It’s always tempting to numb the pain and tell yourself you’ll deal with it further down the line. After the fire that took the lives of my two kids I went out on a world tour. I needed to keep busy. I can see now that I was numbing myself to what was going on and so the grieving process was longer than it should have been. When those tragedies happened, I was in complete shock as far as feeling and writing went. I was just so confused. It wasn’t made easier by the fact that I was having a very barren time as far as hit records go. Would you say that people imagine you to be a more tortured person than you actually are? I would say so. People have this perception of me which is largely based on the anguish in my singing voice. For better or for worse I tend to live my life as though I’ve just been born. I try to look at everything as though for the first time. I think I’m an optimist. At least I try to look on the bright side. Maybe that surprises people. Because lot of your most famous songs are about loss, heartbreak, loneliness… I suppose that’s true. All I’ve ever tried to do is sing what I feel. I feel very close to the songs. There’s a tenderness in them that is very real. If I didn’t have those emotions myself, the songs wouldn’t sound that way. And I’m not one of those singers who can fake an emotion. I need to feel it to sing it. I try to put my experience into a song. That’s usually the only influence. I don’t wonder that much about whether the newspaper boy will be able to sing it on the way to work. It probably helps that I have fairly conventional taste. If I like a song I figure that a lot of other people will like it too. It just so happens that a lot of those songs are sad. So people get this idea of me as some kind of tragic figure. This lonely figure dressed in black, wearing shades, singing about heartbreak. But my life isn’t all about the emotions in Only The Lonely. How much thought did you put into the image side of things? Practically none. As I kid I always loved playing cowboys and Indians. Whenever possible I liked to play the cowboy all dressed in black. I always thought that black clothes looked smart. That’s all there was to it. I wasn’t trying to look mysterious or anything. As for the shades, they came about by accident. I was touring the American south with The Beatles and I left my normal glasses on a plane. I needed another pair in order to see on stage. Someone handed me these dark shades. The press took all these pictures. After that, people expected to see me in the shades. If I was intending to look a bit different, to stand apart, I wasn’t conscious of it. How did you react when the hits began drying up in the late 60s? Did you panic? I kinda saw the change coming. I’d had my biggest successes when I was competing with the British Invasion. Y’know, The Beatles, The Stones, The Kinks…So I’d ridden out that storm. Then came flower power and psychedelia. Suddenly the charts were full of drug songs and anti-war songs. There was no way I could compete with that. So, in terms of chart records, things started slipping away from me. There’s a perception that I became some sort of recluse after that, but nothing could be further from the truth. I was still touring the world and people were still turning out to see me perform. We always had full houses. Even if I wasn’t release chart-topping records, I still had a loyal audience. My life became a little less frantic through the 70s. I had a little more time to relax and enjoy my pastimes. I enjoyed collecting vintage cars, for instance, so I would busy myself with them. I’d ride my motorcycles. I’d travel with my wife, Barbara. I was very content with my life, my level of fame. I’d be lying if I said I didn’t miss having hit records. Now I feel I’m ready to have hits again. Right now I feel a momentum in my career that I haven’t felt for a long, long time. When did things start turning round for you? 1978 was a decisive time. I developed heart problems and had to undergo a triple by-pass operation. That gave me a new perspective. Around that time Linda Ronstadt had a big hit with Blue Bayou. In 1980 I recorded That Lovin’ You Feelin’ Again with Emmylou Harris which gave me my first chart action in years and won me a Grammy. That same year, Don McLean had a huge hit with Crying and Van Halen covered Oh, Pretty Woman. Bruce Springsteen was performing my songs during his concerts. Suddenly I was back in the news. But it wasn’t until the movie Blue Velvet was released that things really started. How did you first react when you saw how David Lynch used In Dreams in that film? Absolute shock. I was literally speechless. The song wasn’t going to be in the film. Then I heard they’d sneaked it in there. So I went to a cinema in Malibu, thinking I’d check it out. The song comes on during this bizarre scene. There’s the Dean Stockwell character lip-syncing the song, with all kinds of strangeness going on around him. Later in the movie the song starts up again and Dennis Hopper is beating up on this kid. I couldn’t believe what I was seeing. I mean, this wasn’t the kind of context that I thought was right for the song. It took me a while to appreciate just how innovative the movie was, and how innovative those sequences were. I can see now that the song appearing in the film as it did brought me up to date somehow. I’m grateful to David Lynch for it. In fact he’s helped to produce the new version of In Dreams on my new LP. Any truth in the rumour that you’re working on songs with Sex Pistol Steve Jones? Oh yeah. Over the last year I’ve been collaborating with a lot of different musicians. Everyone from Waylon Jennings to Steve Cropper. Steve Jones is in there too. The thing that connects all those people is that they have a similar approach to songwriting that I have. When you collaborate on a song, you need to be able to sit down with the other person and be completely open and honest. There can’t be any deception on either side because, if a good song is to come out of it, you need to share experiences. It has to be real otherwise there’s no point. As far as Steve goes, he was one of the names that came up when me and my producers were talking. I was intrigued. I’d heard of the Sex Pistols, obviously. I wasn’t that familiar with their music but I knew some of their stuff. Sounded like good rock’n’roll to me. So I invited Steve to my house. He roared up to the front gate on his Harley with his Gibson guitar. We had some coffee, then got straight down to work on a beat ballad. Very tender, quite the opposite from what his rough image would lead you to expect. Steve’s a joy to work with. He doesn’t hold anything back. In a song he’s looking for naked emotion, getting to the very heart of a song, and that’s what I’m after too. Like me, he enjoys losing himself in the music. It’s always best when it’s kind of abandoned. Elvis Presley had it. I hear a similar intensity in bands like U2. Do you often think about death? I try not to (laughs). I try to live in the moment. I believe that’s the secret of living life. At least it seems to work for me. I’m conscious of enjoying the moment. I’m conscious of it right now as I sit here with you, enjoying this conversation. But I’ve not always been able to live in the moment. I regret that a certain percentage of my life has been lived after the fact. I’d do these great, wild tours with The Beatles and The Rolling Stones but I only really appreciated the experience long afterwards, not while they were going on. I’m better at living in the moment these days. I don’t think of the future any more than I need to. If I think about death at all, I just know that I’m not ready to die just yet. Maybe I’ll know when I’m ready. How would you like to be remembered? If I’m just remembered, that will be good enough for me. When my time comes, I think there’s every chance I’ll die a fulfilled man. I never did have any big dreams. As a kid I’d sometimes fantasise about owning an island and being the king of a country. But all the kingdoms were taken. So I decided to open up my lungs and sing. Amazingly it all worked out. http://www.sabotagetimes.com/music/eating-cheese-sandwiches-with-roy-orbison/
Voldar: "She's A Mystery To Me" Video by David Fincher What's more interesting? That Bono and The Edge wrote this song for Roy or that David Fincher (director of : Social Network,Benjamin Button, Seven, Fight Club,Alien 3) directed the video. This is David Fincher's best music video. The director had full artistic freedom and decided to use almost no characters to tell the story. For 3 days Fincher and Roy Jr wandered a spooky house built by the geniu...s architect Frank Lloyd Wright as Fincher dreamed up the video where the camera always arrives just as the main character "The Mystery Girl" has left. It's done in a modern color film noir style, with the camera as a character. The video has 2 different endings. Each ending with a surprise as to who the Mystery Girl is. Sometimes the woman, sometimes the daughter. Here's Roy Orbison's "She A Mystery To Me" video - http://www.royorbison.com/us/news/shes-mystery-me-video-david-fincher
Goldenday: Копирую ссылку Олега с форума ELO: Завтра, 21 октября в 00:35 минут, на телеканале “Культура”, в программе РОКовая ночь с Александром Ф. Скляром, будет показан концерт “Рой Орбисон и его друзья”. Вот ссылка: http://www.tvkultura.ru/page.html?cid=7844 А в субботу, 22 октября, начнётся показ сериала “Семь поколений рока” Вот ссылка: http://www.tvkultura.ru/issue.html?id=114167 Не пропустите.
Voldar: Вот,спасибо.
Goldenday: Спасибо за наводку, Олег! Посмотрев в очередной раз концерт Роя, да ещё с переводом комментариев на русский, воодушевился как-то и заснул с хорошим настроением. Среди переведённых комментариев больше всего запомнился от Кэ Ди Лэнг: "Рой Орбисон поёт не песни, он поёт эпос." По-моему, в самую точку
Voldar: Хорошую песню испортить легко...
Voldar: NEW FOR 2011- Roy Orbison: The Monument Singles Collection CD/DVD A 2 CD/1 DVD set including all the A&B sides recorded by Roy Orbison for the groundbreaking Monument label during an electrifying peak from 1959-1966. Restored to pristine mono mixes for the first time since their original 7" vinyl releases, Roy Orbison: The Monument Singles Collection presents The Big O's core classic catalog the way it's meant to sound.plus the first-ever DVD release of Orbison performing nine songs from "The Monument Concert 1965." http://www.royorbison.com/us/news/new-2011-roy-orbison-monument-singles-collection-cddvd
Goldenday: Володь, предупреждать надо тщательнее!! У меня вот не оказалось под рукой пакетика или ведёрка . Что касается девицы красной с гитарой - почему-то сразу вспомнились легендарные 'Chags'
Sergey`M: Я понял, запускать нужно сразу два ролика одновременно...
Voldar: Фаны Майкла Джексона,обрадованные обвинительным решением суда над его врачом,сделали ролик на песню Роя. http://www.royorbison.com/us/news/roy-orbisons-its-over-michael-jackson-imagery
Goldenday: Н-да... Для меня как-то малосовместимы такие слова, как Орбисон, Джексон и мстительность. Можно подумать, этот врач специально пришил беднягу, да и Майкл сам ведь его своим врачом назначил, причём на долгое время.
Voldar: Девид Линч выпустил альбом с музыкой к своим фильмам,ну и без Роя ,конечно не обошлось. David Lynch Doesn't Need You to Like His Album 'Crazy Clown Time' Roy Orbison is said to have been taken aback by the use of his song "In Dreams" in the 1986 film Blue Velvet, and you can understand why. The movie, directed by surrealist visionary David Lynch, injects the song with violent, even sadistic, power. At one point, the deranged character Frank Booth (played by the late Dennis Hopper) clenches his face in furious ecstasy as he listens to the love ballad, which later serves as the literal backdrop for an episode of his psychotic cruelty. After watching, it's difficult to hear the otherwise gentle track with innocent ears. http://www.theatlantic.com/entertainment/archive/2011/11/david-lynch-doesnt-need-you-to-like-his-album-crazy-clown-time/248076/
Voldar: Послушайте ещё каверочек.
SLQ: Печальная новость. Barbara Orbison dies at 61; wife of singer Roy Orbison Barbara Orbison helped her husband rebuild his life after a string of personal tragedies, becoming a force behind his musical resurgence in the 1980s and, after his death, working relentlessly to burnish his legacy. By Randy Lewis, Los Angeles Times Барбара в 90-х December 8, 2011 When singer Roy Orbison was touring England in 1968, it had been four years since he last appeared at the top of the charts with "Oh, Pretty Woman," even though he continued playing live and recording long after the pulse of rock music shifted away from his signature brand of sweepingly operatic pop. At a show in Leeds on that tour, he met 18-year-old German fan Barbara Ann Marie Wellhoener Jakobs, and within a year the two were married. "In the '70s I think I nearly cost him his career, because I don't think he was ambitious enough," Barbara Orbison, who died Tuesday in Los Angeles of pancreatic cancer, told Goldmine magazine last year. "He fell in love with me in '68, he asked me to marry him, and we had two kids. And I think he just wanted to live." It was a turbulent time in Roy Orbison's life: The singer had lost his first wife, Claudette, in a motorcycle accident two years earlier. Later, while he was still on the same tour of England, two of his three children died when his house in Tennessee caught fire. His relationship with Barbara appeared to bring a renewed sense of joy to his life. "In the '70s, he was basically rebuilding a life," she told another interviewer earlier this year. "He didn't want to do anything except be somebody in love, with a little money and lots of fun. By the '80s, he was ready again." Indeed, in the 1980s Barbara was a catalytic force behind much of the activity that restored the shine to her husband's star in the pop music world. Orbison was lionized by rock stars including Bruce Springsteen, Tom Petty and Jackson Browne, starred in a popular and widely acclaimed HBO documentary "Roy Orbison and Friends: A Black and White Night," and was an early inductee into the Rock and Roll Hall of Fame. Orbison also was drafted by ex-Beatle George Harrison to join him in the rock supergroup the Traveling Wilburys along with Petty, Bob Dylan and Jeff Lynne, and the band released a pair of platinum-selling albums. Orbison's final studio album, "Mystery Girl," reached No. 5 on the national sales chart in early 1989, two months after his death, and yielded the top 10 hit "You Got It." Barbara remained her husband's manager until his death at 52 on Dec. 6, 1988, 23 years to the day before she died at age 61 at Los Angeles County-USC Medical Center, where she'd been undergoing cancer treatment since May, a family spokesman said. Barbara was born Jan. 10, 1950, in Bielefeld, Germany, and after marrying Orbison raised their children in Nashville and Malibu. She worked relentlessly to keep her husband's legacy not just alive but growing after his death, leading to his induction into Nashville's Songwriters Hall of Fame in 1987 and a 1998 Lifetime Achievement Grammy Award. Barbara also oversaw the creation of "Roy Orbison: The Soul of Rock and Roll," a four-CD, 107-song box set, in 2008 and co-produced a stage musical, "Only the Lonely: The Roy Orbison Story," which toured England in the 1990s. She established her own publishing company, Still Working Music, in Nashville that worked with successive generations of songwriters including Taylor Swift, Billy Burnette and Tommy Lee James. Still Working received the 2010 song of the year award from BMI, the publishing rights organization, as publisher of Swift's hit single "You Belong to Me." In addition, Barbara spearheaded philanthropic efforts including a 1991 benefit tribute to her late husband at the Universal Amphitheatre that raised $1 million to help the homeless in Los Angeles, and she funded Orbison House, a 21-unit residence for the mentally impaired homeless in L.A. She produced another tribute album, "Roy: A Tribute to Roy Orbison," by Irish Australian singer-songwriter Damien Leith, which was released in Australia in conjunction with what would have been the singer's 75th birthday, on April 23 of this year. Barbara is survived by her sons Roy Kelton Orbison Jr. and Alexander Orbison, and her stepson, Wesley Orbison, Roy's son from his first marriage. Services in Los Angeles will be private. Details on a public service in Nashville are pending.
SLQ: In this April 1, 1969 file photo, American pop singer Roy Orbison poses with his then 18-year-old wife Barbara to the media in London. Barbara Orbison died Tuesday, Dec. 6, 2011 in Los Angeles. She was 60. - AP Photo LOS ANGELES: Barbara Orbison, widow of rock n’ roll pioneer Roy Orbison, died Tuesday on the 23rd anniversary of her husband’s death, a family spokeswoman said. She was 60.Barbara Orbison died from pancreatic cancer at Los Angeles County-USC Medical Center surrounded by her sons, said publicist and family spokeswoman Sarah McMullen. Orbison had been hospitalized since May. Since the 1980s, Barbara Orbison devoted her time to managing her husband’s estate and keeping his legacy alive. With her son, Roy Kelton Orbison Jr. she co-produced a four-CD box set of her husband’s 107 recordings. ”Roy Orbison: The Soul of Rock and Roll” was released in 2008 and contains all of his hits and 12 previously unreleased tracks. The package marked the first all-inclusive body of Roy Orbison’s work from his earliest recordings to the Traveling Wilburys’ debut album, ”Mystery Girl” and his last live performance. Roy Orbison died in 1988 at the age of 52, in the midst of a comeback with The Traveling Wilburys. Actor Patrick Swayze’s widow, Lisa Swayze, said her heart out goes out to the Orbison family. ”Patrick and I always had a warm connection with them both. Now we have lost this wonderful lady,” Lisa Swayze said. Patrick Swayze died in September 2009 of pancreatic cancer. In 1998, Barbara Orbison issued ”Combo Concert” on her label Orbison Records, a collection of previously unreleased live recordings from Holland and France made in 1965, according to Roy Orbison’s official website. That same year, Barbara Orbison accepted the Recording Academy’s Lifetime Achievement Award on her husband’s behalf, which honored his contribution to the recording industry. In January 2010, Barbara Orbison accepted a star on the Hollywood Walk of Fame on her husband’s behalf. Barbara Orbison’s Nashville, Tennessee-based music publishing company Still Working Music was recently awarded BMI’s 2010 Song of the Year for Taylor Swift’s ”You Belong With Me”. Roy Orbison paid tribute to his wife on his website. ”I’ve spent my lifetime trying to figure love out. Love ranges from just fascination to something almost spiritual. In the case with my wife, Barbara, it just keeps growing all the time,” he wrote. Barbara Orbison will be buried next to her husband at Westwood Village Memorial Park in Los Angeles, McMullen said. A Celebration of Life will be held at an undetermined future date in Nashville, Tennessee. Barbara Orbison is survived by her sons Wesley Orbison, 46, Roy Kelton Orbison, Jr., 41 and Alexander Orbison, 36.
Voldar: Очень жалко Барбару.Именно она смогла поддержать Роя в трудные минуты,даже годы жизни.
Goldenday: О, Господи... ну что ж ей-то как следует пожить на свете не дали? Какая-то беда со многими членами семьи Роя. Ужасно.
Voldar: Испанцы вот такую фотку Барбары нашли.
ТНЮ: С первого взгляда мне показалось, что он её за руку держит.
Goldenday: Точно, Нин, и мне такое в голову пришло. А теперь, учитывая, как Джефф собрал в "замОк руки" и при том улыбается, можно предположить, что его естество - непрошибаемая крепость. Да и все годы - тому подтверждение.
Voldar: Прикольный рекламный ролик на радио,страшно сказать от 1956 года. Roy Orbison: 1956 Radio Advertisement for Sun Records Concert http://www.royorbison.com/us/news/roy-orbison-1950s-radio-ad
Sergey`M: Прикольно! В 56-м мне было (-20) лет от рождения!
Voldar: Сереж,отлично.
Goldenday: Забавно! На последней фотке Рой чуть ли не блондином кажется.
Voldar: The Secret Afterlife Of Roy Orbison For me, like most people, memory is intricately intertwined with music. Another Brick in the Wall pt 2 was a hit the year I started school, and so the song always resurrects those early experiences of classroom tedium. Falco’s Rock Me Amadeus, playing on the ferry that brought me from England to Holland in 1986, summons textures of my first trip abroad from the sinkhole of amnesia; while Kraftwerk’s Radioactivity is forever fused with a 6am walk I took around Amsterdam’s Schipol airport. Endlessly and subjectively I can listen to a track and landscapes, people, places and moods return. What is the mechanism behind this? I don’t care. I note only that the links in the chain of music and memory are almost always forged accidentally- standing in a shop, watching TV, sitting in a café. When I was travelling in Central Asia a few years ago however I decided to conduct an experiment- I would intentionally fuse some music with the landscape to use as an aid to memory later. That was the plan at least. Unfortunately as I came up with this idea the day before leaving, I had no time to reorganize my MP3 player and so the music I brought with me was just stuff I had picked up recently- Television, Bonnie Prince Billy, Arcade Fire and a few others. Immediately after I arrived I was too overloaded on sensations to listen to any of it. And besides, I hate earphones. Playing the tracks back now, they evoke nothing. However, the Black Eyed Peas’ criminally awful My Humps-which was playing everywhere in Turkmenistan- immediately transports me back to that shitty nightclub in Turkmenabat where a fat girl with a moustache kept bumping into me on the dance floor. Then there’s the acoustic version of Hotel California, which summons unpleasant memories of the gruesome meat market in Balkanabat, from which I fled into a night that stank of burning petrol and despair. But those two fusions were all accidental- like Rock Me Amadeus on the ferry. Maybe that’s just the way it works and the experiment was doomed from the start. But there was an exception, a moment when my plan transformed a song and the contents of my skull forever, giving me one of the most amazing musical experiences of my life. This is how it happened: I was standing on the edge of a vast pit of fire in the depths of the Kara Kum desert. In that abandoned nocturnal wasteland, the burning hole seemed almost mythical, even though it was just a crater accidentally created by Soviet engineers digging for gas, and then set on fire by a nomad worried the methane odour was poisoning his sheep. At that moment however, it was as awe-inspiring as the Mouth of Hell itself. After gazing into it transfixed for about fifteen minutes, I realized no photograph could do the hole justice, and the memory would rapidly fade. Suddenly I remembered my plan, to fuse a song with a landscape. I searched through the MP3 player and found some Rammstein- infernal yes, but rather redundant when confronted with an actual pit of fire. Next came Roy Orbison’s In Dreams. Immediately I stopped- this song was already rich with meaning, memory and images for me. Nevertheless, mysterious and perfect as it is, I knew it could absorb more. Better yet I thought the bizarre contrast between eerie 60s pop and satanic inferno would give me an authentic, almost classical surrealist experience, like something straight out of Andre Breton’s manifesto. But as soon as the Big O started singing in his lower, ghostly register the experience went way beyond surreal. There was no bizarre collision, but rather the music actually fused with the moment, with the desert, the night sky, the dancing flames and the epic emptiness. In fact, as the song continued I realized that that strange, miniature symphony of obsession and dark longing had never sounded so haunting, so piercing, so perfect. I played, and replayed, lost in the song, the heat, fire and darkness. Clearly I had just discovered the perfect conditions for listening to Roy Orbison: on the edge of a pit of fire, in a void. My friend Joe appeared at the edge of the hole. I called him over – I wanted to be sure that I wasn’t suffering from an aural hallucination brought on by the psychic deprivation of the desert. Joe stood there, entranced by the fire and the music, playing and replaying the track. When he finally gave me back the earphones he was wide-eyed: ‘That was almost a shamanistic experience,’ he said. I understood what he meant. Songs for Orbison were incantations of power, gateways to other worlds. This meek, shy man with a passion for radio-controlled airplanes sang of dream realities where his fantasies came true, where the grim world he inhabited was transcended, even replaced. In Dreams makes this urge to cross into a better world explicit in the lyrics, but even in apparently mindless pop such as Pretty Woman Orbison describes an individual who, by the power of his will and growl, can force a woman to do his bidding- like a medium summoning the dead at a séance. There is always something slippery going on in Orbison’s songs, and he is not always opening the door he thinks he is. I’m not sure which door I’d stepped through, myself. There were no intoxicants in my system, but high on music and fire and the desert and the bottomless sky I was now somewhere else entirely. I spent over an hour wandering through the burning dream palaces of Roy Orbison. Then, I’m not sure what happened. Something moved me to step back from the pit of fire. I turned and saw a hill. It was blacker than the sand, blacker than the night sky, an eerie pyramid of negation in time and space. I was close to where Zoroaster, the world’s first apocalyptic prophet had heard God talking and founded a religion that had dominated Iran for a millennium before the Islamic conquest. Perhaps, perhaps if I climbed that mountain… well, what exactly? I switched off the music and started walking. The hill was about half a mile away across a flat plain, but it seemed to take an eternity to reach it. It took even longer to climb. And once I reached the top I wondered what I was doing there: there was no hole in the sky through which I might perceive the colour out of space. Mildly disappointed I descended and returned to the camp, where my friends were waiting. Between my ears however, deep in the meat in my skull, Roy Orbison, the Great Shaman of the Kara Kum Desert now lurked, imprisoned forever, waiting to be released like a djinn from his bottle only when I played that song. And when I do, he summons the flames again, and the desert and the darkness, and I step into that burning dream palace, and spend a little more time wandering its corridors and rooms. And the world is transformed- for two minutes and fifty seconds, at least http://www.sabotagetimes.com/music/the-secret-afterlife-of-roy-orbison/
Voldar: В первый день нового года на BBC4 была передача о гастролях Роя в Британии. Roy Orbison - The 'Big O' in Britain Roy Orbison was the best singer in the world. That's what Elvis Presley said, and he should know. To mark the 20th anniversary of Orbison's death, this programme celebrates the extraordinary talent of 'The Big O' and his relationship with his most loyal and enduring fans, British musicians and the British public. Through a combination of interview and archive, it charts Orbison's career in Britain, from the sell-out tour with the Beatles that sky-rocketed him to international superstardom, right up to the collaboration with lifelong friend George Harrison on the Travelling Wilburys project in the late 1980s. Effortlessly cool, musically sophisticated, Orbison was a rock and roll legend, whose legacy continues to captivate both the listeners and performers of today. http://www.bbc.co.uk/programmes/b00fzv3y
Voldar: Roy Orbison Featured in Men's Health Magazine Check out page 26 of Men's Health Magazine (Feb. 2012) on newsstands now to see their picks for the Top 5 Best Live Albums- Roy's at #3 with The Black and White Night Concert which is available on iTunes! http://www.royorbison.com/us/official-photos/14591
Goldenday: Я офигеваю: в ремастированном переиздании альбома 'King Of Hearts' 2007 года выпуска, в буклете, в одной песне (но какой!) забыли указать продюсера. Кого бы вы думали? Джеффа Линна в одном из центральных хитов 'I Drove All Night'. В издании 1992 года всё было на месте, а спустя 15 лет Sony такие вот кренделя выдаёт.
Voldar: Димка ты же достал уже шпалер,пора стрелять по соням,чтоб не путали.Тут вот ещё одна тётя Соня из Америки,спела кусочек из Blue Bayou и срвзу первое место на конкурсе американских идолопоклонников.
Goldenday: Мне показалось, этой девке шеста не хватало, а вообще за окном студии очень красивый пейзаж. Что касается той сони, то уже пальнул по ней: зарелизил издание на "торрентс.ру". Пущай теперь беспокоятся о продажах. Кстати, здесь запостить?
Voldar: Давай.
Sergey`M: Тайлеру похоже понравилась.
Voldar: Серега,ну с автаром тебя новым.
Voldar: Ещё каверочек.
Goldenday: Вокал Томаса Андерса середины 80-х напомнил, да и сам 'Modern Talking' в памяти всплыл из-за аранжировки.
Борис: Очень креативно и забавно
Sergey`M: Очень приятная, не напрягающая аранжировка, достойная дискотеки 80-х.
Voldar: Всё в семью... Roy Orbison’s business interests stay in the family Barbara and Roy's kids will maintain control of the Orbison legacy Following the sad passing of Barbara Orbison in late 2011, Roy Orbison's musical legacy will now be controlled by their children, Alex, Wesley and Roy Orbison Jr. The latter will be responsible for his father's estate and catalogue, while Alex will take over the music publishing side. Wesley's role is currently being decided. The kids put out the following statement: "Our mother was a respected member of the international music business community. She was passionate about keeping our father's legacy alive and she was passionate about her "family" of songwriters. We look forward to continuing and further developing her vision in the years ahead." http://www.artrocker.tv/news/article/roy-orbisons-business-interests-stay-in-the-family Orbison Sons Continue On With Orbison Enterprises Following the recent passing of BARBARA ORBISON, it’s been announced that her sons with the late ROY ORBISON, have taken over the management and supervision of ORBISON ENTERPRISES which includes the ROY ORBISON estate and catalog and STILL WORKING/ORBISON MUSIC publishing company. ALEX ORBISON will oversee the operation of the STILL WORKING/ORBISON MUSIC publishing company, which includes such songwriters as TOMMY LEE JAMES, TERRY McBRIDE, ANNIE-ROSE, and new addition, CHASE YAKLIN. “ORBISON MUSIC is stronger than ever,” said ALEX ORBISON. “We have represented an impressive team of songwriters and we’ll continue to expand our roster. I’m looking forward to announcing more new signings in the near future.” WESLEY ORBISON, is focusing on the upcoming release of his debut album, “Spread Your Wings.” Therefore, plans for his involvement in ORBISON ENTERPRISES will be announced at a later date. BARBARA ORBISON founded ORBISON ENTERPRISES in NASHVILLE 20 years ago. http://www.allaccess.com/net-news/archive/story/102061/orbison-sons-continue-on-with-orbison-enterprises
Voldar: The Big O оказыввается не только Roy. Former WBC Heavyweight Champion Oleg Maskaev is once again on the comeback trail, and wants a third clash with Hasim Rahman. Maskaev (36-7, 27 KO’s) who shares the nickname “The Big O” with Roy Orbison, is tuning up in the gym in his adopted home town of Sacramento, and is in fight shape. He’s twice KO’d Rahman, including when he won the WBC title on August 12, 2006. His Manager Fred Kesch said: “I read that the winner of the [Alexander] Povetkin-[Marco] Huck fight will take on Rahman. But why not Oleg, who’s stopped Hasim twice, almost putting him through the ropes both times.” A former miner, Oleg who was Soviet Army champion and Ko’d Vitali Klitschko in the first round, when they fought as amateurs, has plenty of experience of digging deep. En route to the heavyweight title, he won Ring Magazine’s Comeback Fighter of the Year in 2006. Fred Kesh said: “Oleg is in the gym, he's trim and in the mindset to win.” Maskaev, 42-years-old, has been inactive since a December 2009 first round TKO loss to Nagy Aguilera. http://www.boxingscene.com/?m=show&opt=printable&id=48959
Goldenday: Кстати, мне непонятно, почему Роя так зовут. Обычно же по имени букву выбирают, а не по фамилии. Тогда было бы "Биг Р". Или "О" не связано с "Орбисон"?..
Voldar: Очередной трибьют. A Love So Beautiful - Michael Bolton - Roy Orbison
Voldar: На оффсайте Роя выложили несколько галерей с довольно редкими фотками. http://www.royorbison.com/us/photo-gallery/22?page=2
Sergey`M: Отличная находка! Но незнакомы некоторые люди, остается только догадываться.
Voldar: Различные кандидаты на президентский пост в Америке,оказывается вполне не против включать в свои плейлисты произведения нашей пятерки.Несколько раньше была информация,что в Барак добавил Mr.Blue Sky в свой плейлист,а теперь республиканец Ромни ,аж 2 песни Роя и одну Шеннона.Напомню,что Том упорно отказывает кандидатам использовать свои песни в избирательных компаниях. Mitt Romney's playlist: Roy Orbison, The Killers (CBS News) Mitt Romney's campaign has revealed the former Massachusetts governor's 19-song playlist on music service Spotify, accessible via his Facebook page. It's unclear to what degree Romney, who carries an iPad on the road, uses the service: A note announcing the playlist on his Facebook page says "A lot of you ask what Mitt listens to on the road. We compiled a list of favorites and put them on Spotify. Subscribe and let us know what you think." But the list certainly does seem to reflect Romney's tastes. Romney has said in the past that Roy Orbison, The Eagles, the Beatles and Randy Travis are among his favorites. Perhaps more surprising is his fandom of modern rock band The Killers, which he has also referenced in past interviews. "I like listening to his music," Romney said on CBS Radio in Michigan ahead of that state's February 28 primary. "I don't actually try to sense their personal family values...I listen to a lot of rock music and country music." Romney's Spotify playlist includes two Killers songs, "Read My Mind" and "Somebody Told Me," as well as two songs from Orbison: "In Dreams" and "Crying." Also making appearances are The Soggy Bottom Boys, Clint Black, Johnny Cash and Kerry Underwood, as well as Willie Nelson (for "Over the Rainbow") and Kid Rock, who has endorsed Romney and whose "Born Free" is played at his rallies. Check the full list out below: I am a Man of Constant Sorrow -- The Soggy Bottom Boys Read My Mind -- The Killers December, 1963 (Oh What a Night) -- Frankie Valli & The Four Seasons Ring of Fire -- Johnny Cash Somebody Told Me -- The Killers The MTA (The Boston Subway Song) -- The Kingston Trio Good Vibrations -- The Beach Boys Desperado (Live) -- Clint Black Crying -- Roy Orbison Only You (Long Version) -- Commodores Runaway -- Del Shannon It's Your Love -- Tim McGraw As Good as I Once Was -- Toby Keith Born Free -- Kid Rock Over The Rainbow -- Willie Nelson Stardust -- Nat King Cole In Dreams -- Roy Orbison Somebody Like You -- Keith Urban All-American Girl -- Kerry Underwood http://www.cbsnews.com/8301-503544_162-57394427-503544/mitt-romneys-playlist-roy-orbison-the-killers/
chimike:
chimike: Roy Orbison performs "Oh, Pretty Woman" as the finale of the Black & White Night Concert. He is backed by Bruce Springsteen!
Voldar: More fantasy GOOD!: Interview ‘realing’ Roy Orbison John Bishoff and Ron Holm (Between Planes, Emery Christiansen), Rockford veteran performers and composers, recently interviewed Roy Orbison in a séance conducted at an undisclosed location. Bishoff: Good evening, Roy. Can you hear me? I’m here with Ron Holm, and we were in a band in the ’80s called Emery Christiansen. We opened for you in 1982 at Rockford’s MetroCentre. Holm: And now John and I and some great players are doing a concert of your music at Just Goods, 201 Seventh St., at 7 p.m., Saturday April 7. There’s no cover charge (815-965-8903). Can you be there? Orbison: (Sings) “In dreams, I walk with you.” Holm: I guess you’ll be there in spirit. Your first minor hit was “Ooby Dooby,” for Sun Records. Do you ever listen to that song? Orbison: I hum it occasionally, but we don’t have any record players up here. Bishoff: Actually, we don’t have many record players down here anymore, either. It’s been CDs for years, and now it’s Internet downloading and streaming music from Cloud Services. Orbison: Oh, yeah? Well, we definitely got Cloud Services up here, too. Bishoff: I really liked that song, “Claudette” on the backside of the Everly Brothers’ “All I Have to do is Dream.” Orbison: Yeah. That was my first big break. I wrote it for this girl I had a crush on named Claudette Frady. The Everlys were so hot that my song actually went to No. 30. I got a hit record, and by the way, I also got the girl. I married her and bought her a Cadillac. Holm: But then, you got your own hit song. Orbison: Well, that was “Only the Lonely.” I broke from the Sun label and signed with Monument Records. I had this idea to make ballads like short operas, with violins and backup singers. That record went to No. 2 in the States, but it was a No. 1 smash in England. They loved it so much, they asked me to come over to their country and do some concerts. They put me on the stage with some kids calling themselves the Beatles. Bishoff: And the rest, as they say, is history. Orbison: Yeah. I went on first and got so much applause those Beatles pulled me off the stage! (laughs) But then, they went on to write a ballad in my style called, “Please, Please Me.” When George Martin, their producer, heard it, he told them to speed it up. I guess that did the trick! Holm: I sure would like to have heard how it sounded when they did it your way. Bishoff: Hey, let’s play it in Roy’s style at our upcoming show! Orbison: That’s something I’d like to hear myself. Bishoff: Done! Of course, then you went on to have a huge string of hit records. “Candy Man,” “Oh Pretty Woman,” “Sweet Dream Baby,” “In Dreams.” I noticed that lots of your songs are about dreaming. Orbison: Well, I did a lot of dreaming when I was young. I was a beady-eyed scrawny kid, not the greatest looking guy, so I started wearing sunglasses to look cooler. I dreamed someday I’d be a big-time singer, that I’d marry a beautiful girl, be in movies; and y’know, all those dreams came true. Holm: Well, we love your music. When we play your songs, we do it with a lot of love and respect for your talent. Orbison: Aw, thanks, man. You guys have a great concert April 7. I bet I’ll be able to hear it through that Internet cloud thing. Holm and Bishoff: Thank YOU, Roy! We’ll call our show “In Dreams: the Music of Roy Orbison.” http://rockrivertimes.com/2012/04/04/more-fantasy-good-interview-%E2%80%98realing%E2%80%99-roy-orbison/
Voldar: А слабо? http://www.journaltimes.com/news/local/tattoo-artist-tells-stories-through-permanent-art-sean-fletcher-believes/article_4cb746c0-8122-11e1-95a7-0019bb2963f4.html
Goldenday: Одно размалёванное чудище помечает другое, и кем?... Бедный Рой...
Sergey`M: А что другого места уж не нашлось, на пятке бы ещё наколол.
Voldar: Happy Birthday, Roy Orbison! A Shoutout to Iconic Stars Who Wear Specs The hits were immediately accessible and radio-ready at that. The voice that sang them was a mournful croon, operatic in timbre and flush full of desperation and desire. Even the trademark shades couldn't mask the sadness spurred from inside. Even so, Roy Orbison (born April 23, 1936) was one of rock 'n' roll's noblest forebears and also one of its most resilient. Having scored his earliest hits in the late 1950s, when rock was still in its infancy, his stature only grew stronger as time went on. He was idolized early on by the Beatles, Springsteen, Dylan, Elvis Presley, U2, and practically all who came to know him, either through his music or personal acquaintance. He was never the flashy kind -- certainly nowhere near as showy as early contemporaries like Presley, Little Richard, Chuck Berry, or Jerry Lee Lewis -- but he embodied instead a shy, self-effacing dignity and humility appropriate for a small-town boy from Wink, Texas, or similarly humble environs. Orbison's peak period was between 1960 and 1964, when he recorded for Monument Records and released no fewer than 22 songs that made the Billboard Top 40 -- among them "Only the Lonely," "Crying," "Love Hurts," "Running Scared," In Dreams," "Blue Bayou," and "Oh, Pretty Woman." However, he had hits prior during his tenure with the pioneering Sun Records ("Ooby Dooby," "Claudette") and much later as well, including the recordings he made alongside Dylan, George Harrison, Tom Petty, and Jeff Lynne in the supergroup known as the Traveling Wilburys. His was a voice unlike any other, a rich, impassioned baritone that boasted a three-octave range, one that earned him the nickname "the Caruso of Rock," quite a compliment considering that Caruso was one of the greatest opera singers of all time. Then again, both Billboard and Rolling Stone listed Orbison among the greatest vocalists of all time, one of the main reasons he was inducted into the Rock and Roll Hall of Fame in its sophomore year. Although he reflected an image of extreme introversion -- owed mainly to his trademark sunglasses and all-black attire -- Orbison became a huge star overseas, even upstaging the Beatles when they toured as a support band for him in England early on. (It's said that he chose to open the bill in deference to all the attention they were receiving, but when the crowd demanded an encore, Lennon and McCartney literally held him back when he attempted to return to the stage.) His voice seemed to mesmerize his audiences far more than his presence, but ironically that vulnerability was drawn from real-life tragedy. After his divorce from first wife Claudette, they reconciled, but shortly thereafter, she was killed when the car the couple were riding in was struck by a semi. His two eldest sons later died in a house fire while he was overseas on tour. Orbison himself succumbed at a tragically early age as well, suffering a heart attack in the midst of yet another well-received comeback. Today, more than 24 years after his death at age 52 on December 6, 1988, Orbison's more revered than ever. Despite a fallow period throughout most of the '70s, his fame was resuscitated early in the '80s, when several of his songs were covered by some of the biggest names in music, like Emmylou Harris, Bruce Springsteen, Linda Rondstadt, K.D. Lang, and Don McLean. An all-star live concert, released on record as A Black and White Night, gathered the likes of Jackson Browne, Elvis Costello, and Springsteen as participants in his backing band. It's little wonder that the other Wilburys were literally in awe -- his vocal contribution to their first hit, "Handle With Care," is especially compelling -- and that following his stint with the band, he capped his career with the album Mystery Girl, which featured contributions from both Lynne and Petty as well as Bono and Costello. The album reaped a massive posthumous hit in "You Got It," which Lynne and Petty composed specifically with Orbison in mind. In rock, image is everything, and while Orbison hardly epitomized the rock 'n' roll image, his dark glasses helped shape that brooding persona. According to legend, he started wearing shades after he left his regular glasses on an airplane, and lacking any other way to see, he donned his prescription shades instead. Given his lifelong stage fright, sunglasses helped him hide in plain sight, and they soon became a regular part of his signature stage garb. However, he's not alone; other artists have become known for a bespectacled style as well. http://blogs.browardpalmbeach.com/countygrind/2012/04/roy_orbison_happy_birthday_iconic_glasses.php
Voldar: Old music: Roy Orbison – In Dreams In Dreams was released by Roy Orbison in 1963, and is generally regarded now as his finest recording. While the song was in the charts Orbison toured Britain with a new and largely unknown group, the Beatles. It rapidly became clear that they were the bigger stars, and Orbison was demoted to the earlier part of the bill – with mixed success, since his sensational singing and range of hits meant the audience refused to let him leave. He upstaged the Beatles even before they had appeared. The song is more like an operatic aria, featuring seven separate sections, each with a different tune, none of them repeated. The first two are 16 bars each, but as the song moves towards its climax, the last five each last for only eight bars. Like so many Orbison songs it describes a plaintive longing and loneliness. He could cover three octaves, and frequently deployed a powerful falsetto. This comes almost at the end of In Dreams just before he drops an octave, giving the song a thunderous ending after beginning in a way that seems as fragile and evanescent as a dream. The air of mystery, the blend of imagination and reality, makes the song powerfully evocative, which is probably why David Lynch used it as the musical centrepoint of his 1986 film, Blue Velvet, in which it obsesses the psychopath played by Dennis Hopper. Orbison hated this use of the song – he hadn't given permission – but later came round, no doubt partly because it helped to revive his career. He became part of the all-star pick-up group the Traveling Wilburys, along with Bob Dylan, George Harrison, Jeff Lynne and Tom Petty, who had an immense success with their only album. http://www.guardian.co.uk/music/musicblog/2012/apr/20/roy-orbison-in-dreams
Voldar: В эфире радиостанции Rock FM в эту субботу будет передача о аккомпанирующих составах Роя в программе Ловец жемчуга. http://www.rockfm.ru/programs/99711
Voldar: Barry’s ultimate tribute Roy Orbison Published on Monday 17 September 2012 06:00 ROY Orbison fans will be heading to the Webster Memorial Theatre in Arbroath in their droves later this month for a tribute to Roy Orbison and Friends with Barry Steele. Barry portrays Roy Orbison from the 60s up to the late 80s, when Roy was performing and working alongside George Harrison, Jeff Lynne, Bruce Springsteen and many others. Barry not only looks like the man he sounds like him too, with the show receiving rave reviews and standing ovations, this show is the ultimate musical experience. Following his untimely death in 1988, the music of Roy Orbison remains as vital as ever. In this fantastic celebration, Barry Steele, who has performed to rave reviews across the world, brings the music and character of the Big O back to life. Barry puts the rock back into Roy Orbison with his trademark dark rimmed glasses and Orbison style. With a rollicking set including Ooby Dooby, Mean Woman Blues, and Uptown, plus the soaring vocals of Barry Steele as effortlessly performs the Classics, Only the Lonely, Crying, and Blue Angel, right through to Orbison’s later hits California blue, and You Got It, and of course the Travelling Wilburys whose music also features in the show. With full support from Barry’s fabulous five piece show band that will perform hits from the Shadows, Jerry Lee Lewis, and from a variety of special guests all specially chosen by LMSWorldwide LTD from the top of their profession. This show is the ultimate musical experience. http://www.forfardispatch.co.uk/lifestyle/entertainment/barry-s-ultimate-tribute-roy-orbison-1-2519343
Voldar: YouTube channel helps keep Roy Orbison legend alive Tom Waits once said, “When you were trying to make a girl fall in love with you, it took roses, the Ferris wheel and Roy Orbison.” Though Orbison’s music became popular in a time when Internet marketing didn’t yet exist, his family sees social media as a valuable tool to showcase the man behind the music legend today. Adam Jones manages much of the social media for the music legend. The passion and fidelity with which Jones has approached the development of Orbison’s YouTube channel has been a big factor in the channel’s success. Jones’ strategy has focused on the creation of new content, something fans have responded to very positively. For the Orbison team, the main goals of working to achieve engagement through social media are to attract new fans and to provide a more detailed and dimensional view of Orbison to those who have been fans for some time. Even though Roy Orbison died in 1988, his family promotes his legacy by doing more than just issuing rereleases and greatest hits albums. The generation of new content has been paramount to the Orbison team’s strategy, as seen in the achievement of Orbison’s YouTube channel. In a little over a year since taking over the YouTube channel and posting new videos consistently, Jones has increased Orbison’s subscribers from 4,000 to more than 100,000, gaining more than 15 million views in the process. To put that in perspective, the combined number of subscribers to the YouTube channel for the Beatles and the channel for Elvis does not even match a tenth of Orbison’s subscribers. Jones focuses on ensuring that the YouTube channel has new content featured every week, and he works to keep the subscriber base interested in that content. Jones says, “That’s the No. 1 thing, to keep fans active, to let them know you’re still there.” In choosing what video content to develop and post, Jones and the other staff will look at events in Orbison’s career and find content relevant to anniversaries. An example of this attention to history is the content featured on April 23, Roy Orbison’s birthday. Jones says the day has been commemorated by creating videos featuring pictures of Orbison set to play along with a recording of Orbison singing “Happy Birthday” to his son, Roy Orbison Jr. For Jones, the gratification that comes from pushing YouTube viewership and website traffic comes in the potential this presents to attract new fans and more deeply engage already established fans. Jones values these platforms for the opportunity they offer to invite more people to explore Orbison’s catalog and to present more knowledge and deeper insight for fans to connect with. Jones’ philosophy regarding content development is simple, but heartfelt: “He was a great guy, who made great music, and who came from humble beginnings. We just want everybody to know that story.” The Orbison family is not just relying on YouTube to increase awareness of Orbison’s legend; they’re launching a new website this month as another means of bringing new content to fans. The family is developing features with new artists that highlight Orbison in a different and exciting way. Jones has been reaching out to current artists who are Orbison fans and who have been influenced by him. The website will feature short interviews with these artists, such as Brandi Carlile, in which they talk about their favorite Orbison songs, speak about Orbison’s influence on their work, and give examples of this from their music. Jones says the YouTube channel and the new website are effective tools working to elevate Orbison to the icon status that he deserves. Jones says, “You have to find a way with a deceased artist, who is just as big in all of our minds as Johnny Cash or Elvis, a way to push him to that status in the eyes of the general public.” Jones says that creating content that involves relevant new artists is an important way to push for that awareness. Physical presence Adam Jones and the Orbison family use more than just the Internet in their social media involvement; they also try to interact with fans face to face as much as possible. Last May they partnered up with Creative Loafing to set up a booth at the Speed Street Festival in Charlotte, N.C. Festival attendees had the opportunity to get autographs from their favorite NASCAR drivers before visiting the Orbison booth. The experience allowed old fans to check out new merchandise and gave those who were unfamiliar with Orbison’s music an insight into his legacy in the hope of sparking continued interest. Also, for what would have been Orbison’s 75th birthday last year, Jones set up “Roy Orbison Night” with the Nashville Predators. At the event Roy’s wife Barbara, who died last December, was named the honorary mayor of Smashville. Jones said about these kinds of events: “Anytime we’re able to get any sort of local engagement like that, we’re going to jump on it.” When asked if he could offer any advice to others wishing to achieve the same success for artists through a platform like YouTube, Jones emphasized the importance of posting content that’s new, and posting it consistently. He advised would-be social media savants not to bombard viewers with too much content too quickly, because this could overwhelm the audience and just cause most of the content involved to go unseen. He also warned against appearing too commercial, saying: “You’re trying to engage your fans, not beat them in the face with a sale.” Jones says that when it comes to measuring engagement, the best way for a smaller corporation to operate on Facebook and Twitter is to find a common ground with fans. Find something that interests the general public and see how they respond, whether it’s through comments, likes or retweets, and go from there, building off of that information. Jones warns those just starting out and promoting themselves on social media to “be careful.” Jones says that it’s crucial to take care to protect the image you are developing, whether it’s your own or that of an artist you represent. According to Jones, companies should work to ensure they don’t alienate fans by coming off as abrasive, arrogant or too commercial. In a last piece of advice that sounds the most simple but might prove to be the most important, Jones advises: “Stay true to your brand, stay true to your music.” http://blogs.tennessean.com/tunein/2012/10/21/youtube-channel-helps-keep-roy-orbison-legend-alive/
Voldar: К сожалению ещё одна печальная новость - умер сосавтор песни Pretty Women. Bill Dees Dead: Roy Orbison's 'Oh, Pretty Woman' Co-Writer Dies at 73 MOUNTAIN HOME, Ark. (AP) - Bill Dees emerged from his days as an out-of-cash young songwriter to pen tunes recorded by Johnny Cash, Loretta Lynn and other country music greats, but the centerpiece of his career was his work with Roy Orbison, including co-writing the classic rock hit, "Oh, Pretty Woman." Dees, who died in Arkansas last week at age 73, had said writing that song with Orbison in 1964 changed his life. In a 2008 interview with National Public Radio, Dees recalled that the night they penned the hit song, Orbison told him he wouldn't need to go to work that Monday if he didn't want to. "He said, 'Buy yourself an electric piano, and I'll take you on the road with me.' And he said, 'I'll pay you what the band's getting,'" Dees said during the NPR interview, which is posted on his Dees' website. He went on to tour Europe and perform on the Ed Sullivan Show with Orbison, with whom he also co-wrote numerous other songs, including "It's Over," which also was a No. 1 hit. The Texas native left home to seek work in Nashville, Tenn., where he went on to write songs recorded by performers who also included Glen Campbell. But working with Orbison defined his career. Dees became embroiled in a lawsuit over "Oh, Pretty Woman" that made its way to the U.S. Supreme Court in the early 1990s, after rap group 2 Live Crew recorded a rewrite despite being refused permission by Acuff-Rose Music Inc., which owned the copyright. Dees, who detested the ribald rewrite, explained: "It's like if someone asks you if they could use the car," he told The Associated Press in 1993. "We said no, but they take it and paint it all different colors." The high court sided with the raunchy rappers, saying the recording was a parody that could be considered fair use. Both sides later settled. Dees eventually moved with his family to Arkansas, and he lived in the Ozarks region of northern Arkansas and southern Missouri for more than 20 years. A memorial is planned Saturday in Mountain Home, the northern Arkansas city where he died on Oct. 24, according to the Kirby and Family funeral home, which didn't release details about his death. Another gathering will be held next month in Branson, Mo., home to the late Andy Williams' famous Moore River Theater. Dees said in a 1970 interview with the Amarillo Globe-News that he first met Orbison when he performed in Amarillo, Texas. Dees went to Nashville twice in 1962 to work with Orbison, then decided to move his family there in 1964, traveling in a 1955 Pontiac. "My wife and I decided that we would go as far as the car would take us," Dees told the newspaper. "If it broke down before we got there, we would save money and move further on later." They made it to Nashville, where the car soon broke down - and Dees said he had to use his overcoat as payment to get the car towed to a mechanic, the newspaper reported Wednesday. Dees didn't initially seek out Orbison after moving to Nashville because he wanted to establish himself without help, according to a biography on Dees' website. But the pair reconnected, and with Orbison, Dees crossed Europe and twice went to England. "I was shocked when we got off the plane in London, and there was like 10,000 people there at the airport meeting the plane," Dees told NPR. "It was like The Beatles when they came over here." They appeared with The Beatles and the Rolling Stones, and played on the Ed Sullivan Show. Dees continued to write songs and perform, and released his first solo album in 2002, "Saturday Night at the Movies," which includes songs he wrote with Orbison. As a child, Dees lived with his family in Borger, Texas, where his father worked as a sand and gravel supplier, where Dees went on to work. Dees recalled listening to barrelhouse piano music at house parties and getting bit by the music bug, according to his biography. Dees said many times that he and Orbison were life-long friends. Orbison died in 1988. Dees is survived by his wife, Nancy Decker-Dees of Kissee Mills, Mo.; four children and two step-children, a brother and numerous grandchildren and great-grandchildren, according to the funeral home's obituary. http://www.spinner.com/2012/11/01/bill-dees-dead-dies/
Voldar: Дизайн офсайта Роя несколько изменился. http://www.royorbison.com/
chimike: Захотелось выпить в честь днюхи Роя
Voldar: Ну так за чем дело стало... Bruce Springsteen sings Happy Birthday to Roy Orbison
Voldar: Кстати к "московскому" дню рождения Роя выпущен концертник. Roy Orbison: Live at Reseda Country Club - AVAILABLE 4/23/2013 Description While lo-fi recordings of the Live at Reseda show have been traded in the past by hard-core collectors, this fan favorite 1981 concert has never been heard in its newly remixed and mastered format now available for the first time as a sanctioned release. Opened in 1980, the Reseda Country Club was originally intended to be just that - a club that hosted country music shows. Throughout its storied past, however, the Reseda Country Club became much more. The Reseda Country Club hosted events ranging from B.B. King to Slayer concerts, music video shoots with Mick Jagger, and, historically, U2’s Los Angeles debut performance (mere weeks before this very Roy Orbison show was recorded). Though two of the tracks from this concert were previously included as bonus cuts on Roy's Greatest Hits DVD and some hardcore fans may have gotten hold of this show through underground trading, this is the first 'legitimate' chance for fans to enjoy this fantastic show in fully remixed and mastered form. AVAILABLE 4/23/2013 Tracklist: 1. Intro 01:38 2. Only The Lonely 02:24 3. Leah 03:00 4. Dream Baby 02:40 5. In Dreams 03:08 6. Mean Woman Blues 02:28 7. Blue Angel 03:16 8. Lana 02:28 9. Blue Bayou 03:01 10. Candy Man 03:14 11. Crying (with reprise) 04:57 12. Ooby Dooby 02:43 13. Hound Dog Man 03:11 14. Working For The Man 02:59 15. That Lovin' You Feeling Again 04:17 16. Go! Go! Go! (Down The Line) 03:59 17. Too Soon To Know 03:05 18. Penny Arcade 03:15 19. It's Over 02:45 20. Oh, Pretty Woman 03:42 21. Running Scared (with 2 reprises) 06:50 http://www.royorbison.com/now-available-roy-orbison-live-at-the-reseda-country-club/ кусочки можно послушать здесь : https://soundcloud.com/royorbison/sets/roy-orbison-live-at-reseda
Voldar: Новая книжечка о Рое. Rhapsody in Black: The Life and Music of Roy Orbison He was blessed with a set of pipes that Elvis Presley claimed were the best in the business. His eyes hidden behind his perpetual Ray-Bans, Roy Orbison stood perfectly still onstage, singing songs of devastating heartbreak. Bob Dylan compared him to a professional killer, claiming the intensity of Orbisons operatic tenor was enough to make him drive off a cliff. Neil Young stated, Its almost impossible to comprehend the depth of his soul. Theres something sad but proud about Roys music. And Bono later claimed he was not only enthralled by Orbisons angelic voice, but considered In Dreams to be probably the greatest pop song ever written. Orbisons singing has inspired everyone who has heard it, from Springsteen to k. d. lang, and laid the very foundation for goth. While fascinating from a pop culture standpoint, it is Orbisons lifes journey that makes a great story that has yet to be told to its fullest. Rhapsody in Black doesnt shy away from or trivialize the personal pain, alienation, and tragic events that shaped Orbisons singular personality and music. Roy Orbison wasnt merely a singer but a sonic alchemist who, in the end, transformed unfathomable human misery into transcendent melody and platinum records. Rhapsody In Black contains new interviews with over 20 people who worked closely with Orbison throughout his life. http://www.amazon.com/Rhapsody-Black-Life-Music-Orbison/dp/1476886792
Voldar: Очередная компиляция Роя. Roy Orbison hits compilation 'In Dreams' to be reissued Sept. 17 Roy Orbison’s “In Dreams -- Greatest Hits,” an unusual 1987 compilation with latter-day performances by the Rock and Roll Hall of Fame member, is being reissued Sept. 17 after being out of circulation for nearly two decades. The double album set, featuring “Oh, Pretty Woman,” “Only the Lonely (Know the Way I Feel),” “Crying,” “Runnin’ Scared” and 13 more tracks, was recorded less than two years before Orbison died in 1988 of a heart attack at age 52. It’s one of the rare collections of re-recorded material that is as highly regarded as the artist’s original recordings because of the high quality of the newer versions. http://www.latimes.com/entertainment/music/posts/la-et-ms-roy-orbison-in-dreams-greatest-hits-reissue-20130912,0,7384939.story
Voldar: Roy Orbison's 'Oh, Pretty Woman' To Receive Iconic Riff Award The Musicians Hall of Fame and Museum will posthumously honor music legend Roy Orbison by granting him the Iconic Riff Award for his 1964 number one hit single "Oh, Pretty Woman" on January 28th. Orbison will have the distinction of being the first ever recipient of this bestowal. MHOF honors musicians from all genres and eras of recorded music, and inductees are nominated by current members of the American Federation of Musicians and by other music industry professionals. Roy Orbison began making his mark on the music world in 1956 while recording for Sun Records, which boasted a roster of unparalleled talent that also included Elvis Presley, Jerry Lee Lewis, and Johnny Cash. However, it was during his years on Monument Records in the early-to-mid 1960s when Orbison's commercial success reached stratospheric levels, the apex of which was "Oh, Pretty Woman," a song co-written by Orbison and Bill Dees. It went on to sell 7 million copies, spend three weeks at No. 1 on the Billboard Hot 100 chart, and also topped the British charts for three weeks. It was unprecedented for any American to have this kind of chart-topping power simultaneously on both sides of the Atlantic in the Beatles-dominated year of 1964. While Roy Orbison, who is already in the Rock and Roll Hall of Fame and the Songwriters Hall of Fame, is acknowledged to have one of the most uniquely beautiful and haunting voices in popular music, the Musicians Hall of Fame and Museum is focusing on the unmistakable riff that kicks off "Oh, Pretty Woman." It remains a truly iconic and timeless refrain, evidenced by the innumerable cover versions of the song by artists as diverse as Al Green, a young John Mellencamp, Johnny Rivers, Bon Jovi, Green Day, and Van Halen, the latter of which achieved a sizeable hit with their own 1982 version, showcasing the splendiferous guitar theatrics of group leader Eddie Van Halen. The song inspired the title of and is heard on the soundtrack from Pretty Woman, the blockbuster film starring Julia Roberts and Richard Gere. Although Roy Orbison passed away in 1988, his presence endures. This is due, in large measure, to the ongoing effort to preserve his legacy by sons Alex, Roy Kelton, and Wesley Orbison, whose Roy's Boys LLC manages their father's name, likeness, image, and musical output, offering a series of audio and DVD reissues, as well as newly curated releases. November 26 (the Tuesday before "Black Friday") will mark the release of The Monument Boxset, a vinyl-only package that includes three classic Monument-era Orbison studio albums (Lonely and Blue, Crying, In Dreams) as well as a fourth album, centered around the track "Oh, Pretty Woman" that had never previously existed. Entitled Oh! Pretty Woman, the LP consists of tracks reflective of the period and, as determined by the team at Roy's Boys, to be the songs that would have comprised a fourth Monument studio album. "Oh, Pretty Woman," a staple of Roy Orbison's live performances, is also featured as an encore in the Black & White Night DVD, just released through Sony's Legacy Recordings this week. The concert, filmed in September of 1987, features an all-star line up that includes outspoken Roy admirers Bruce Springsteen, Elvis Costello, Jackson Browne, JD Souther and Tom Waits, among others, joining Orbison on the show's closer, "Oh, Pretty Woman." The time-honored tune was, in fact, the last song Roy Orbison ever recorded. On December 4, 1988, just two days before his sudden passing, he performed at a Cleveland-area venue, that concert performance was taped and is set for release this December 3rd as The Last Concert – 25th Anniversary Edition through Legacy Recordings. Orbison, typically, closed his shows with "Running Scared," but the engineer ran out of tape that night almost 25 years ago, thus making his penultimate number, "Oh, Pretty Woman," the final document of his melodious brilliance. http://www.antimusic.com/news/13/November/12Roy_Orbisons_Oh,_Pretty_Woman_To_Receive_Iconic_Riff_Award.shtml#.Uo4MnFaz_Ho
Voldar: Есть новости и от Роя. LONG LOST ROY ORBISON ALBUM TO BE RELEASED AFTER 46 YEARS 1) You’ll Never Walk Alone 2) Say No More 3) Leaving Makes the Rain Come Down 4) Laurie 5) Sweet Memories 6) One of the Lonely Ones 7) Child Woman, Woman Child 8) The Defector 9) Give Up 10) Little Girl (In the Big City) 11) After Tonight 12) I Will Always December 4 marks the anniversary of Roy Orbison’s last ever performance (The Front Row Theater, Highland Heights, OH, 1988), a mere two days before his passing. In recognition, Universal Music Enterprises (Ume) has teamed up with Roy’s Boys LLC, the Nashville-based company founded by the late icon’s sons to administer their father’s catalog and safeguard his legacy. Together, they are releasing One of the Lonely Ones globally on December 4, available in CD, 180-gram vinyl and digital form. Recorded between January and August of 1969, One of the Lonely Ones is a complete Roy Orbison studio album that has never before been released in any form. The 12-track album was recently discovered by Roy’s sons when they were preparing for the release of The MGM Years box set (also available digitally and on CD and 180-gram vinyl Dec. 4). Born from tragedy, One of the Lonely Ones is a testament to Roy’s unparalleled ability to turn heartbreak into art… http://www.royorbison.com/innocent-words-long-lost-roy-orbison-album-to-be-released-after-46-years/ http://innocentwords.com/long-lost-roy-orbison-album-to-be-released-after-46-years/ Послушать можно здесь - https://music.yandex.ru/album/3117854/track/26244279?from=serp
Goldenday: Вышел новый сборник с новыми аранжировками: Roy Orbison & The Royal Philharmonic Orchestra - A Love So Beautiful 01. In Dreams (3:47) 02. Crying (3:00) 03. I'm Hurtin' (2:48) 04. Oh, Pretty Woman (3:09) 05. It's Over (3:19) 06. Dream Baby (2:54) 07. Blue Angel (2:59) 08. Love Hurts (2:41) 09. Uptown (2:17) 10. Mean Woman Blues (2:26) 11. Only The Lonely (Know The Way I Feel) (2:32) 12. Running Scared (2:49) 13. I Drove All Night (4:16) 14. You Got It (3:36) 15. A Love So Beautiful (4:13) 16. Pretty Paper (3:23) 17. I Drove All Night (4:03) https://rutracker.org/forum/viewtopic.php?t=5475629 - mp3 https://rutracker.org/forum/viewtopic.php?t=5475621 - flac послушать можно здесь: https://music.yandex.ru/artist/9301/albums
Voldar: Спасибо,Димка.Всё пока не прослушал, Only The Lonely как будто ваще без изменений,You Got It очень неплохо получилось,а вот на дровах ,мне кажется явно рокового напора не хватает.
Goldenday: Voldar пишет: а вот на дровах ,мне кажется явно рокового напора не хватает. Мне тоже. И та версия, где дама подпевает - по-моему, зря смешали два вокала. С Роем конкурировать практически невозможно. Это, наверное, взяли пример с нового акустического концерта A-Ha, где Мортен дуэтом спел с разными исполнителями. A Lоve So Beautiful хорошо получилась тоже.
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