Roy Orbinson – Golden Days (The Collection Of 20 All-Time Greats)

FrontCover1Roy Kelton Orbison (April 23, 1936 – December 6, 1988) was an American singer, songwriter, and musician known for his impassioned singing style, complex song structures, and dark, emotional ballads. His music was described by critics as operatic, earning him the nicknames “The Caruso of Rock” and “The Big O.” Many of Orbison’s songs conveyed vulnerability at a time when most male rock-and-roll performers chose to project machismo. He performed while standing motionless and wearing black clothes to match his dyed black hair and dark sunglasses.

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Born in Texas, Orbison began singing in a rockabilly and country-and-western band as a teenager. He was signed by Sam Phillips of Sun Records in 1956, but enjoyed his greatest success with Monument Records. From 1960 to 1966, 22 of Orbison’s singles reached the Billboard Top 40. He wrote or co-wrote almost all of his own Top 10 hits, including “Only the Lonely” (1960), “Running Scared” (1961), “Crying” (1961), “In Dreams” (1963), and “Oh, Pretty Woman” (1964).

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After the mid-1960s, Orbison suffered a number of personal tragedies and his career faltered. He experienced a resurgence in popularity in the 1980s following the success of several cover versions of his songs. In 1988, he co-founded the Traveling Wilburys (a rock supergroup) with George Harrison, Bob Dylan, Tom Petty, and Jeff Lynne. Orbison died of a heart attack in December 1988 at age 52. One month later, his song “You Got It” (1989) was released as a solo single, becoming his first hit to reach the US and UK Top 10 in nearly 25 years.

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Orbison’s honors include inductions into the Rock and Roll Hall of Fame and Nashville Songwriters Hall of Fame in 1987, the Songwriters Hall of Fame in 1989, and the Musicians Hall of Fame and Museum in 2014. He received a Grammy Lifetime Achievement Award and five other Grammy Awards. Rolling Stone placed him at number 37 on its list of the “Greatest Artists of All Time” and number 13 on its list of the “100 Greatest Singers of All Time”. In 2002, Billboard magazine listed him at number 74 on its list of the Top 600 recording artists. (wikipedia)

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And here´s a nice compilation with some of his best songs.

A add my favourite Roy Orbinson song “I Got It”.

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Personnel:
Roy Orbinson (vocals, guitar)
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many, many studio musicians

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Tracklist:
01. Oh Pretty Woman (Dees/Orbison) 2.57
02. Running Scared (Melson/Orbison) 2.10
03. Falling (Orbison) 2.22
04. Love Hurts (Bryant) 2.27
05. Mean Woman Blues (de Metrius) 2.25
06. I Can’t Stop Loving You (Gibson) 2.49
07. The Crowd (Melson/Orbison) 2.22
08. Blue Bayou (Melson/Orbison) 2.30
09. Borne On The Wind (Dees/Orbison) 2.52
10. Lana (Melson/Orbison) 2.52
11. Only The Lonely (Melson/Orbison) 2.30
12. It’s Over (Dees/Orbison) 2.49
13. Crying (Melson/Orbison) 2.47
14. Pretty Paper (Nelson) 2.44
15. All I Have To Do Is Dream (Bryant) 2.24
16. Dream Baby (How Long Must I Dream) (Walker) 2.34
17. Blue Angel (Melson/Orbison) 2.43
18. Working For The Man (Orbison) 2.27
19. Candy Man (Ross/Neil) 2.46
20. In Dreams (Orbison) 2.51
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21. You Got It (Lynne/Orbison/Petty) 3.31

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Various Artists – Greatest Love Songs (2001)

FrontCover1And here is one of these countless compilation albums with “Greatest Love Song” …

… Compilations of this kind are part of the music industry to earn a little more money with low budget productions.
Many of the songs are actually “sad love songs” and I think there is something for everyone on these two CDs.

My favourite songs are “Morning Has Broken “, “Island In The Sun”, “The Air That I Breathe”, “Light My Fire”, “When A Man Loves A Woman”, “Pretty Woman”, “Wonderful World”, “My Girl”, “Only You”, “It’s All Over Now, Baby Blue” and “Brown Eyed Girl” … they touch my soul.

Enjoy your sentimental side.

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Tracklist:

CD 1:
01. Al Martino: Spanish Eyes (Kaempfert/ingleton/Snyder) 2.49
02. America: Sister Golden Hair (Beckley) 3.21
03. Art Garfunkel: Bright Eyes (Batt) 3.59
04. Barry White: You’re The First, The Last, My Everything (White/Sepe/Redcliffe) 3.26
05. Bellamy Brothers: If I Said You Have A Beautiful Body Would You Hold It Against Me (D.Bellamy) 3.12
06. Cat Stevens: Morning Has Broken (Stevens/Farjeon) 3.19
07. Chicago: If You Leave Me Now (Cetera) 3.54
08. Commodores: Three Times A Lady (Richie) 3.38
09. Dean Martin: Everybody Loves Somebody (Lane/Coslow/Taylor) 2.46
10. Diane Warwick: Heartbreaker (B.Gibb/R.Gibb/M.Gibb) 4.18
11. Eric Carmen: All By Myself (Carmen) 4.54
12. Everly Brothers: All I Have To Do Is Dream (Bryant) 2.24
13. F. R. Davids: Words (Fetoussi) 2.51
14. Gary Pucket: Young Girl (Fuller) 3.08
15. Gary Wright: Dream Weaver (Wright) 4.18
16. Harry Belafonte: Island In The Sun (Belafonte/Burgess) 3.23

CD 2:
01. Hazlewood/Sinatra: Summerwine (Nayer/Mercer) 3.39
02. Hollies: The Air That I Breathe (Hammond/Hazlewood) 4.03
03. Jose Feliciano: Light My Fire (Morrison/Manzarek/Densmore/Krieger) 3.04
04. Leo Sayer: When I Need You (Hammond/Sager) 4.07
05. Pat Boone: Love Letters In The Sand (Kenny/Coots) 2.08
06. Paul Anka: Put Your Head On My Shoulder (Anka) 2.37
07. Percy Sledge: When A Man Loves A Woman (Lewis/Wright) 2.49
08. Righteous Brothers: Unchained Melody (Zaret/North) 3.37
09. Roy Orbison: Pretty Woman (Orbinson/Dees) 2.59
10. Sam Cooke: Wonderful World (Cooke/Adler/Alpert) 3.00
11. Temptation: My Girl (Robinson/White) 2.41
12. The Platters: Only You (Ram/Rand) 2.36
13. Them: It’s All Over Now, Baby Blue (Dylan) 3.48
14. Tom Jones: She’s A Lady (Anka) 3.36
15. Van Morrison: Brown Eyed Girl (Morrison) 3.03
16. Walker Brothers: The Sun Ain’t Gonna Shine Any More (Crewe/Gauido) 3.01

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Various Artists – You’ve Got Mail (1998)

FrontCover1You’ve Got Mail is a 1998 American romantic comedy-drama film directed by Nora Ephron and starring Tom Hanks and Meg Ryan. Inspired by the 1937 Hungarian play Parfumerie by Miklós László (which had earlier been adapted in 1940 as The Shop Around the Corner and in 1949 as In the Good Old Summertime),[3] it was co-written by Nora and Delia Ephron. It tells the story of two people in an online romance who are unaware they are also business rivals. It marked the third pairing of Hanks and Ryan, who previously appeared together in Joe Versus the Volcano (1990) and Sleepless in Seattle (1993), the latter directed by Ephron.

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Kathleen Kelly is in a relationship with Frank Navasky, a left-leaning newspaper writer for The New York Observer who is always in search of an opportunity to root for the underdog. While Frank is devoted to his typewriter, Kathleen prefers her laptop and logging into her AOL email account. Using the screen name “Shopgirl”, she reads an email from “NY152”, the screen name of Joe Fox, whom she first met in an “over-30s” chatroom. As her voice narrates her reading of the email, she reveals the boundaries of the online relationship: no specifics, including no names, career or class information, or family connections.

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Joe belongs to the Fox family that runs Fox Books, a chain of mega bookstores. Kathleen runs the independent bookstore The Shop Around The Corner that her mother ran before her. The two are shown passing each other on their respective ways to work, revealing that they frequent the same neighborhoods on the Upper West Side of Manhattan. Joe arrives at work, overseeing the opening of a new Fox Books in New York City with the help of his best friend, branch manager Kevin. Kathleen and her three store assistants, George, Aunt Birdie, and Christina, open up her small shop that morning.

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Following a day with his 11-year-old aunt Annabel and 4-year-old half-brother Matthew, Joe enters Kathleen’s store to let his younger relatives experience storytime. Joe and Kathleen have a conversation that reveals Kathleen’s fears about the Fox Books store opening around the corner. He omits his last name and makes an abrupt exit with the children. At a publishing party for New York book business people later that week, Joe and Kathleen meet again where Kathleen discovers Joe’s true identity in the Fox family. She accuses him of deception and spying, while he responds by belittling her store.

When “Shopgirl” and “NY152” finally decide to meet, Joe discovers with whom he has been corresponding. At the table, he joins her without revealing his online identity, leading them to clash once more. NY152 later resumes the online correspondence, apologizes, and promises to eventually tell her why he stood her up.

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The Shop Around the Corner slowly goes under. Kathleen’s employees move on: Christina goes job hunting, George gets a job at the children’s department at the Fox Books store, and Birdie retires. Kathleen and Frank amicably end their relationship. Kathleen takes a break to figure out what she wants to do (write children’s books). As the shop goes under, Joe realizes his feelings towards Kathleen and begins building a face-to-face relationship, still keeping his online identity a secret. They slowly build a friendship.

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Eventually, NY152 arranges a meeting between his online persona and Shopgirl, but right before she is to meet her online friend, Joe reveals to Kathleen his feelings for her, worrying that she will not forgive and love him even when she learns the truth. Kathleen hints at feeling the same way but cannot bring herself to forgo her feelings for NY152, not realizing they are the same man, and the two part. Upon arriving at the meeting place, she hears his voice and sees that NY152 is, in fact, Joe Fox. Kathleen cries tears of joy and reveals that she hoped it would be him.

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A soundtrack was released on December 1, 1998, and featured a mixture of classics from the 1950s and 1970s, particularly the work of Harry Nilsson, as well as new original recordings and covers. The score to the film was written by the English composer George Fenton. (wikipedia)

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Nora Ephron’s charming, good-natured remake of The Shop Around the Corner was the definitive upscale urban romantic comedy of the late ’90s (or at least 1998), so it’s only appropriate that the accompanying soundtrack fits the film like a glove. A canny mix of familiar oldies, forgotten treasures, new songs, and an excerpt from the score, the album is much like the movie — entertaining, occasionally supremely engaging (whether it’s Stevie Wonder’s classic “Signed, Sealed, Delivered,” and Randy Newman’s “Lonely at the Top,” and no less than three Harry Nilsson songs, including a cover by Sinéad O’Connor), but ultimately ephemeral. Not that that’s a bad thing — in fact,

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You’ve Got Mail is a very enjoyable listen. For many fans, that may be enough, since it is fun and evokes fond memories of the film. It just doesn’t really work as its own entity. (by Stephen Thomas Erlewine)

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Tracklist:
01. Harry Nilsson: The Puppy Song (Nilsson) 2.42
02. The Cranberries: Dreams (Hogan/O’Riordan) 4.30
03. Bobby Darin: Splish Splash (Darin) 2.11
04. Louis Armstrong: The Dummy Song (Brown/Henderson/Rose) 2.19
05. Harry Nilsson: Remember (Nilsson) 4.02
06. Roy Orbison: Dream (Mercer) 2.11
07. Bobby Day: Rockin’ Robin (Thomas) 2.35
08. Randy Newman: Lonely At The Top (Newman) 2.32
09. Stevie Wonder: Signed, Sealed, Delivered I’m Yours (Garrett/Hardaway/Wonder/ Wright) 2.38
10. Sinéad O’Connor: I Guess the Lord Must Be In New York City (Nilsson) 3.07
11. Harry Nilsson: Over The Rainbow (Arlen/Harburg) 3.31
12. Carole King: Anyone At All (King/Sager) 3.09
13. Billy Williams: I’m Gonna Sit Right Down (And Write Myself A Letter) (Ahlert/Young) 2.07
14. George Fenton: The “You’ve Got Mail” Suite (Fenton) 5.35
15. Jimmy Durante: You Made Me Love You (McCarthy/Monaco) 3.01

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Roy Orbinson – Cry Softly Lonely One (1968)

FrontCover1Cry Softly Lonely One is the twelfth music album recorded by Roy Orbison, and his sixth for MGM Records. The album was released in October 1967 and included two singles: “Communication Breakdown” and the title tune, both of which were minor hits in the States early that year. “Communication Breakdown” did much better in Australia, where it reached #9 in February. According to the official Roy Orbison discography by Marcel Riesco,[2] the London Records release (non U.S.) of this album featured the extra track “Just One Time”. (by wikipedia)

Cry Softly, Lonely One had a tremendously convoluted recording history, interrupted as it was for work on two other projects (including the shooting and soundtrack of The Fastest Guitar Alive) and not released until 1967. That was sad because that album caught Orbison firing on all cylinders in his best voice ever, and with Joe Melson backing him vocally on the classic Monument sides with a killer array of songs — from the opener, “She,” across to the title track by way of “Communication Breakdown” — had this record come out in 1964, it might well have charted high behind any of those songs, or the more rhythm-driven “Girl Like Mine.”

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In late 1967, however, the album was an anachronism (the other irony is that, had it come out 18 months later, it might have ridden the same roots rock wave as Elvis Presley’s Memphis albums, or Joe South, to success). Some of it, such as “That’s a No No,” was a true throwback to an earlier pop/rock era, but most of what was here was a great showcase for Orbison’s classic sound as it had evolved, oblivious to the musical trends around him (and at least he never tried to emulate the psychedelic sounds of the period in the way that the Everly Brothers did on their live album). (by Bruce Eder)

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Personnel:
Roy Orbinson (vocals)
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a bunch of unknown studio musicians

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Tracklist:
01. She (Orbison/Dees) 2.42
02. Communication Breakdown (Orbison/Dees) 3.01
03. Cry Softly, Lonely One (Gant/Melson) 2.53
04. Girl Like Mine (Mathis) 2.20
05. It Takes One (To Know One) (Orbison/Dees) 3.00
06. Just Let Me Make Believe (Blackwell) 2.27
07. Here Comes The Rain, Baby (Newbury) 2.52
08. That’s A No-No (Orbison/Dees) 2.10
09. Memories (Orbison/Dees) 2.53
10. Time To Cry (Orbison/Dees) 2.r42
11. Only Alive (R.Blackwell/D.Blackwell)  2.09
12. Just One Time (Gibson) 2.15

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Roy Kelton Orbison (April 23, 1936 – December 6, 1988)

The Traveling Wilburys – Vol. 01 (1988)

FrontCover1.jpgThere never was a supergroup more super than the Traveling Wilburys. They had Jeff Lynne, the leader of ELO; they had Roy Orbison, the best pop singer of the ’60s; they had Tom Petty, the best roots rocker this side of Bruce Springsteen; they had a Beatle and Bob Dylan, for crying out loud! It’s impossible to picture a supergroup with a stronger pedigree than that (all that’s missing is a Rolling Stone), but in another sense it’s hard to call the Wilburys a true supergroup, since they arrived nearly two decades after the all-star craze of the ’70s peaked, and they never had the self-important air of nearly all the other supergroups. That, of course, was the key to their charm: they were a group of friends that fell together easily, almost effortlessly, to record a B-side for a single for George Harrison, then had such a good time they stuck around to record a full album, which became a hit upon its 1988 release. The Traveling Wilburys was big enough to convince the group to record a second album, cheerfully and incongruously titled Vol. 3, two years later despite the death of Orbison. Like most sequels, the second didn’t live up to expectations, and by the time it and its predecessor drifted out of print in the mid-’90s, with the rights reverting to Harrison, nobody much noticed. A few years later, though, it soon became apparent that the Wilburys records — mainly, the debut, widely beloved thanks to its two hits, “Handle With Care” and “End of the Line” — were out of print, and they soon became valuable items as the Harrison estate dragged its heels on a reissue. Finally, the two albums were bundled up as a two-CD set simply called The Traveling Wilburys and reissued with a DVD containing a documentary and all the videos in the summer of 2007 (there is also a deluxe edition containing a longer, lavish booklet).

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Looking back via The Traveling Wilburys, the group’s success seems all the more remarkable because the first album is surely, even proudly, not a major statement. Even under the direction of Lynne, who seems incapable of not polishing a record till it gleams, it’s loose and funny, even goofy. It’s clearly a lark, which makes the offhanded, casual virtuosity of some of the songs all the more affecting, particularly the two big hits, which are sunny and warm, partially because they wryly acknowledge the mileage on these rock & roll veterans. “Handle With Care” and “End of the Line” are the two masterworks here, although Roy’s showcase, “Not Alone Anymore” — more grand and moving than anything on the Lynne-produced Mystery Girl — comes close in the stature, but its stylized melodrama is a ringer here: it, along with Dylan’s offhand heartbreak tune “Congratulations,” is the only slow thing here, and the rest of the album just overspills with good vibes, whether it’s Tom Petty’s lite reggae of “Last Night,” Jeff Lynne’s excellent Jerry Lee Lewis update “Rattled,” or Dylan’s very funny “Dirty World,” which is only slightly overshadowed by his very, very funny Springsteen swipe “Tweeter and the Monkey Man.” These high times keep The Traveling Wilburys fresh and fun years later, after Lynne’s production becomes an emblem of the time instead of transcending it. (The album contains two bonus tracks in this reissue, the excellent Harrison song “Maxine” — a low-key waltz that should have made the cut — and “Like a Ship,” a folky dirge that builds into ELO-esque pop which is pretty good but doesn’t have the effervescence of the rest.)

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The Traveling Wilburys built upon Harrison’s comeback with Cloud Nine and helped revitalize everybody else’s career, setting the stage for Dylan’s 1989 comeback with Oh Mercy, Petty’s first solo album, Full Moon Fever, produced by Lynne (sounding and feeling strikingly similar to this lark), and Orbison’s Mystery Girl, which was released posthumously. Given the success of this record and how it boosted the creativity of the rest of the five, it’s somewhat a shock that the second effort falls a little flat. In retrospect, Vol. 3 plays a little bit better than it did at the time — it’s the kind of thing to appreciate more in retrospect, since you’ll never get another album like it — but it still labors mightily to recapture what came so effortlessly the first time around, a problem that can’t merely be chalked up to the absence of Orbison (who after all, didn’t write much on the first and only took lead on one song).

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Where the humor flowed naturally and absurdly throughout the debut, it feels strained on Vol. 3 — nowhere more so than on “Wilbury Twist,” where Petty implores you to put your underwear on your head and get up and dance, the epitome of forced hilarity — and the production is too polished and punchy to give it a joie de vivre similar to the debut. That polish is an indication that Lynne and Petty dominate this record, which only makes sense because they made it between Full Moon Fever and Into the Great Wide Open, but it’s striking that this sounds like more like their work, even when Dylan takes the lead on “Inside Out” or the doo wop-styled “7 Deadly Sins.” Both of these are quite good songs and they have a few other companions here, like the quite wonderful country stomp “Poor House,” but they’re songs more notable for their craft than their impact — nothing is as memorable as the throwaways on the debut — and when combined with the precise production, it takes a bit for them to sink in. But give the record some time, and these subtle pleasures are discernible, even if they surely pale compared to the open-hearted fun of the debut. But when paired with the debut on this set, it’s a worthy companion and helps support the notion that the Traveling Wilburys were a band that possesses a unique, almost innocent, charm that isn’t diminished after all this time. (by Stephen Thomas Erlewine)

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Personnel:
Charlie T. Wilbury Jr (Tom Petty) (vocals, guitar)
Lefty Wilbury (Roy Orbison) (vocals, guitar)
Lucky Wilbury (Bob Dylan) (vocals, guitar, harmonica)
Nelson Wilbury (George Harrison) (vocals, guitar, slide guitar)
Otis Wilbury (Jeff Lynne) (vocals, guitar, bass, keyboards)
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Ray Cooper (percussion)
Jim Horn (saxophone)
Buster Sidebury (Jim Keltner) (drums)
Ian Wallace (tom-toms on 01.)

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Tracklist:
01. Handle With Care 3.19
02. Dirty World 3.30
03. Rattled 3.00
04. Last Night 3.48
05. Not Alone Any More 3.24
06. Congratulations 3.30
07. Heading For The Light 3.37
08. Margarita 3.15
09. “Tweeter and the Monkey Man” Dylan 5:30
10. End Of The Line 3.30

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What a line-up !

 

Roy Orbinson – Mystery Girl (1989)

FrontCover1Mystery Girl is the twenty-second album by American singer Roy Orbison. It was completed in November 1988, a month before his death at the age of 52, and released on the Virgin record label in February 1989. It includes the hit single “You Got It”, which was co-written by Orbison and his Traveling Wilburys bandmates Jeff Lynne and Tom Petty, and “She’s a Mystery to Me”, written by Bono and The Edge. The album was a critical and commercial success; it peaked at number 5 on the Billboard 200 in the United States, the highest position Orbison had achieved on that chart, and number 2 on the UK Albums Chart.

Mystery Girl was Orbison’s first album of all-new material since 1979 and its success posthumously continued the resurgence that his career had undergone since 1986. Among the many other contributors to the album were Mike Campbell and other members of the Heartbreakers, T Bone Burnett, George Harrison, Jim Keltner and Rick Vito. For the 25th anniversary of its release, the album was reissued with bonus tracks including “The Way Is Love”, a song recorded by Orbison on a cassette tape in the 1980s that was subsequently completed by his sons and producer John Carter Cash. (by wikipedia)

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Roy Orbison’s comeback started in 1986, when David Lynch used “In Dreams” for a pivotal sequence in his masterwork Blue Velvet. So mesmerizing was Dean Stockwell’s pantomime of the 1963 hit that Orbison soon became in demand. He re-recorded his hits for a collection naturally called In Dreams, he gave a star-studded concert called Black & White Night, and then he began work with ELO leader Jeff Lynne on a comeback album. The duo tabled the album to join the supergroup the Traveling Wilburys, a collaboration with Tom Petty, George Harrison, and Bob Dylan that turned into a surprise smash in 1988. Once that record began its run up the charts, Lynne and Orbison completed the album that became Mystery Girl, but the record didn’t come out until February 1989, a few months after Roy’s tragic death. His passing colored the reception of the record, helping turn it into a genuine hit — it peaked at five on Billboard’s 200 and two in the U.K. and went platinum in both countries — and while his death may have helped boost sales, it’s likely Mystery Girl would’ve been a success anyway. Orbison, unlike any of his ’60s peers, was an actual hot property at the end of the ’80s, and he surrounded himself with collaborators who cared enough to showcase him at his best.

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Lynne is the best known of these and his contributions are strong, although perhaps a bit too redolent of the Baroque pop that became his trademark at the turn of the ’80s: they’re big, bright, and bold, slathered in harmonies and guitars, their over-production obscuring the songs’ simple charms. “You Got It,” the hit from the record, perfectly captures this characteristic, but so do the other Lynne contributions “A Love So Beautiful” and “California Blue,” the latter in particular a very nice evocation of Roy’s early-’60s balladry. “In the Real World,” a song co-written by Will Jennings and co-produced by Heartbreaker Mike Campbell along with Orbison and his wife Barbara, is in the same vein, acting as an explicit sequel to “In Dreams,” while “Windsurfer” touches upon a California pop Roy rarely attempted, and “The Only One,” co-written by his son Wesley, evokes a nice southern soul groove. The two showy collaborations with U2 (“She’s a Mystery to Me”) and Elvis Costello (“The Comedians”) garnered headlines at the time but are a shade florid — Costello’s melodrama edges out Bono & the Edge, because it respects pacing — but T-Bone Burnett’s “(All I Can Do Is) Dream You” is the real surprise, a nifty resuscitation of Roy’s early rockabilly sides for Sun. The fact that all involved found a way to get a bit of swing into this attractive, overwrought pop illustrates just how handsome the whole endeavor is: it’s designed as a graceful coda to a legendary career and, amazingly enough, it succeeds (by Stephen Thomas Erlewine)

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Personnel:
Roy Orbison (vocals, guitar)
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Mike Campbell  (guitar, bass, mandolin)
Howie Epstein (bass, background vocals)
Jim Keltner (drums)
Jeff Lynne (guitar, keyboards, bass, background vocals)
Benmont Tench (keyboards, strings)
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Bono (guitar on 06.)
Billy Burnette (guitar, background vocals on 03.)
T Bone Burnett (guitar on 07.)
Gary Coleman (percussion on 07.)
Ray Cooper (drums on 04.)
Steve Cropper (guitar on 08.)
Mickey Curry (drums on 03.)
Mitchell Froom (piano on 07.)
George Harrison (guitar on 04.)
Phil Jones (drums, percussion on 01.)
Al Kooper (organ on 02.)
The Memphis Horns (horns on 08.)
David Miner (bass on 07.)
Buell Neidlinger (bass on 03. + 07.)
Barbara Orbison (background vocals on 02.)
Roy Orbison Jr. background vocals on 02.)
Tom Petty (guitar on 01. + 05., background vocals on 01., 02. + 05.)
David Rhodes (guitar on 7.)
Jerry Scheff (bass on 07.)
Rick Vito (guitar, background vocals on 03., slide guitar on 09.)
Ian Wallace (drums, percussion on 05.)
Tom “T-Bone” Wolk (bass on 03.)

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Tracklist:
01. You Got It (Orbison/Lynne/Petty) 3.30
02. In The Real World (Kerr/Jennings) 3.44
03. (All I Can Do Is) Dream You (Burnette/Malloy) 3.39
04. A Love So Beautiful (Orbison/Lynne) 3.33
05. California Blue (Orbison/Lynne/Petty) 3.57
06. She’s A Mystery To Me (Bono/The Edge) 4.16
07. The Comedians (Costello) 3.26
08. The Only One (W.Orbison/Wiseman) 3.55
09. Windsurfer (Orbison/Dees) 4.01
10. Careless Heart (Orbison/Warren/Hammond) 4.08

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Roy Kelton Orbison (April 23, 1936 – December 6, 1988)