Backed by a star studded band including KD Lang, Jackson Browne, Bruce Springsteen and Elvis Costello, sixties legend Roy Orbison took center stage at the exclusive Coconut Grove LA Nightclub for this 1987 recording. The result was one of the finest performances of his impressive career and earned him a well-deserved Grammy award. Sadly, it would also turn out to be one of his last recordings.

How the Big O ended up in such illustrious company is a story 25 years in the making. In the years 1960-64, Roy Orbison clocked up 9 top ten US hits. In addition to recording some credible rockers, he co-wrote and performed some of the most unique pop ballads of our time, including classics like “Only the Lonely”, “Running Scared”, and “Crying”. Roy’s success with this type of number was buoyed by a unique high tenor vocal ability that gave him an almost operatic range when the mood occasioned.

In the later part of the sixties, however, Roy began to lose ground and his career as a major recording artist came to a virtual stop in 1966. His life was also beset by overwhelming personal tragedies during this time (he lost both his wife and 2 children in separate accidents). By 1968 he was virtually ignored by the record buying public (other than the odd greatest hits compilation) and for all intents and purposes this talented artist was left on the music shelf to make a living as an oldies act.

In 1986 fate stepped in when the hit film “Blue Velvet” used Roy’s song “In Dreams” in one of its more memorable (and most bizarre) scenes. Suddenly what was once considered passé was now considered hip and the Big O back stepped back into the music lime light. He spent the remaining two years of his life as a major recording artist adored by fans from three generations, courted by the rock elite and most importantly recognized for his important contribution to popular music. The recording that is the subject of this review, “A Black and White Night”, was one of the many highlights from this special time in this later part of his career.

The Tracks

There are 19 tracks on this collection and the sound quality is excellent. As for the band, in addition to those already mentioned, Bonnie Raitt, Jennifer Warnes, T Bone Burnett, Tom Waits and members of Elvis Presley’s tour band also contributed their talents. Given that this was a one off performance, the impressive ensemble is musically speaking surprisingly tight and generally does a top job.

A synopsis of the tracks on this excellent CD is provided below. All words in blue are links to other opinions on this site.

Pretty Woman

The five minute plus rendition of his 1964 hit “Pretty Woman” (US & UK #1) on this collection earned Roy a well-deserved Grammy Award for best male vocal performance. Characterized by a driving drumbeat and one of the most distinctive bass lines in rock history, this version of the classic hit also includes a magnificent guitar battle between Roy, Bruce Springsteen and legendary rock guitarist James Burton.

In addition to all of this, we have Roy singing lead in his distinct tenor without even a waiver. This is not to suggest that this is some choirboy performance – indeed nothing could be further from the truth. As the need arises Roy seductively growls like a tiger and gives an absolutely down and dirty “have mercy” in the second verse.

Only the Lonely

His first major hit (1960: US #2; UK #1), Roy only recorded this self-penned ballad after the legendary Everly Brothers and Elvis Presley knocked it back. I suspect that the incredibly high tenor vocals required were too much for even these legendary singers to contemplate.

As with the original version, the performance here commences with the now classic “dum dum dum dummy doo wah, ooh yea, yea, yeah yeah” intro, before Roy takes to the microphone. Roy’s uncompromising tenor vocals give no hint that it is the first song of the night. The final dramatic verse where he breaks into an earth shattering falsetto then plummets to his lower middle register is simply breathtaking in both its grandeur and eloquence. Also worthy of mention is the instrumentation and in particular the inclusion of strings at key points that serve to emphasize the eternal beauty of this modern classic.

The rockabilly classics

While Roy’s ballad performances are often recognized in reviews of his work, it is also a fact that he was one hell of rock and roller. Like Elvis Presley, Jerry Lee Lewis and Carl Perkins, Roy graduated from the Sun Records 50’s school of rock. He used these credentials to great effect on such rockabilly/honky tonk classics as “Dream Baby” (1962: US #4; UK #2), “Mean Woman Blues” (1963: US #5: UK #3), “Down the Line”, “Candy Man” (1961: US #25), “Uptown”, “Ooby Dooby” and “Claudette”- all of which are included on this collection.

The renditions here generally stick close conceptually to the original recordings and the Sun sound per se but add the benefits of modern instrumentation and recording techniques that were unthinkable at the time of their origin. With the exception of the blues rocker “Candy Man”, all include magnificent guitar solos by various members of the distinguished band. In the case of “Candy Man”, Bruce Springsteen does the honors with a blistering harmonica that is played so dirty that you can almost here the mud sliding off.

In terms of Roy’s vocal performance, the only word that comes to mind is rock and roll par excellence. On each number he intersperses his trademark tenor vocals with wild crescendo wails, hiccups, purrs, tiger like growls and various other vocal theatrics all of which combine to capture the unbridled spirit of the pure rock sound. His unique vocal performances lie somewhere between Elvis Presley and Jerry Lee Lewis, with an injection of Caruso just to make it interesting.

The Ballads

In the early sixties, Roy Orbison elevated the concept of the pop ballad to new heights. Unlike most of his peers, his work from this time abandoned the tried and true chorus-verse approach and instead relied upon a series of interconnected verses that gradually increased with intensity and drama. These numbers were facilitated by Roy’s powerful high tenor and typically culminated in a towering vocal crescendo of close to operatic quality. The subject matter in most cases was always dire and generally involved some combination of desertion, loneliness, insecurity, unrequited love and/or paranoia.

On this collection the hits in this style that make an appearance include “Running Scared” (1961: US #2; UK #9), “Crying” (1961: US #2), and “Blue Bayou” (1963: UK #3). All are given a meticulous treatment and generally stick close to the original hit arrangements, although “Blue Bayou” is now a little more country than I remember. The mix on “Crying” is particularly good on this version. The string accompaniment comes across particularly well and serves to emphasise the inherent beauty of this song.

I am also pleased to report that Roy’s ability to hit his trademark soaring falsettos did not diminish with advancing years. The benefit of this collection is that we get to hear them with the advantage of modern recording techniques. To say that it is an absolute listening pleasure on all of these tracks is an understatement.

New Material

The two new tracks on the collection are the dramatic ballad “The Comedians” and the fast paced rocker “(All I Can Do Is) Dream You”. Both appeared on his posthumous album “Mystery Girl” (1989: US #5). The quality of the songs is evident by how comfortably they sit with the distinguished company that constitutes the remainder of the collection.

“The Comedians” is a dramatic ballad of the “Running Scared” variety (minus the happy ending) that features a prominent slow pounding drumbeat. Each verse builds with intensity as the story unfolds about the circumstances of a tragic relationship and the bizarre and cruel way in which the lead character’s girl friend breaks up with him. Essentially she tricks him into getting on a ferris-wheel by himself, has it stopped half way, then walks off laughing and in the arm of the operator! In typical Big O style the ending climaxes with a thrilling falsetto crescendo.

“Dream You” starts briefly with Roy singing alone with a gentle strumming acoustic guitar as his sole accompaniment. It then dramatically blasts into a fast paced, brimming with life rocker that is characterized by rockabilly style guitar solos, magnificent drum work and a 50’s boogie bass. From a vocal perspective, the highlights of the number center around Roy’s “Elvis like” repeated warbling of “All I can do is dream you” in the chorus sections.

Rating

As must be evident from my commentary on the tracks, I particularly enjoyed this album. Roy Orbison is an artist who had the good judgment and talent to record and write songs with timeless appeal. He also had the fortune to be blessed with a unique voice and an innate feel for popular music that stayed with him throughout his life. Add this to the fact that he was consummate live performer, it is not surprising that this collection is comfortably worth a 5 star rating.

If you liked this what else would I recommend?

In Dreams: The Greatest Hits – Roy Orbison

Epilogue

Roy Orbison died on 6 December 1988 of a heart attack. Ironically, this great artist who spent a lifetime writing and recording songs about the woes of love ultimately succumbed to a broken heart.


Recommended: Yes