This may seem like an odd topic for someone who loves a musicians' work so much he started a blog about it! I guess this is to show I'm not about uncritical and blind fan boy gushing. There are certainly a few clunkers in the Orbison singles canon and times when he lost his way artistically. These singles are the ones I feel were the most disappointing because they were released when he had plenty of other strong material and was on form. They were simply wrong footed mistakes. In chronological order....
1. '(Say) You're My Girl' (Orbison/' Dees) [1965]
Not terrible by any means, but following three classic singles, 'It's Over', 'Oh! Pretty Woman' and the underrated 'Goodnight', this was a little half-baked and humdrum. It barely made the US Top 40 and Roy himself knew it was below par, saying he hoped it might 'accidently sell a few copies'. Considering there were fantastic tracks like 'How Are Things In Paradise' still in the vaults, this was a poor choice for Roy's final Monument Records single. The chart rot set in with this relative clunker.
2. 'Born To Be Loved By You' (Orbsion/ Dees) [1968]
This is dreadful for the first twenty seconds or so then recovers just enough to be inoffensive and unmemorable. As Roy bleats 'Born again, because of you I've just been born again', some god-awful horn instrument farts like an walrus with an upset stomach. Then, inexplicably, a fairy dust wash from a harp leads into a thin, jangling acoustic guitar and a muddy, ham-fisted rock band arrangement. Bookended by the lovely singles 'She' & 'Walk On' circa 1968, this was a strange and disappointing anomaly.
3. 'My Friend' (Orbison) [1969]
Pleasant enough and well meant for sure, but the arrangement is sleepy and bland compared to his greatest works. Roy's glorious voice is given little to chance to shine apart from the last few notes. This really is only worthy of b-side or deep album status. It's no Roy Orbison A-side.
4. 'Memphis, Tennessee' (Berry) [1970]
A passable but pointless cover from a man who was still writing plenty of good material on his own thankyou very much. Even if the public didn't know it. It's absolutely competent, but with a stellar catalouge like Roy's, competent doesn't cut it for a single release.
5. 'Sweet Mama Blue' (Orbison) [1974]
Along with the album 'I'm Still In Love With You', this was touted as his big comeback attempt after his acrimonious parting with MGM. What an odd choice to try to fire up his career again. It has moments where my heart strings tweak a smidge, but really it's too unweildy and obscure for it's intended purpose of resurrection. The production is far too safe and MOR and Roy doesn't sound committed to the material in the way he did only a few years before.
Some other Orbison tracks to avoid on good albums...
1. '(Say) You're My Girl' (Orbison/' Dees) [1965]
Not terrible by any means, but following three classic singles, 'It's Over', 'Oh! Pretty Woman' and the underrated 'Goodnight', this was a little half-baked and humdrum. It barely made the US Top 40 and Roy himself knew it was below par, saying he hoped it might 'accidently sell a few copies'. Considering there were fantastic tracks like 'How Are Things In Paradise' still in the vaults, this was a poor choice for Roy's final Monument Records single. The chart rot set in with this relative clunker.
2. 'Born To Be Loved By You' (Orbsion/ Dees) [1968]
This is dreadful for the first twenty seconds or so then recovers just enough to be inoffensive and unmemorable. As Roy bleats 'Born again, because of you I've just been born again', some god-awful horn instrument farts like an walrus with an upset stomach. Then, inexplicably, a fairy dust wash from a harp leads into a thin, jangling acoustic guitar and a muddy, ham-fisted rock band arrangement. Bookended by the lovely singles 'She' & 'Walk On' circa 1968, this was a strange and disappointing anomaly.
3. 'My Friend' (Orbison) [1969]
Pleasant enough and well meant for sure, but the arrangement is sleepy and bland compared to his greatest works. Roy's glorious voice is given little to chance to shine apart from the last few notes. This really is only worthy of b-side or deep album status. It's no Roy Orbison A-side.
4. 'Memphis, Tennessee' (Berry) [1970]
A passable but pointless cover from a man who was still writing plenty of good material on his own thankyou very much. Even if the public didn't know it. It's absolutely competent, but with a stellar catalouge like Roy's, competent doesn't cut it for a single release.
5. 'Sweet Mama Blue' (Orbison) [1974]
Along with the album 'I'm Still In Love With You', this was touted as his big comeback attempt after his acrimonious parting with MGM. What an odd choice to try to fire up his career again. It has moments where my heart strings tweak a smidge, but really it's too unweildy and obscure for it's intended purpose of resurrection. The production is far too safe and MOR and Roy doesn't sound committed to the material in the way he did only a few years before.
Some other Orbison tracks to avoid on good albums...
'City Life' ('The Classic RO' 1966)
A failed stab at capturing its title.
'Medicine Man' ('Fastest Guitar Alive' 1967)
Lame American Indian pastiche from the fairly solid soundtrack of his only film, 'The Fastest Guitar Alive'.
'I'll Never Get Over You' ('Cry Softly, Lonely One' 1968)
A silly recitation of the all the girls he's gotten over before the one he can't. 'Girl Like Mine' is also a bit awkward.
'Rings Of Gold' ('Roy Orbison Sings' 1972)
On his best album of the 70's by a fair way ('God Love You', 'It Takes All Kinds Of People', 'Harlem Woman'), this one is bland and easily forgotten.
'A Love So Beautiful' (1988)
Gluggy sentiment sunk by an even gluggier arrangement. Only the singular voice saves it from the gallows, it is pathos on a bed bathos.
Orbison albums to avoid...
'Many Moods' (1968)
Orbison albums to avoid...
'Many Moods' (1968)
Fairy dust and politeness have replaced the drama and fireworks of the early 60's in the material and production. Only 'Walk On' and perhaps one or two others transcend.
'Big O with the Art Movement' (1970)
'Big O with the Art Movement' (1970)
Only released in the UK; a bunch of rush recorded (mostly) covers, that with a few exceptions sound like they are played by a bar band with a Roy Orbison impersonator up front. A depressing lack of finesse all round and little innovation or spark in the dreary production.
'Milestones' (1974)
'Milestones' (1974)
A mixture of mediocre originals and uninspired covers. I can't quite come to grips with 'Milestones'. Prior to this, production and song choice had let Roy down on occasion, but his voice never had. The vocals here sound like first take warm ups, at times seemingly parodying the vocal trill excesses of c-grade soul singers...with a mouth full of cotton wool (see 'Drift Away' & 'I've Been Loving You Too Long'). Maybe Roy was so dissatisfied with MGM that he gave them this tripe to spite them, hoping they wouldn't release it. They did. 'Milestones' is anything but.
'Laminar Flow' (1979)
'Laminar Flow' (1979)
Here is the real clunker in the catalouge. This album alone could fill the 'other songs to avoid' category. A limp, pseudo-funk-synth-disco nightmare with a few bland ballads thrown in for bad measure. I have a little soft spot for 'Easy Way Out' & 'Poor Baby', but that's about it. Roy had cut a couple of solid disco influenced tracks a year or two prior ('Can't Wait', 'Boogie Baby'), but precious little here matches their relative disco smarts. The cover features one of the absolute worst pictures of Roy. He looks so uncomfortable and dowdy posing open shirted in his rock and roll leathers. Everything about 'Laminar Flow' is wrong. A sadly inept attempt at sounding contemporary by a visionary who didn't need to be chasing styles. Even great musicians need creative support and advice, Roy had none with this album. No wonder Elektra didn't renew the contract and Roy didn't release another solo album for 9 years. 'Laminar Flow' left a sour taste for everyone: the label, loyal fans, critics and Roy himself.
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