Every time I look into your lovely eyes,
I see a love that money just can't buy.
One look from you, I drift away.
I pray that you are here to stay.
Anything you want, you got it.
Anything you need, you got it.
Anything at all, you got it.
Baby!
Every time I hold you I begin to understand,
Everything about you tells me I'm your man.
I live my life to be with you.
No one can do the things you do.
Anything you want, you got it.
Anything you need, you got it.
Anything at all, you got it.
Baby!
Anything you want
Anything you need
Anything at all
I'm glad to give my love to you.
I know you feel the way I do.
Anything you want, you got it.
Anything you need, you got it.
Anything at all, you got it.
Baby!
Anything you want, you got it
Anything you need, you got it
Anything at all, you got it
Baby
Anything at all
Baby
You got it
ABOUT ROY ORBISON
Roy Orbison is counted as a rock and roll pioneer, and has been chosen by several music critics as one of rock and roll's most influential musicians, his style was noted for how it departed from the norm. Rock and roll in the 1950s was defined by a driving backbeat, heavy guitars, and lyrical themes that glorified youthful rebellion. However, very little of what Orbison recorded met these characteristics. The structure and themes of his songs defied convention, and his much-praised voice and performance style was unlike any other in rock and roll.
Many of his contemporaries compared his music with that of classically trained musicians, although Orbison never mentioned any classical music influences. Author Peter Lehman summarized it, writing, "He achieved what he did not by copying classical music but by creating a unique form of popular music that drew upon a wide variety of music popular during his youth"
Quality of voice
Orbison admitted that he did not think his voice was put to appropriate use until "Only the Lonely" in 1961, when it was able, in his words, to allow its "flowering". Carl Perkins, however, toured with Orbison while they were both signed with Sun Records and recalled a specific concert when Orbison covered the Nelson Eddy and Jeannette MacDonald standard "Indian Love Call", and had the audience completely silenced, in awe. Bruce Springsteen and Billy Joel both commented on the otherworldy quality of Orbison's voice; a particularly poetic comparison was Dwight Yoakam's, who stated Orbison's voice sounded like "the cry of an angel falling backward through an open window". Barry Gibb of The Bee Gees went further to say that when he heard "Crying" for the first time, "That was it. To me that was the voice of God."
Bob Dylan marked Orbison as a specific influence, stating that there was nothing like him on radio in the early 1960s:
With Roy, you didn't know if you were listening to mariachi or opera. He kept you on your toes. With him, it was all about fat and blood. He sounded like he was singing from an Olympian mountaintop. [After "Ooby Dooby"] (h)e was now singing his compositions in three or four octaves that made you want to drive your car over a cliff. He sang like a professional criminal... His voice could jar a corpse, always leave you muttering to yourself something like, 'Man, I don't believe it'.
Likewise, Tim Goodwin, who conducted the orchestra that backed Orbison in Bulgaria had been told that Orbison's voice would be a singular experience to hear. When Orbison started with "Crying" and hit the high notes, Goodwin stated, "The strings were playing and the band had built up, and sure enough, the hair on the back of my neck just all started standing up. It was an incredible physical sensation."
Orbison's severe stage fright was particularly noticeable in the 1970s and early 1980s. During the first few songs in a concert, the vibrato in his voice was almost uncontrollable, but afterwards, it became stronger and more dependable. This also happened with age. Orbison noticed that he was unable to control the tremor in the late afternoon and evenings, and chose to record in the mornings when it was possible.
No comments:
Post a Comment