Coordinates | 33°51′35.9″N151°12′40″N |
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name | Roy Orbison |
background | solo_singer |
birth name | Roy Kelton Orbison |
birth date | April 23, 1936 |
birth place | Vernon, Texas, US |
death date | December 06, 1988 |
death place | Madison, Tennessee, US |
death cause | Heart attack |
instrument | Guitar, vocals, Harmonica/mouth organ |
genre | Rock, rockabilly, pop, country |
occupation | Musician, singer-songwriter |
years active | 1954–1988 |
label | |
associated acts | Traveling Wilburys, Teen Kings, The Wink Westerners,Class of '55 |
website | http://www.royorbison.com/ |
notable instruments | Gibson ES-335 }} |
Orbison was a natural baritone, but music scholars have suggested that he had a three- or four-octave range. The combination of Orbison's powerful, impassioned voice and complex musical arrangements led many critics to refer to his music as operatic, giving him the sobriquet "the Caruso of Rock". Performers such as Elvis Presley and Bono have stated his voice was, respectively, the greatest and most distinctive they had ever heard. While most men in rock and roll in the 1950s and 1960s portrayed a defiant masculinity, many of Orbison's songs instead conveyed a quiet, desperate vulnerability. He was known for performing while standing still and solitary, wearing black clothes and dark sunglasses which lent an air of mystery to his persona.
Orbison was initiated into the second class of the Rock and Roll Hall of Fame in 1987 by longtime admirer Bruce Springsteen. The same year he was inducted into the Nashville Songwriters Hall of Fame. Rolling Stone placed Orbison at number 37 in their list of The Greatest Artists of All Time. In 2002, Billboard magazine listed Orbison at number 74 in the Top 600 recording artists. Rolling Stone rated Orbison number 13 in their list of The 100 Greatest Singers of All Time in 2008.
On his sixth birthday, Orbison's father gave him a guitar. Orbison later recalled that, by the age of seven, "I was finished, you know, for anything else"; music would be his life. Orbison's major musical influences as a youth were in country music. He was particularly moved by the way Lefty Frizzell sang, slurring syllables. He also enjoyed Hank Williams and Jimmie Rodgers. One of the first musicians he heard in person was Ernest Tubb playing on the back of a flatbed truck in Fort Worth. In West Texas, however, he was exposed to many forms of music: "sepia"—a euphemism for what became known as rhythm and blues (R&B;); Tex-Mex; orchestral Mantovani, and zydeco. The zydeco favorite "Joli Blon" was one of the first songs Orbison sang in public. At eight, Orbison began appearing on a local radio show. By the late 1940s, he was the host.
In high school, Orbison and some friends formed The Wink Westerners, an informal band that played country standards and Glenn Miller songs. When they were offered $400 to play at a dance, Orbison realized that he could make a living in music. Following high school, he enrolled at North Texas State College, planning to study geology so that he could secure work in the oil fields if music did not pay. He formed another band called The Teen Kings, and sang at night while working in the oil fields or studying during the day. Orbison saw classmate Pat Boone get signed for a record deal, further strengthening his resolve to become a professional musician. His geology grades dropping, he switched to Odessa Junior College to consider becoming a teacher. While living in Odessa, Orbison drove to Dallas to see and be stunned by the on-stage antics of Elvis Presley, then a rising star in the southern states. Johnny Cash toured the area in 1955, playing on the same local radio show as the Teen Kings and suggested that Orbison approach Sam Phillips at Sun Records, home of rockabilly stars including Presley, Carl Perkins, Jerry Lee Lewis and Cash. In their conversation, Phillips told Orbison curtly, "Johnny Cash doesn't run my record company!" but he was convinced to listen to a record on the Odessa Je-Wel label by the Teen Kings named "Ooby Dooby", a song composed by Dick Penner and Wade Moore in mere minutes atop a fraternity house at North Texas State. Phillips was impressed and offered the Teen Kings a contract in 1956.
He found a modicum of success at Sun Records and found his way into Elvis Presley's social circle, once going to pick up a date for Presley in his purple Cadillac. Orbison sold "Claudette", a song he wrote about Frady, whom he married in 1957, to The Everly Brothers and it appeared on the B-side of their smash hit "All I Have To Do Is Dream". The first and perhaps only royalties Orbison earned from Sun Records enabled him to make a down-payment on his own Cadillac. However, frustrated at Sun, Orbison gradually stopped recording, toured music circuits around Texas to make a living, and for seven months in 1958 quit performing completely. His car repossessed and in dire financial straits, he often depended on family and friends for funds.
For a brief period in the late 1950s Orbison made his living at Acuff-Rose, a songwriting firm concentrating mainly on country music. After spending an entire day writing a song, he would make several demo tapes at a time and send them to Wesley Rose, who would try to find the musical acts to record them. Orbison attempted to sell to RCA Victor songs he recorded that were written by other writers as well, working with and being completely in awe of Chet Atkins who had played guitar with Presley. Orbison tried one song penned by Boudleaux Bryant called "Seems to Me". Bryant's impression of Orbison was "a timid, shy kid who seemed to be rather befuddled by the whole music scene. I remember the way he sang then—softly, prettily but almost bashfully, as if someone might be disturbed by his efforts and reprimand him."
Playing shows late into the night, and living with his wife and young child in his tiny apartment, Orbison often sought refuge by taking his guitar to his car and writing songs there. Songwriter Joe Melson, who had a passing acquaintance with Orbison, tapped on his car window one day in Texas in 1958 and the two decided to try to write some songs together. During three recording sessions in 1958 and 1959, Orbison and Melson recorded seven songs at RCA Nashville, with Atkins producing, but only two songs were judged worthy of release by RCA; Wesley Rose maneuvered Orbison into the sights of producer Fred Foster at Monument Records.
According to musician and author Albin Zak, the combination of the studio—engineered by Bill Porter, who experimented with close miking the doo-wop backup singers—production by Foster, and accompanying musicians, gave Orbison's music a "polished, professional sound...finally allow(ing) Orbison's stylistic inclinations free rein". Impressed with the results, Melson later recalled, "We stood in the studio, listening to the playbacks and thought it was the most beautiful sound in the world". The Rolling Stone Illustrated History of Rock and Roll states that the music Orbison made in Nashville "brought a new splendor to rock", and compared the melodramatic effects of the orchestral accompaniment to the music production of Phil Spector.
"Uptown" earned a modest spot at number 72 on the Billboard Top 100 and Orbison set his goal on negotiating a contract with an upscale nightclub somewhere. Rock and roll itself, in its infancy in the late 1950s, was stalled. Elvis Presley was in the Army. Eddie Cochran and fellow Texan Buddy Holly—both of whom Orbison had previously toured with—had died, to Orbison's deep astonishment. Little Richard had found religion and Chuck Berry was in jail. Orbison's former Sun Records colleague Jerry Lee Lewis was disgraced when his marriage to his 13-year-old cousin was reported widely in the press. In their wake, pop music filled the radio waves, dominated by teen idol crooners who sang cleansed formulas like those about the twist dance craze and "death discs" like "Teen Angel" and "Endless Sleep".
Instantly Orbison was in high demand. He appeared on American Bandstand and toured the US for three months non-stop with Patsy Cline. When Presley heard "Only the Lonely" for the first time, he bought a box of copies to pass to his friends. Melson and Orbison followed it with the more complex "Blue Angel" which peaked at US number 9/UK number 11, a self-performed version of "Claudette", and "I'm Hurtin'", which rose to number 27 but failed to chart in the UK.
Orbison was now able to move his wife and son to Nashville full-time. Back in the studio, seeking a change from the doo-wop styled pop sound of "Only the Lonely" and "I'm Hurtin'", Orbison worked on a new song, "Running Scared", based loosely on the rhythm of Ravel's Boléro; the song was about a man on lookout for his girlfriend's previous boyfriend, who he feared would try to take her away. Orbison encountered difficulty when he found himself unable to hit the song's highest note without his voice breaking. He was backed by an orchestra in the studio and Porter told him he would have to sing louder than his accompaniment because the orchestra was unable to be softer than his voice. Fred Foster then put Orbison in the corner of the studio and surrounded him with coat racks in an improvised isolation booth to emphasize his voice. Orbison was unhappy with the first two takes, but in the third, he abandoned the idea of using falsetto and sang the final high G sharp naturally, so astonishing everyone present that the accompanying musicians stopped playing. On that third take, "Running Scared" was completed. Fred Foster later recalled, "He did it, and everybody looked around in amazement. Nobody had heard anything like it before."
Lacking the photogenic looks of many of his rock and roll contemporaries, Orbison eventually developed a persona that did not reflect his personality. He had no publicist in the early 1960s, no presence in fan magazines, and his single sleeves did not feature his picture. Life magazine called him an "anonymous celebrity". After leaving his thick eyeglasses on an airplane in 1962 or 1963, Orbison was forced to wear his Ray-Ban Wayfarer prescription sunglasses on stage and found that he preferred them. His biographers suggest that although he had a good sense of humor and was never morose, Orbison was very shy and suffered from severe stage fright; wearing sunglasses helped him hide somewhat from the attention. The black clothes and desperation in his songs led to an aura of mystery and introversion. Years later, Orbison said "I wasn't trying to be weird, you know? I didn't have a manager who told me to dress or how to present myself or anything. But the image developed of a man of mystery and a quiet man in black somewhat of a recluse, although I never was, really."
His dark and brooding persona, combined with his tremulous voice in lovelorn ballads marketed to teenagers, helped Orbison corner the pop market in the early 1960s. He had a string of hits in 1963 with "In Dreams" (US number 7/UK number 5), "Falling" (US number 22/UK number 9), "Mean Woman Blues" (US number 5/UK number 3) coupled with "Blue Bayou" (US number 29/UK number 3). He finished the year with a Christmas song written by Willie Nelson titled "Pretty Paper" (US number 15 in 1963/UK number 6 in 1964).
As "In Dreams" was released in April 1963, Orbison was asked to replace guitarist Duane Eddy on a tour of the UK in top billing, with The Beatles, whose popularity was on the rise. When he arrived in England, however, he saw the amount of advertising devoted to the quartet and realized he was no longer the main draw. He had never heard of them and, annoyed, asked hypothetically, "What's a Beatle anyway?" to which John Lennon replied after tapping his shoulder, "I am." On opening night, Orbison opted to go onstage first although he was the more established act. Known for having raucous shows expressing an extraordinary amount of energy, Lennon, Paul McCartney, George Harrison, and Ringo Starr stood dumbfounded backstage as Orbison performed completely still and simply sang through fourteen encores. Finally, when the audience began chanting "We want Roy!" again, Lennon and McCartney prevented Orbison from going on again by physically holding him back. Starr later said, "In Glasgow, we were all backstage listening to the tremendous applause he was getting. He was just standing there, not moving or anything." Through the tour, however, both acts quickly learned to get along, a process made easier by the fact that the Beatles admired his work. Orbison felt a kinship with Lennon, but it was Harrison with whom he would later form a strong friendship. The moniker of "The Big O" would eventually follow him back to the States, where it became an unofficial nickname for Orbison.
Touring in 1963 took a toll on Orbison's personal life. His wife Claudette began having an affair with the contractor who built their home in Hendersonville, Tennessee. Their friends and relatives attributed it to her youth and that she was unable to withstand being alone and bored; when Orbison toured England again in the fall of 1963, she joined him. He was immensely popular wherever he went, finishing the tour in Ireland and Canada. Almost immediately he toured Australia and New Zealand with The Beach Boys and returned again to the UK and Ireland where he was so besieged by teenage girls that the Irish police had to halt his performances to pull the girls off him. He continued to tour, however, and visited Australia again, this time with The Rolling Stones. Mick Jagger later remarked of a snapshot he took of Orbison in New Zealand: "A fine figure of a man in the hot springs, he was."
Orbison also began collaborating with Bill Dees, whom he had known in Texas. With Dees, he wrote "It's Over", a number 1 in the UK, and a song that would be one of his signature pieces for the rest of his career. When Claudette walked in while Dees and Orbison had begun writing to say she was heading for Nashville, Orbison asked if she had any money, and Dees said "Pretty woman never needs any money". Forty minutes later, "Oh, Pretty Woman" was completed. A riff-laden masterpiece that employed a playful growl he got from a Bob Hope movie, the epithet Orbison uttered when he was unable to hit a note ("Mercy!"), and a merging of his vulnerable and masculine sides, it rose to number 1 in the fall of 1964 in the US and stayed on the charts for 14 weeks; it hit number 1 in the UK as well, spending 18 weeks total on the charts. The single sold over seven million copies. Orbison's success was greater in Britain; as Billboard magazine noted, "In a 68-week period that began on August 8, 1963, Roy Orbison was the only American artist to have a number-one single in Britain. He did it twice, with 'It's Over' on June 25, 1964, and 'Oh, Pretty Woman' on October 8, 1964. The latter song also went to number one in America, making Orbison impervious to the current chart dominance of British artists on both sides of the Atlantic."
While on tour again in the UK in 1965, Orbison broke his foot falling off a motorcycle in front of thousands of screaming fans at a race track, and performed his show that evening in a cast. His reconciliation with Claudette occurred when she went to visit him while he was recuperating from the accident. Orbison was fascinated with machines and vehicles, and was known to see a car he liked, follow the driver and offer him money to purchase the car on the spot. He had a collection worthy of a museum by the late 1960s. He and Claudette shared a love for motorcycles; she had grown up around them, but Orbison claimed Elvis Presley had introduced him to motorcycles. However, tragedy struck on June 6, 1966, when Orbison and Claudette were riding home from Bristol, Tennessee. Claudette was struck by a semi-trailer truck and died instantly.
A grieving Orbison threw himself into his work, collaborating with Bill Dees to write music for The Fastest Guitar Alive, a film that MGM had scheduled for him to star in as well. It was initially planned as a dramatic Western, but was rewritten as a comedy. Orbison's character was a spy who stole and had to protect and deliver a cache of gold to the Confederate Army during the U.S. Civil War and was outfitted with a guitar that turned into a rifle. The prop allowed him to deliver the line "I could kill you with this and play your funeral march at the same time", with—according to biographer Colin Escott—"zero conviction". Orbison was pleased with the film, although it proved to be a critical and box office flop. While MGM had included five films in his contract, no more were made.
Orbison recorded an album dedicated to the songs of Don Gibson and another of Hank Williams covers, but both sold poorly. As the psychedelic rock movement took hold in the late 1960s, Orbison felt lost, later saying "[I] didn't hear a lot I could relate to so I kind of stood there like a tree where the winds blow and the seasons change, and you're still there and you bloom again." He continued to tour, and had previously made some smart real estate investments, so money was never an issue for him again. It was during a tour in the Midlands of England that on September 16, 1968, Orbison received the news that his home in Hendersonville, Tennessee, had burned down and his two eldest sons had died. The property was sold to Johnny Cash, who planted an orchard on it. On March 25, 1969, Orbison married a German teenager named Barbara Wellhöner Jakobs whom he had met a few days before his sons died. His youngest son with Claudette was raised by his parents. He and Barbara Orbison had a son in 1970 and another in 1974.
On 18 January 1978 Orbison underwent a triple heart bypass. He had suffered from duodenal ulcers as far back as 1960, and had been a chain smoker since adolescence. Although he felt revitalized following the triple bypass, he continued to smoke and his weight fluctuated for the rest of his life.
Don McLean covered "Crying" in 1980 in a version which hit number 5 in the US and stayed on the charts for 15 weeks; it was number 1 in the UK for three weeks. Although he was all but forgotten in the US, Orbison took a chance and embarked on a tour of Bulgaria. He was astonished to find he was as popular there as he had been in 1964; he was forced to stay in his hotel room because he was mobbed on the streets of Sofia. Later that year, he and Emmylou Harris won a Grammy for their duet "That Lovin' You Feelin' Again". It was his first such award, and he felt more than ever that the time was ripe for his full return to popular music. However, it would be several more years until this came to fruition.
However, one film in which Orbison refused to allow his music was Blue Velvet. Director David Lynch asked to use "In Dreams" and Orbison turned him down. Lynch used it anyway. The song served as one of several obsessions of a psychopathic character named Frank Booth (Dennis Hopper). It was lip-synched by an effeminate drug dealer played by Dean Stockwell, after which Booth demanded the song be played over and over, once beating the protagonist while the song played. During filming, Lynch asked for the song to be played repeatedly to give the set a surreal atmosphere. Orbison was initially shocked at its use: he saw the film in a theater in Malibu and later said, "I was mortified because they were talking about the 'candy colored clown' in relation to a dope deal... I thought, 'What in the world...?' But later, when I was touring, we got the video out and I really got to appreciate what David gave to the song, and what the song gave to the movie—how it achieved this otherworldly quality that added a whole new dimension to 'In Dreams'."
The same year, Orbison was inducted into the Nashville Songwriters Hall of Fame and initiated into the Rock and Roll Hall of Fame by Bruce Springsteen, who concluded his speech with a reference to his own song "Thunder Road": "I wanted a record with words like Bob Dylan that sounded like Phil Spector—but, most of all, I wanted to sing like Roy Orbison. Now everyone knows that no one sings like Roy Orbison." In response, Orbison asked Springsteen for a copy of the speech, and said of his induction that he felt "validated" by the honor. A few months later, Orbison and Springsteen paired again to film a concert at the Cocoanut Grove Ballroom in Los Angeles. They were joined by Jackson Browne, T-Bone Burnett, Elvis Costello, Tom Waits, Bonnie Raitt, Jennifer Warnes, and k. d. lang. Lang later recounted how humbled Orbison had been by the show of support from so many talented and busy musicians: "Roy looked at all of us and said, 'If there is anything I can ever do for you, please call on me.' He was very serious. It was his way of thanking us. It was very emotional." The concert was filmed in one take and aired on Cinemax under the title Roy Orbison and Friends, A Black and White Night; it was released on video by Virgin Records, selling 50,000 copies.
Lynne later spoke of the recording sessions: "Everybody just sat there going, 'Wow, it's Roy Orbison!'... [E]ven though he's become your pal and you're hanging out and having a laugh and going to dinner, as soon as he gets behind that mike and he's doing his business, suddenly it's shudder time." Orbison was given one solo track on the album titled "Not Alone Anymore". His contributions were highly praised by the press. Traveling Wilburys Vol. 1 spent 53 weeks on the US charts, peaking at number 3. It hit number 1 in Australia and topped out at number 16 in the UK. The LP won a Grammy for Best Rock Performance by a Duo or Group. Rolling Stone included it in the top 100 albums of the decade.
Orbison was in high demand for concerts and interviews once again, and was thrilled about it. He began writing songs and collaborating with many musicians from his past and newer fans to develop a solo album titled Mystery Girl. U2's lead singer Bono had become aware of Orbison when he saw Blue Velvet and, with The Edge wrote "She's a Mystery to Me" for him.
Mystery Girl was produced by Jeff Lynne, whom Orbison considered the best producer he had ever worked with, while Bono, Elvis Costello, Orbison's son Wesley and others offered their songs to him. The biggest hit from the album was "You Got It", written by Lynne and Tom Petty. It posthumously rose to number 9 in the US and number 3 in the UK.
Orbison's death was an international news event. Author Peter Lehman suggests that had he died in the 1970s when his career was in the doldrums, it might have earned a minor mention in the obituary section of the newspaper. However, the response to his death reflected just how popular Orbison had again become. The Nashville Banner put it on the front page across six columns. It also made the front page of the New York Times. The tabloid The National Enquirer suggested on its cover that he had worked himself to death. A memorial was held in Nashville, and another in Los Angeles; he was buried at Westwood Village Memorial Park Cemetery. In January 1989 Orbison became the first musician since Elvis Presley to have two albums in the Top Five at the same time.
In the 1960s, Orbison refused to splice edits of songs together, and insisted in recording them in single takes with all the instruments and singers together. The only convention Orbison followed in his most popular songs is the time limit for radio fare in pop songs. Otherwise, each seems to follow a separate structure. Using the standard thirty-two-bar form for verses and choruses, normal pop songs followed the verse-chorus-verse-chorus-bridge-verse-chorus structure. Where A represents the first verse and B represents the chorus, most pop songs can be represented by A-B-A-B-C-A-B, like "Ooby Dooby" and "Claudette". Orbison's "In Dreams" was a song in seven movements that can be represented as Intro-A-B-C-D-E-F; no sections are repeated. In "Running Scared", however, the entire song repeats to build suspense to a final climax, to be represented as A-A-A-A-B. "Crying" is more complex, changing parts toward the end to be represented as A-B-C-D-E-F-A-B modified, C modified, D modified, E modified, F modified. Although Orbison recorded and wrote standard structure songs before "Only the Lonely", he claimed never to have learned how to write them:
"I'm sure we had to study composition or something like that at school, and they'd say 'This is the way you do it,' and that's the way I would have done it, so being blessed again with not knowing what was wrong or what was right, I went on my own way....So the structure sometimes has the chorus at the end of the song, and sometimes there is no chorus, it just goes...But that's always after the fact—as I'm writing, it all sounds natural and in sequence to me."
Elton John's writing partner Bernie Taupin wrote that Orbison's songs always made "radical left turns", and k. d. lang declared that good songwriting comes from being constantly surprised, such as how the entirety of "Running Scared" eventually depends on the final note, one word. Some of the musicians who worked with Orbison were confounded by what he asked them to do. Nashville session guitarist Jerry Kennedy stated, "Roy went against the grain. The first time you'd hear something, it wouldn't sound right. But after a few playbacks, it would start to grow on you."
In 1990, Colin Escott wrote an introduction to Orbison's biography published in a CD box set: "Orbison was the master of compression. Working the singles era, he could relate a short story, or establish a mood in under three minutes. If you think that's easy—try it. His greatest recordings were quite simply perfect; not a word or note surplus to intention." After attending a show in 1988, Peter Watrous of The New York Times wrote that Orbison's songs are "dreamlike claustrophobically intimate set pieces". Music critic Ken Emerson writes that the "apocalyptic romanticism" in Orbison's music was well-crafted for the films his songs appeared in in the 1980s because the music was "so over-the-top that dreams become delusions, and self-pity paranoia", striking "a postmodern nerve". Led Zeppelin singer Robert Plant favored American R&B; music as a youth, but beyond the black musicians, he named Elvis and Orbison especially as foreshadowing the emotions he would experience: "The poignancy of the combination of lyric and voice was stunning. [Orbison] used drama to great effect and he wrote dramatically."
The loneliness in Orbison's songs that he became most famous for, he both explained and downplayed: "I don't think I've been any more lonely than anyone else... Although if you grow up in West Texas, there are a lot of ways to be lonely." His music offered an alternative to the postured masculinity that was pervasive in music and culture. Robin Gibb of the Bee Gees stated, "He made emotion fashionable, that it was all right to talk about and sing about very emotional things. For men to sing about very emotional things... Before that no one would do it." Orbison acknowledged this in looking back on the era in which he became popular: "When ["Crying"] came out I don't think anyone had accepted the fact that a man should cry when he wants to cry." Peter Lehman, on the other hand, considered Orbison's theme of constant vulnerability an element of sexual masochism. }}
Orbison admitted that he did not think his voice was put to appropriate use until "Only the Lonely" in 1960, 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. When compared to the Everly Brothers, who often used the same session musicians, Orbison is credited with "a passionate intensity" that, according to The Rolling Stone Illustrated History of Rock and Roll, made "his love, his life, and, indeed, the whole world [seem] to be coming to an end—not with a whimper, but an agonized, beautiful bang".
Bruce Springsteen and Billy Joel both commented on the otherworldly quality of Orbison's voice, and Dwight Yoakam stated that 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, remarking 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.
Orbison often excused his motionless performances by saying that his songs did not allow instrumental sections so he could move or dance on stage, although songs like "Mean Woman Blues" did offer that. He was aware of his unique performance style even in the early 1960s when he commented, "I'm not a super personality—on stage or off. I mean, you could put workers like Chubby Checker or Bobby Rydell in second-rate shows and they'd still shine through, but not me. I'd have to be prepared. People come to hear my music, my songs. That's what I have to give them."
K.d. lang compared Orbison to a tree, with passive but solid beauty. This image of Orbison as immovable was so associated with him it was parodied by John Belushi on Saturday Night Live, as Belushi dressed as Orbison falls over while singing "Oh, Pretty Woman", and continues to play as his bandmates set him upright again.
Rock and Roll Hall of Fame (1987) Nashville Songwriters Hall of Fame (1987) Songwriters Hall of Fame (1989) Star on the Hollywood Walk of Fame (2010)
Category:People from Vernon, Texas Category:People from Winkler County, Texas Category:Musicians from Texas Category:American male singers Category:American rock singers Category:Rock and Roll Hall of Fame inductees Category:Grammy Award winners Category:Grammy Lifetime Achievement Award winners Category:Traveling Wilburys members Category:Winkler County, Texas Category:People from Wilbarger County, Texas Category:Songwriters Hall of Fame inductees Category:Rockabilly Hall of Fame inductees Category:Mercury Records artists Category:RCA Victor artists Category:Deaths from myocardial infarction Category:University of North Texas alumni Category:1936 births Category:1988 deaths
bg:Рой Орбисън ca:Roy Orbison cs:Roy Orbison da:Roy Orbison de:Roy Orbison et:Roy Orbison es:Roy Orbison eo:Roy Orbison fa:روی اوربیسن fr:Roy Orbison fy:Roy Orbison ga:Roy Orbison ko:로이 오비슨 hr:Roy Orbison io:Roy Orbison id:Roy Orbison it:Roy Orbison he:רוי אורביסון lb:Roy Orbison lt:Roy Orbison hu:Roy Orbison nl:Roy Orbison ja:ロイ・オービソン no:Roy Orbison oc:Roy Orbison pl:Roy Orbison pt:Roy Orbison ru:Орбисон, Рой scn:Roy Orbison simple:Roy Orbison sk:Roy Orbison sl:Roy Orbison sh:Roy Orbison fi:Roy Orbison sv:Roy Orbison th:รอย ออร์บิสัน tr:Roy Orbison uk:Рой ОрбісонThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Coordinates | 33°51′35.9″N151°12′40″N |
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Official name | Orbisonia, Pennsylvania |
Settlement type | Borough |
Pushpin map | Pennsylvania |
Pushpin label position | left |
Pushpin mapsize | |
Subdivision type | Country |
Subdivision name | United States |
Subdivision type1 | State |
Subdivision name1 | Pennsylvania |
Subdivision type2 | County |
Subdivision name2 | Huntingdon |
Government type | Borough Council |
Leader title | Mayor |
Established title | Settled |
Established title1 | Incorporated |
Unit pref | Imperial |
Area total sq mi | 0.1 |
Population as of | 2000 |
Population total | 425 |
Population density sq mi | 4790.2 |
Timezone | Eastern (EST) |
Utc offset | -5 |
Timezone dst | EDT |
Utc offset dst | -4 |
Coordinates display | inline,title |
Coordinates type | region:US_type:city |
Latns | N |
Coordinates | 40°14′36″N77°53′36″N |
Longew | W |
Postal code type | Zip code |
Postal code | 17243 |
Area code | 814 |
Blank name | School District: |
Blank info | Southern Huntingdon County School District |
Footnotes | Local phone exchanges: 447, 448 }} |
According to the United States Census Bureau, the borough has a total area of 0.1 square miles (0.2 km²), all of it land.
There were 198 households out of which 24.2% had children under the age of 18 living with them, 42.4% were married couples living together, 8.6% had a female householder with no husband present, and 44.9% were non-families. 44.4% of all households were made up of individuals and 29.8% had someone living alone who was 65 years of age or older. The average household size was 2.15 and the average family size was 3.00.
In the borough the population was spread out with 22.8% under the age of 18, 4.7% from 18 to 24, 24.0% from 25 to 44, 21.4% from 45 to 64, and 27.1% who were 65 years of age or older. The median age was 44 years. For every 100 females there were 90.6 males. For every 100 females age 18 and over, there were 82.2 males.
The median income for a household in the borough was $25,000, and the median income for a family was $38,333. Males had a median income of $31,250 versus $20,625 for females. The per capita income for the borough was $16,911. About 5.8% of families and 11.0% of the population were below the poverty line, including 7.4% of those under age 18 and 19.8% of those age 65 or over.
Category:Boroughs in Pennsylvania Category:Populated places established in 1850 Category:Populated places in Huntingdon County, Pennsylvania
ca:Orbisonia es:Orbisonia ht:Orbisonia, Pennsilvani nl:Orbisonia pt:Orbisonia vo:OrbisoniaThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Coordinates | 33°51′35.9″N151°12′40″N |
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Name | k.d. lang |
Background | solo_singer |
Birth name | Kathryn Dawn Lang |
Birth date | November 02, 1961 |
Origin | Consort, Alberta, Canada |
Instrument | Guitar, vocals |
Genre | Country, pop |
Occupation | Singer-songwriter, record producer |
Years active | 1984–present |
Label | Bumstead, Sire, Warner Bros. Records, Nonesuch, Elektra Records |
Website | www.kdlang.com}} |
Lang has won both Juno Awards and Grammy Awards for her musical performances; hits include "Constant Craving" and "Miss Chatelaine". She has contributed songs to movie soundtracks and has teamed with musicians such as Roy Orbison, Tony Bennett, Elton John, and Anne Murray. Lang is also known for being a vegan as well as an animal rights, gay rights, and Tibetan human rights activist. She is a tantric practitioner of the Old School of Tibetan Buddhism. She performed Leonard Cohen's "Hallelujah" live at the opening ceremony of the 2010 Winter Olympics in Vancouver, Canada.
After secondary school, lang attended Red Deer College, where she became fascinated with the life and music of Patsy Cline and ultimately determined to pursue a career as a professional singer. She formed a Patsy Cline tribute band called the Reclines in 1983, and they recorded a debut album, Friday Dance Promenade. Also in 1983, lang presented a performance-art piece, a seven-hour re-enactment of the transplantation of an artificial heart for Barney Clark, a retired American dentist. A Truly Western Experience was released in 1984 and received strong reviews and led to national attention in Canada. In August 1984, k.d. lang was one of three Canadian artists to be selected to perform at the World Science Fair in Tsukuba, Japan (along with other performing and recording contracts throughout Japan).
Singing at country and western venues in Canada, lang made several recordings that received very positive reviews and earned a 1985 Juno Award for Most Promising Female Vocalist. She accepted the award wearing a wedding dress and made numerous tongue-in-cheek promises about what she would and would not do in the future, thus fulfilling the title of "Most Promising." She has won eight Juno Awards.
In 1986, she signed a contract with an American record producer in Nashville, Tennessee, and received critical acclaim for her 1987 album, Angel with a Lariat, which was produced by Dave Edmunds.
1988 marked the release of Shadowland, an album of torch country produced by Owen Bradley. In late 1988, Shadowland was named Album of the Year by the Canadian Country Music Association. That year she also performed "Turn Me Round" at the closing ceremonies of the XV Winter Olympics in Calgary, Alberta, and sang background vocals with Jennifer Warnes and Bonnie Raitt for Orbison's acclaimed television special, Roy Orbison and Friends, A Black and White Night.
In 1990, Lang contributed the song "So in Love" to the Cole Porter tribute album Red Hot + Blue produced by the Red Hot Organization. In 1998, she contributed "Fado Hilário" to the AIDS benefit compilation album Onda Sonora: Red Hot + Lisbon produced by the same organization.
In 1989 she sang a duet, Sin City, with Dwight Yoakam on his album "Just Lookin' for a Hit."
The 1992 album, Ingénue, a set of adult contemporary pop songs that showed comparatively little country influence, contained her most popular song, "Constant Craving." That song brought her multi-million sales, much critical acclaim, and the Grammy Award for Best Female Pop Vocal Performance. Another top ten single from the record was "Miss Chatelaine". The salsa-inspired track was ironic; Chatelaine, a women's magazine, once chose lang as its "Woman of the Year," and the song's video depicted lang in an exaggeratedly feminine manner, surrounded by bright pastel colors and a profusion of bubbles reminiscent of a performance on the Lawrence Welk show.
Lang received a writing credit for The Rolling Stones' song "Anybody Seen My Baby?", whose chorus sounds strikingly similar to "Constant Craving". Jagger and Richards claimed to have never heard the song before and when they discovered the similarity prior to the song's release, were flummoxed as to how the songs could be so similar. Jagger then soon discovered his daughter listening to a recording of “Constant Craving” on her stereo and realized he had heard the song before many times but only subliminally. The two gave Lang credit, along with her co-writer Ben Mink, in order to avoid any possible lawsuits. Afterwards, Lang said she was "completely honored and flattered" by receiving the songwriting credit.
Lang contributed much of the music towards Gus Van Sant's soundtrack of the film Even Cowgirls Get the Blues, and also did a cover of "Skylark" for the 1997 film adaptation of Midnight in the Garden of Good and Evil. She performed "Surrender" for the closing titles of the James Bond film Tomorrow Never Dies, having previously worked with Bond composer David Arnold on his album, Shaken and Stirred: The David Arnold James Bond Project.
In 1996, she was made an Officer of the Order of Canada.
In 1997, Drag, an album of cover tunes dedicated to 'smoke' (specifically cigarette smoking) was released, although the album cover and booklet photographs show lang in a man's suit, referring to crossdressing as another possible meaning of the word 'drag'. The songs on Drag include "Smoke Dreams," from the '40s, Steve Miller Band's "The Joker," "Smoke Rings," the theme from the cult movie Valley of the Dolls, and 8 other smoke-themed songs.
Lang ranked #33 on VH-1's 100 Greatest Women in Rock & Roll in 1999 and #26 on CMT' 40 Greatest Women in Country Music in 2002, one of only eight women to make both lists. The others were Linda Ronstadt, Patsy Cline, Dolly Parton, Tammy Wynette, Loretta Lynn, Lucinda Williams, and Emmylou Harris.
In 2003, she won her fourth Grammy Award, this time for Best Traditional Pop Vocal Album for her collaboration with Tony Bennett on A Wonderful World.
On subsequent tours, critical acclaim continued to come her way. In 2004, Stephen Holden of The New York Times wrote: "Few singers command such perfection of pitch. Her voice, at once beautiful and unadorned and softened with a veil of smoke, invariably hits the middle of a note and remains there. She discreetly flaunted her technique, drawing out notes and shading them from sustained cries into softer, vibrato-laden murmurs. She balanced her commitment to the material with humor, projecting a twinkling merriment behind it all."
In the same year, lang released Hymns of the 49th Parallel, which featured cover versions of songs by iconic English-speaking Canadian singer-songwriters: Bruce Cockburn, Leonard Cohen, Joni Mitchell, Ron Sexsmith, Jane Siberry, and Neil Young. According to the Canadian Record Industry Association (CRIA), in April 2006 the album went platinum in Canada selling over 100,000 copies. In December 2007 the album reached double platinum status in Australia selling over 140,000 copies.
Also in 2004, she sang the song "Little Patch of Heaven" for the Walt Disney Feature Animation film, Home on the Range.
On July 29, 2006, lang performed her hit "Constant Craving" at the Outgames Opening Ceremonies in Montreal, Canada.
In 2006, lang paired with singer Madeleine Peyroux on a cover of the Joni Mitchell song "River" for Peyroux's album, Half the Perfect World. That same year lang was featured in Nellie McKay's second album, Pretty Little Head, singing with McKay in "We Had it Right". As well, lang sang a version of The Beatles' "Golden Slumbers" for the Happy Feet film soundtrack. She also sang a duet with Ann Wilson on the Heart singer's solo album Hope & Glory covering the Lucinda Williams song "Jackson".
In 2007, she partnered with Anne Murray on a re-make of Murray's hit "A Love Song," to be featured on Murray's CD, Anne Murray Duets: Friends and Legends. The duet was recorded in Los Angeles, and on Murray's official website there is a picture of Murray and lang kneeling behind Murray's star on the Hollywood Walk of Fame. Anne Murray was one of lang's childhood idols.
She released an album of new material, Watershed on February 5, 2008. It is her first collection of original material since Invincible Summer (2000). An article in which lang is interviewed states: "when she isn’t working, [lang] is mostly a homebody, living quietly with a girlfriend she refers to as “my wife” — they’re not legally married — and her two dogs."
Lang's first complete Greatest Hits collection was released February 2, 2010 on the Nonesuch label as "Recollection". Her debut album, which was dedicated to her life partner, Jenni Coonan, was re-released as a deluxe version on February 9.
In 2010, lang was in Nashville, working on a new country album, titled Sing it Loud. The album, officially recorded as a release by k.d. lang and the Siss Boom Bang, was released in spring 2011 release, via Nonesuch. The band is touring North America in summer 2011.
Lang performed with the BBC Concert Orchestra for an intimate crowd at 18th century church LSO St Luke's in London on February 3, 2008. First aired as part of the BBC Four Sessions, the concert was released as a DVD entitled "Live In London" in 2009.
On February 12, 2010, she performed Leonard Cohen's "Hallelujah" at the Olympics Opening Ceremony in Vancouver, British Columbia. In early May 2010, Lang filled in at the last minute for Susan Boyle at the Australian TV Logie Awards to reprise her Winter Olympics performance of Leonard Cohen's "Hallelujah", receiving an extended standing ovation. In 2010 she sang "You're a Mean One, Mr. Grinch" with Matthew Morrison in a Christmas episode of Glee, and is featured on Glee: The Music, The Christmas Album.
Her animal rights vegetarian stance, including a "Meat Stinks" campaign, created much controversy, particularly at her hometown in the middle of Alberta's cattle ranching industry.
Lang appeared on the cover of the August 1993 issue of Vanity Fair. The cover featured Lang in a barber chair while model Cindy Crawford appeared to shave her face with a straight razor. The issue contained a detailed article about Lang which observed that she had thought that she would be ostracized by the country music industry when she came out as a lesbian. However, Nashville was accepting, and her records continued to sell. When she appeared in an ad for PETA however, Nashville was less impressed owing to the relationship between country music and cattle ranching.
In April 2008, Lang spent time in Melbourne, Australia, as a guest editorialist for The Age. This was in connection with her support for the Tibet human rights issues. On April 24, 2008, she joined pro-Tibet protesters in Canberra as the Beijing 2008 Summer Olympics torch relay made its way through the Australian capital.
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Category:1961 births Category:BRIT Award winners Category:Canadian activists Category:Canadian country singers Category:Canadian female guitarists Category:Canadian female singers Category:Canadian pop singers Category:Canadian singer-songwriters Category:Canadian people of German descent Category:Canadian people of Scottish descent Category:Canadian people of Russian descent Category:Canadian people of Icelandic descent Category:Canadian vegans Category:Canadian Buddhists Category:Grammy Award winners Category:Juno Award winners Category:Lesbian musicians Category:LGBT musicians from Canada Category:Living people Category:Musicians from Alberta Category:Officers of the Order of Canada Category:People from Special Areas, Alberta Category:Sioux people Category:Torch singers Category:Sire Records artists Category:Warner Bros. Records artists Category:Nonesuch Records artists Category:Lowercase proper names or pseudonyms Category:Canadian people of English descent
ca:K.d. lang da:K.d. lang de:K.d. lang es:K.d. lang fa:کی.دی. لنگ fr:K.d. lang it:K.d. lang he:קיי די לאנג nl:K.d. lang ja:K.d.ラング no:K.d. lang pl:K.d. lang pt:K. D. Lang ru:Кэтрин Дон Ланг simple:K.d. lang sh:K.d. lang fi:K.d. lang sv:K.d. lang vi:K.d. Lang zh:凱蒂蓮This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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