ROY ORBISON - Memphis - (MGM) - 1972, comment, review, elvis presley.

I approached this album with some trepidation as most Roy Orbison albums after his 1960s hit making period (and some during that period) are patchy. That's not to say they are bad, as there is always something good on those albums, but they are, well … patchy.

The Roy story should be reasonably familiar to you all. But if it's not go to the bio section below. The story is compelling … and tragic.

Career wise Orbison's position in rock history cannot be underestimated. Singing professionally from 1955, he became a Sun records artist along with Elvis (well Elvis had just left), Johnny Cash, Jerry Lee Lewis, Carl Perkins, Charlie Rich and others. He had a couple of rock-a-billy hits then in 1960 he signed with Monument records and created some of the most magnificent ethereal pop rock songs of all time.

In 1965 Roy moved to MGM records and continued in the same vein but to lesser effect. The 70s and most of the 80s were marked by infrequent, misjudged albums, and cabaret shows. He was in the wilderness. In fact, in the US no Roy album charted between 1966 and 1989 and no single between 1967 and 1980.

In 1987 however, Roy came back riding on the enthusiasm of younger musicians who he had influenced. The 80s were peppered with musicians trying to revitalise the careers of their idols. John Cougar produced Mitch Ryder, Bruce Springsteen produced and wrote for Gary US Bonds, Tom Petty produced Del Shannon, Nick Lowe produced Johnny Cash, Jeff Lynne of ELO produced another Del Shannon album, Dave Edmunds produced the Everly Brothers, Marc Almond of Soft Cell sang with Gene Pitney, Dave Edmunds produced Dion, Keith Richards produced Chuck Berry, George Harrison, Eric Clapton and Ringo Starr appeared with Carl Perkins on a TV special. In that spirit new albums of material were released by Jerry Lee Lewis, Charlie Feathers, Little Richard, Charlie Rich, Link Wray and Ricky Nelson.

Of all these Roy hit the biggest with the "Mystery Girl" comeback album produced by Jeff Lynne, Bono and others and a popular filmed live concert, " A Black & White Night" , with Jackson Browne, T Bone Burnett, Elvis Costello, k.d. Lang, Bonnie Raitt, Bruce Springsteen,Tom Waits and Jennifer Warnes. he was also a member of successful "supergroup", The Travelling Willbury's, with George Harrison, Bob Dylan, Tom Petty and Jeff Lynne.

Roy was flattered and humbled and found it hard to cope … he died in 1988 at the age of 52.

If nothing else, and there is much more, it is those magnificent hits from the early to mid 60s which Roy is associated with. His voice is otherworldly but with a slight fragile waver implying human heartache. I cannot wax poetical enough about these recordings. "Running Scared", "Love Hurts", "Crying", "Dream Baby", "Working for the Man", "Leah", "In Dreams, "Distant Drums", "Blue Bayou", "It's Over", "Indian Wedding", "Oh, Pretty Woman" are all essential. And I think everyone should own at least this era of Roy.

Bob Dylan referred to these recordings, "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'.

This album is from Roy's wilderness period in search of an audience. In some ways this was Roy's attempt to replicate Elvis' major return to the charts and live performing in the early 70s.

This, perhaps, is not unreasonable as Elvis was a Roy fan and Roy was an Elvis fan. Their paths had crossed many times since Roy saw Elvis in Dallas in 1954 and many times afterwards. They became friends and Roy – one year Elvis' junior – always held Elvis in high regard. Elvis' band often (later) played with Roy, they covered each other, and there was the ill-advised Roy white jumpsuit stage in the 70s …

Roy, on this album, tries to replicate that general mish mash that were Elvis' albums in the 70s – where he recorded whatever he wanted on a whim. The trouble of course is Elvis made most of the songs his own and Roy, despite his magnificent voice, was not forcefully expressive enough to do the same. Some songs plainly do not work. Elvis also did not (generally) make concession to modern music but rather kept mining the music of his youth (or songs that sounded like the music of his youth).

So, largely, Roy fails … he should have been playing to his strengths not commercial considerations and on this album when he does play on his strengths, he soars.

Produced by Roy and rockabilly singer Joe Melson (who had been working with Roy since the early 1960s) the sound is crisp. Don Gant produces "Danny Boy" however, which is (magnificently) out of step with the rest of the album.

Tracks (best in italics)

Memphis, Tennessee – (Chuck Berry) – the great Chuck Berry song. Less rockier than Berry's 1958 version and less desperately frenzied than the Elvis version from 1964 this version actually still works in a MOR 70s funky way.
Why A Woman Cries – (Jerry McBee) – Country pop with maudlin lyrics which is carried by Roy's voice. I'm surprised Elvis didn't record this.
Run, Baby, Run (Back Into My Arms) – (Joe Melson, Don Gant) – A nice bit of MOR country rock with some very 1970s "whacka whacka" guitar. Not especially memorable but catchy.
Take Care Of Your Woman – (Jerry McBee) – more middle of the road country pop with overly dramatic lyrics.
I'm The Man On Susie's Mind – (Joe Melson, Glenn Barber) – mid tempo country pop … very much in the Glen Campbell paddock.
I Can't Stop Loving You – (Don Gibson) – Elvis recorded this in 1969 and sang this many times live in concert in the early 70s. It may be a coincidence but Roy's version sounds much like the Elvis version … the drama, the backing voices and general (good natured) pomposity. This is pure Vegas and that was Elvis at that time. Roy though generally restrains his voice. Still, a pretty good version.
Run The Engines Up High – (Jerry McBee) – this Jerry McBee really likes the dramatics. This is his (McBee) best song on the album and captures Roy in full flight. It's also much like what Gene Pitney was doing at the time.
It Ain't No Big Thing (But It's Growing) – (Neal Merritt, Alice Joy Merritt, Shorty Hall) – a Charlie Louvin, of the immortal Louvin brothers, song. Elvis recorded it in 1968 in his phenomenal sessions for Chips Moman at American Sound studios. It seems that Roy has covered the Elvis version … respectable but not as good. Though the song itself is a tad dodgy.
I Fought the Law – (Sonny Curtis) – perhaps the greatest song of rock rebellion ever. The law might win though the act of "fighting" speaks volumes. Covered many times though the Bobby Fuller Four version from the early 60s still reigns. This version is not a "threat" … Roy' special brand of rock was not aggressive, violent or contrary to the public good. Pleasant though.
The Three Bells – (Bert Reisfeld, Jean Villard) – a throwback to the Roy of the early 60s … a song originally recorded by The Browns in 1959 (#10 R&B USA) though the French version was done by Edith Piaf in the early 50s. Here it just sounds dated.
Danny Boy – (Frederick Weatherly) – who hasn't done this standard? Originally released in 1915 and covered by everyone from Johnny Cash (1965), Tom Jones (1969), Elvis Presley (1976), Link Wray (1960) to every second string balladeer. The song is obvious, maudlin, and overly dramatic, usually at the same time. The song has become a staple for "traditional pop" singers or drunken persons of Irish ancerstry in pubs late at night. The appearance of this song on a record sleeve usually has "Danger Will Robinson" written all over it. Roy transcends just about every version I have heard. This is the gem on the album. And even with the syrupy lyric this is an incredibly moving performance with Roy balancing out the folky and the pop aspects of the song as it is both a folky backwoods campfire song and also a Vegas, powerful, big ballad show stopper. And at almost six minutes it still works.