Sings Lonely and Blue [US Bonus Tracks]

Editorial Reviews

Barnes & Noble - David McGee
As the earliest of three expanded reissues of early-'60s Roy Orbison LPs, Sings Lonely and Blue (from 1960) could not have been better titled. Beautifully produced by Monument chief Fred Foster, the album's songs are rife with rich, heart-tugging strings, silky, moaning background choruses, and of course that magnificent Orbison vocal instrument in full flower, all the better to deliver a cathartic vista of heartbreak and misery. The soaring, baroque "Only the Lonely" (a No. 2 single) kicks off the album and keys the entire affair, with all of the aforementioned stylistic touchstones arrayed for a merciless assault on the tear ducts. But Orbison also offers a whimsical, ...
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Editorial Reviews

Barnes & Noble - David McGee
As the earliest of three expanded reissues of early-'60s Roy Orbison LPs, Sings Lonely and Blue (from 1960) could not have been better titled. Beautifully produced by Monument chief Fred Foster, the album's songs are rife with rich, heart-tugging strings, silky, moaning background choruses, and of course that magnificent Orbison vocal instrument in full flower, all the better to deliver a cathartic vista of heartbreak and misery. The soaring, baroque "Only the Lonely" (a No. 2 single) kicks off the album and keys the entire affair, with all of the aforementioned stylistic touchstones arrayed for a merciless assault on the tear ducts. But Orbison also offers a whimsical, syncopated, oddly upbeat rendition of the Everly Brothers hit "Bye Bye Love," as well as a deeply Orbisonized take on "I Can't Stop Loving You," in an arrangement that prefigures the approach adopted in part by Ray Charles two years later. Similarly, his lush, deliberate reading of Don Gibson's "(I'd Be) A Legend in My Time" provided a model for a chart-topping Ronnie Milsap treatment 15 years later. The album also includes one of the Big O's greatest and most dramatic heartbreakers, "Blue Angel" (a song that has aged most gracefully), and "Come Back to Me (My Love)," a thinly disguised rewrite of "Only the Lonely." Recorded almost six months after the latter and issued as the B-side of the Top 30 single "I'm Hurtin'," it features a similar melody, an almost identical structure and backing chorus, but adds a gentle, honking sax to the arrangement of, alas, an inferior song -- and the last time Orbison and co-writer Joe Melson would so blatantly rip off their own style. Singles B-sides comprise three of the bonus tracks. A great story really begins here.
All Music Guide - Thom Jurek
Finally, Roy Orbison gets the CD remastering treatment he deserves. For those who bought the big three-disc box a decade ago and were appalled by the shoddy sound, these reissue discs Sings Lonely and Blue, In Dreams, and Crying have a couple of reasons for picking them up. The first is the music itself. Sings Lonely and Blue was an album featuring a couple of singles rounded out with filler. Whether this was intentional or not makes no difference; in the end, the original 12 cuts here are stellar. Here is Orbison's fine-as-silk pop voice, filled with all that cloudy, foggy darkness swirling inside it, singing "Only the Lonely," "Bye Bye Love," "Cry," "Blue Avenue," "Blue Angel," and "I'm Hurtin'," just to name a few. The production elements are beautiful, too, with the Anita Kerr Singers backing him and whirling strings that stroll along with Roy's rock & roll croon. Featured are Floyd Cramer on piano, Boots Randolph on saxophone check his solo in "Blue Avenue" that runs counterpoint to the strings, Bob Moore on bass, and Jerry Byrd on pedal steel on cuts like "Cry". Only Orbison could make a record drenched in syrup feel like a spooky film noir tearjerker. Sings Lonely and Blue is an early masterpiece, as Orbison was in full control of his gifts as a singer. Fred Foster's production may have been standard Nash Vegas for the time period, but Orbison's voice and songs Orbison and Joe Melson wrote or co-wrote seven of the 12 tracks here, Don Gibson wrote a couple, and Gene Pitney wrote "Twenty-Two Days" carry the track selection into the shadowy dark of risky emotions. Check Orbison's read of Gibson's "I Can't Stop Loving You," and see if he doesn't take back what has always been recorded as a saccharine tune and claim it hard for rock & roll. These new editions also contain bonus cuts, and there are four here: the original 45 version of "Uptown" is included proving Orbison could rock with the best of them, as are B-sides "Pretty One," "Here Comes That Song Again," and a great read of Pitney's "Today's Teardrops." Amazing.
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Product Details

  • Release Date: 8/8/2006
  • Label: Sony
  • UPC: 828768557228
  • Catalog Number: 685572

Tracks

Disc 1
  1. 1 Only the Lonely (2:28)
  2. 2 Bye Bye Love (2:16)
  3. 3 Cry (2:44)
  4. 4 Blue Avenue (2:22)
  5. 5 I Can't Stop Loving You (2:45)
  6. 6 Come Back to Me (My Love) (2:30)
  7. 7 Blue Angel (2:54)
  8. 8 Raindrops (1:55)
  9. 9 (I'd Be) A Legend in My Time (3:10)
  10. 10 I'm Hurtin' (2:45)
  11. 11 Twenty-Two Days (3:09)
  12. 12 I'll Say It's My Fault (2:24)
  13. 13 Uptown (2:10)
  14. 14 Pretty One (2:20)
  15. 15 Here Comes That Song Again (2:46)
  16. 16 Today's Teardrops (2:12)
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Album Credits

Performance Credits
Roy Orbison Primary Artist
Floyd Cramer Piano
Hank Garland Guitar
Grady Martin Guitar
The Anita Kerr Singers Background Vocals
Brenton Banks Violin
George Binkley III Violin
Solie Fott Violin
Buddy Harman Drums
Lillian Hunt Violin
Boots Randolph Saxophone
Verna Richardson Violin
Howard Carpenter Viola
Marvin Hughes Piano
Wilda Tinsley Violin
Bob Moore & His Orchestra Bass
Joe Melson Background Vocals
Alline Fentress Violin
Jane K. Norris Violin
Technical Credits
B. Bryant Composer
Boudleaux Bryant Liner Notes
Fred Foster Producer, Audio Production
Gregg Geller Reissue Producer
Barbara Orbison Executive Producer
Vic Anesini Mastering
Bill Porter Engineer
Churchill Kohlman Composer
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