Many Moods of the Big O
G. Armstrong | 07/28/2006
(5 out of 5 stars)
"This double set is a fine audio embodiment of the cliché "from the sublime to the ridiculous". Many Moods is one of Orbison's finest albums, albeit that it demonstrates the decline in his song writing ability, with only three Orbison originals included. The three Orbison compositions are, nevertheless, superb. Walk On sees Orbison on familiar territory, imploring a former lover to ignore him if their paths should cross. The steady building of the song to a frenzied crescendo, in which Orbison unleashes his big voice, equals anything he produced in his career, and deserves to be bracketed with Crying and Running Scared, as incomparable vocal performances contributing to his reputation as the founder, and finest exponent, of the beat ballad. Heartache is more erratic, demonstrating Orbison's weakness for including trite backing vocal arrangements that detract from the emotional impact of his message. However, Heartache is structured in such a way that it totally diverts from the standard mode of pop composition, and Orbison delivers a powerhouse performance that elevates the song beyond the intrusive rambling of the backing singers. Yesterday's Child is a mysterious song that seems to be a lament for a lost childhood. It has an enchanting quality that deviates from Orbison usual lyrical directness. The inclusion of such standards as Unchained Melody, What Now My Love and More gives the album an easy listening feel, although Orbison does infuse the songs with a freshness that justifies their appearance. He avoids the excessive arrangements, and vocal embellishments of other artists, giving the songs a simplicity that enhances their emotional content. Mick Newbury's Good Morning Dear is a gorgeous, multi-layered song that that captures the remorse felt for a lost love that Orbison imbues with sheer beauty. A sedate, but enchanting, Try To Remember, rounds off a magical masterpiece that Orbison would not equal until Mystery Girl (1989).
The Big O, despite including many popular songs, is a poorly produced mess in which Orbison seems to be going through the motions, rather than attempting to bring anything new to the material. Unlike Many Moods, Orbison interpretation of such standards as Only You and Scarlet Ribbons is pedestrian, significantly below his audience expectations. These songs should be the ideal forum for his emotionally wrought voice; unfortunately, the mundane nature of his performance gives an air of pointlessness to the proceedings. Money, Break My Mind and Help Me Rhonda are better, but hardly starling. Land of a 1000 Dances, although seemingly a quirky choice, was a staple of Orbison's live act throughout the 70s, particularly noteworthy for a 30 second note hold that had the audience in raptures. The recording lacks this flamboyance, fitting-in with the general mediocrity of the other tracks. There are some redeeming features. Loving Touch is an up-tempo number that would have made for a great single release. The catchy chorus is compounded by Orbison's cat growl. When I Stop Dreaming is a moving ballad that Orbison performs with no ornamentation; it has a touching simplicity that exposes the contrived contortions of the other tacks. Penny Arcade, a strange anthem to the allure of slot machine amusements, is like a Rolf Harris-Benny Hill hybrid, which is extremely infectious. Despite the preposterous setting, Orbison is having fun, and as well he might, it provided him with his biggest selling single for three years.
"
A new fan.
Phyllis Snow | 01/09/2007
(5 out of 5 stars)
"I loved the songs and the voice. It is a timeless voice. Some of the songs are not available on other Roy Orbison cds."
Track Listings (23) - Disc #1