"Love Songs [Monument/Legacy]" (12/28/2004) Oldies Orbison, Roy, Legacy RecordingsPersonnel: Roy Orbison (vocals, guitar); Jerry Glenn Kennedy, Winfield Scot "Scotty" Moore, Joseph W. Tanner, Thomas E. Martin, Fred Carter, Jr., Hank Garland, Raymond Q. "Ray" Edenton, Billy Sanford, Boudleaux Bryant (guitar); Sheldon Kurland, Wilda Tinsley, Vernal E. Richardson, Roby Ann Story, Martin Kathan, Alline Fentress, Kenneth Goldsmith, Lillian Vannhunt, Michael Semanitzky, Pamela Goldsmith, George Binkley III, Brenton Banks, Cecil Brower (violin); Howard Carpenter (viola); Byron Bach (cello); Boots Randolph (saxophone); Cameron Lavelle Mullins (trumpet); Dana King, Robert E. Bays, Dana King (French horn); William Whitney Pursell (vibraphone); Bob Moore (bass instrument); John W. Greubel, Paul Garrison, Buddy Harman (drums); Anita Kerr Singers (background vocals); Harold Bradley, Wayne Moss (guitar); Charlie McCoy (harmonica); Floyd Cramer, Marvin Hughes (piano); Jerry Arnold (drums). Liner Note Author: Johnny Whiteside. Recording information: Fred Foster Sound Studio, Nashville, TN; RCA Victor Studio, Nashville, TN. Arrangers: Joseph W. Tanner; Jim Hall. With his geeky, black-rimmed glasses and pasty, pudgy-faced visage, Roy Orbison was never exactly heartthrob material. Nevertheless, his poetic lyrics, quavering tenor, and impassioned vocal delivery made him one of the most romantic singers in pop history. The Orbison addition to Columbia's LOVE SONGS series is an excellent cross-section of the enigmatic performer's aesthetic, capturing the dreamy, yearning essence of his music perfectly. From the opener, "Only the Lonely (Know the Way I Feel)," the listener is struck by the singer's ability to blend rich melodies, string-sweetened arrangements, and pop hooks in a powerfully effective way. This distinctive style carries through on the building drama of "Running Scared," the misty-eyed fantasy of "Blue Bayou," and the definitive relationship curtain call, "It's Over." Each gem here achieves the dimensions of a mini-epic (particularly the surreal, aching masterpiece "In Dreams") via swelling strings, backing vocals, and escalating dynamics. Through it all is Orbison's superb, reverb-touched voice that virtually drips with love, heartbreak, loneliness, and longing. Orbison's vocals and music are so closely connected to the more tender emotions, if fact, that this well-selected LOVE SONGS--save a couple important omissions (namely "Pretty Woman" and "Crying")--plays like a greatest-hits collection.