Torrent Roy Orbison Discography Wikipedia

TORRENT ROY ORBISON DISCOGRAPHY WIKIPEDIA PROFESSIONAL

Cobb, who had worked with Roy Orbison and (as a member of the Classics IV) written the hit 'Spooky' (which he later re-recorded as a member of the Atlanta Rhythm Section) along with keyboardist Danny Timms and Nelson's harmonica player Mickey Raphael. Most had worked with Moman as part of the Memphis Boys, American Sound Studio's house band that played on recordings as diverse as Joe Tex's 'I Gotcha,' Merrilee Rush's 'Angel of the Morning,' Neil Diamond's 'Sweet Caroline,' The Box Tops' 'Cry Like a Baby,' Elvis Presley's 'In the Ghetto' and Danny O'Keefe's 'Goodtime Charlie's Got the Blues.'ĭrummer Gene Chrisman, bassist Mike Leech, guitarist Reggie Young, keyboardists Bobby Emmons and Bobby Wood had all served in the Memphis Boys. Last year he played on Chris Stapleton's Traveller.Īll of the backing musicians producer Chip Moman (who died last week at the age of 79) assembled for The Highwaymen shows were session monsters. He worked with Charlie Rich, Rufus Thomas, Jerry Lee Lewis and the Gin Blossoms as well as Don Was and Herbie Hancock. In 1976, when he was 14, he joined Ace Cannon's band as a steel player and later produced three of the sax player's albums. As an 11-year-old he was playing three nights a week in a Paragould honky tonk. The son of Doyle and Bernice Turner, who played steel guitar and rhythm guitar, respectively, in Hank Williams' Drifting Cowboys in the 1940s, Robby Turner was playing drums and touring with the Wilburn Brothers. Still, it was a well-played game show theme that featured a glistening pedal steel lead by Robby Turner, a player who in some circles commands the same sort of respect as the famous frontmen. I remember how the backing musicians were able to make 'Mystery Train' - the show's instrumental overture - sound like a game show theme. They traded verses of some of their most enduring songs, songs that had been over-arranged and slickened for the occasion. Still, I remember thinking it strange that these artists I so admired were willingly complicit in what struck me as show biz kitsch. I wouldn't have bought a ticket, though I would have paid to see any of the individual performers.

TORRENT ROY ORBISON DISCOGRAPHY WIKIPEDIA PROFESSIONAL

I get this now, and maybe I got it then - I only went to The Highwaymen shows for professional reasons. I remember being weirdly disappointed, although I had been to enough shows to understand that it's difficult to be spontaneous or intimate when you're trying to connect with thousands of people, some of whom only know your biggest hits. It felt, at the time and in reprise, closer to a variety show or Las Vegas revue than whatever it was that I expected. It was a kind of living Mount Rushmore of a certain kind of country music - the sort that is never quite so popular as critics would like it to be.īut the music delivered in these shows - and compiled in the recently released The Highwaymen Live - American Outlaws (Columbia/Legacy), a three-CD/one DVD boxed set that captures the band onstage, chiefly during a 1990 show on New York's Long Island - never seemed as adventurous or raw as any of the frontmen's solo work. They existed so fans could see the four icons together on one stage. The shows existed to allow these legends a chance to cash in on their remarkable catalogs in a way that didn't tax them overmuch. It felt like one of those thoroughly inauthentic experiences that concert events sometimes turn out to be. By terrible, I don't mean sloppily performed or that the material was sub par.

Torrent Roy Orbison Discography Wikipedia