When this concert was filmed in 1988, Roy Orbison had come back from the creatively dead. He hadn't recorded since 1979-- hadn't had a record hit the chart since 1966 (a greatest hits compilation snuck into the Top 100 at #95 in 1972). People knew the name, but had forgotten the music.
But when David Lynch used Orbison's "In Dreams" as the centerpiece of BLUE VELVET, everyone who saw the movie wanted the song-- and Orbison was suddenly hotter than he'd been in decades. This film was his "coming out" party-- a small-club performance (LA's famous Coconut Grove) of his greatest hits with a superstar band, filmed in high-definition black and white.
The people whop put this show together had the good sense to hire T-Bone Burneett (who assembled the music for O BROTHER WHERE ART THOU? and put Alison Krauss and Robert Plant together) as musical director. For the rhythm section, he reunited Elvis Presley's "TCB Band" (Takin' Care of Business): pianist Glen Hardin, bassist Jerry Scheff, drummer Ronnie Tutt and James Burton (who has made the Rock'n'Roll Hall of Fame as a sideman) on lead guitar.
Because Orbison was (a) exceptionally talented, (b) a genuine hard-luck story (his wife and two sons had died in different accidents) and (c) one of the nicest guys ever to walk the earth, scads of people offered to help, thinking their name might boost sales.
So there were two trios (one male, one female) of backing vocalists. The men were singer-songwriter (five hits for the Eagles) J.D. Souther, Dylan sideman Steve Soles and Jackson Browne. Not a bad trio.
The least talented of the trio of women (Jennifer Warnes) performed three songs that won Academy Awards for best song. Her partners were K.D. Lang and Bonnie Raitt. Plus, Tom Waits, Elvis Costello and Bruce Springsteen also played backup on at least one song.
My concern, when I saw all these names, was that the show would be a self-indulgent superstar cabaret (like the finales of the R&R HOF), with half-drunk egotists who sort-of-knew the songs taking turns upstaging Orbison by performing with him and delivering self-indulgent tributes in between.
Didn't happen. With a few exceptions, everyone keeps their egos in check. When Lang windmills during "(All I Can Do is) Dream You", she looks genuinely excited by a strong performance of an uptempo song. And that is one of only two songs from the upcoming comeback album, All the hits are here; only an Orbison scholar might quibble about one or two minor hits being missing.
So why two stars off? For one thing, Orbison is a dull live performer. He's a great singer and a good guitarist. But all he ever did was stand there. Between songs, he says "Thank You"-- no stories or memories like you'd get on a VH-1 retrospective. There's no backstage bits or insights from the band (like the astute comments about Chuck Berry that punctuate HAIL HAIL ROCK AND ROLL). All you get is the music.
The director tries to jazz things up by constantly cutting to show one star or another-- but since everyone is dialing it back so as not to upstage Orbison, you're not gaining anything by watching this film instead of listening to the CD.
The arrangements try very hard to clone the originals-- since there is a string section, nobody can improvise. They're excellent performances... but it's like hearing the greatest hits album with better sound.
Except for one spot, there's nothing spontaneous. And that one spot made me grind my teeth.
In the middle of "Pretty Woman", they stage a guitar duel between Burton and Springsteen. To my ears (I play guitar), this is like watching a duel between a wolverine and a hamster. It's precisely the sort of nightmare I dreaded. And it eats up 6 minutes of the 60.
It appears on PBS a lot, and I'd encourage you to watch it (8 stars is a B+). But if you want to buy something, get the CD, as opposed to the DVD or paying to watch it. The CD costs less, it has three more songs and you really don't gain anything from the video. The cake (the music) is wonderful, but there isn't enough icing to justify something more.
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