0:00:02 > 0:00:04# Only the lonely... #
0:00:04 > 0:00:10People that are completely unique, you don't so much admire them as marvel at them.
0:00:10 > 0:00:12# Only the lonely... #
0:00:12 > 0:00:19I was sitting in the living room with my mum and my auntie and he came on the radio.
0:00:19 > 0:00:25What a voice, yeah, fantastic. I always liked his stuff, bought his records.
0:00:25 > 0:00:29My mum and my auntie were going, "Oh, he's too sexy!"
0:00:29 > 0:00:32# I remember that you said
0:00:32 > 0:00:36# Goodbye... #
0:00:37 > 0:00:42All of us in studying the craft of making a good record
0:00:42 > 0:00:45had studied Roy's work.
0:00:45 > 0:00:51In many ways, my whole life has been fashioned subconsciously by him.
0:00:56 > 0:01:00The way he was and the way he sang made him dead cool.
0:01:01 > 0:01:07Pretty difficult to find in Glasgow, when you look about shops and want a pair of roll-ups and sunglasses.
0:01:07 > 0:01:10# Golden days before they end... #
0:01:10 > 0:01:17I think Roy and England had a love affair. I mean, Roy loved the British and the British loved Roy.
0:01:19 > 0:01:22APPLAUSE
0:01:25 > 0:01:27INTRO TO "Pretty Woman"
0:01:40 > 0:01:44# Pretty woman, walkin' down the street... #
0:01:44 > 0:01:50By the 1980s, Roy Orbison's status as a living legend was well and truly confirmed
0:01:50 > 0:01:58when some big names in music queued up to be in the backing band for his Black And White Night concert.
0:01:58 > 0:02:05Roy and I talked about doing a show that would be a performance show for Roy.
0:02:05 > 0:02:07So we set a time finally,
0:02:07 > 0:02:11September 1987.
0:02:11 > 0:02:15# I couldn't help but see, pretty woman... #
0:02:15 > 0:02:20It had been a while since people had focused on Roy's music in this way.
0:02:20 > 0:02:26A lot of care was taken to do the songs justice, as the show does.
0:02:26 > 0:02:29# W-w-wow... #
0:02:30 > 0:02:36I'm being asked all the time how this wonderful cast came together.
0:02:36 > 0:02:40Everybody just seemed to be available at that particular time.
0:02:40 > 0:02:47If we had done it a month before or later, I don't think everybody could have been there.
0:02:52 > 0:03:00I don't think the entire ensemble was put together until we were all on the set at the Coconut Grove.
0:03:00 > 0:03:04'I know Bruce Springsteen arrived at the very last minute.'
0:03:04 > 0:03:08- How did you end there? - 'My big memory of that night'
0:03:08 > 0:03:12was Bruce arriving for the sound check and then realising
0:03:12 > 0:03:17that his memory of the songs was not the same as the ability to play them.
0:03:17 > 0:03:21- # Sweet dream, baby... # - And then you go...
0:03:21 > 0:03:23# Sweet dream... #
0:03:23 > 0:03:29'When he looked at the charts and realised there were odd counts in some of the songs...'
0:03:29 > 0:03:35I have an image of him sitting with his guitar with the head... like a cassette Walkman,
0:03:35 > 0:03:42comparing what he had obviously memorised over a couple of decades since the records came out
0:03:42 > 0:03:49to what was written on the page and closing the distance between the two things to play on these songs.
0:03:49 > 0:03:54It's the measure of how much he loved Roy cos he was really dedicated.
0:03:54 > 0:03:57# Sweet dreams, baby
0:03:58 > 0:04:04# Oh, how long must I dream? #
0:04:04 > 0:04:07OK.
0:04:07 > 0:04:10# Sweet dreams, baby... #
0:04:12 > 0:04:19Orbison clearly inspired anyone who was anyone in music, but where did all the raw talent come from?
0:04:21 > 0:04:25Born in 1936 in the small town of Vernon, Texas,
0:04:25 > 0:04:31from an early age, Roy was single-minded in his pursuit of a career in music.
0:04:31 > 0:04:35My mom and dad gave me a guitar when I was six years old.
0:04:35 > 0:04:41I always wanted to be a singer. My father asked me, when I was about six or seven,
0:04:41 > 0:04:46maybe even earlier, I don't know if I was playing the guitar or not,
0:04:46 > 0:04:51but he said, "What will you be when you grow up?" I said, "A singer."
0:04:52 > 0:04:57I was able to get on a radio show when I was eight years old.
0:04:57 > 0:05:03An "Amateur Hour", and I showed up so often that they made me a part of the show.
0:05:03 > 0:05:09When I was 14, I think, I had moved to West Texas. And I formed a group.
0:05:09 > 0:05:13We were from Wink, Texas, so we were The Wink Westerners.
0:05:13 > 0:05:17When we got more popular, we became The Teen Kings.
0:05:17 > 0:05:22# We'll hang out and raise some fun We'll stay out till after one... #
0:05:22 > 0:05:30I met him the first time in Odessa, Texas. He had a group that played on TV there and the song was Ooby Dooby.
0:05:30 > 0:05:32# Ooby dooby, ooby dooby
0:05:32 > 0:05:36# Ooby dooby, ooby dooby, ooby dooby... #
0:05:36 > 0:05:40I made a demonstration record called Ooby Dooby.
0:05:40 > 0:05:44And I sent that to Sam Phillips in Memphis, Tennessee.
0:05:44 > 0:05:48He asked me, could I be there in three days?
0:05:48 > 0:05:52So I grabbed my group together and we made the record.
0:05:52 > 0:05:57I dropped out of the university, the junior college I was attending,
0:05:57 > 0:06:01and went on the road within two or three months.
0:06:01 > 0:06:07What I thought at the time was the smallest voice was Roy Orbison.
0:06:07 > 0:06:13Sam Phillips said he had to put the microphone down his throat to pick him up,
0:06:13 > 0:06:17but I think Sam had the wrong kind of microphone
0:06:17 > 0:06:24because his later records prove that he has not only got a great, strong voice,
0:06:24 > 0:06:30but he is one of the greatest singers in our business. He saw his own potential, as did others,
0:06:30 > 0:06:34and he moved to a bigger label and had bigger records.
0:06:34 > 0:06:37# Pretty woman, walkin' down the street
0:06:37 > 0:06:41# Pretty woman, the kind I like to meet
0:06:41 > 0:06:43# Pretty woman... #
0:06:43 > 0:06:47Searching for ways to fulfil that potential,
0:06:47 > 0:06:54Roy looked across the Atlantic to an early '60s music culture in Britain, ready to embrace something new.
0:06:54 > 0:06:56# Mercy... #
0:06:57 > 0:07:00In the early '60s, I worked for Decca
0:07:00 > 0:07:05as a promotion man, and my job,
0:07:05 > 0:07:12apart from promoting records, was to look after American artists in London. I was 21. It was a dream job.
0:07:12 > 0:07:18# Are you lonely just like me?
0:07:19 > 0:07:21# W-w-wow...
0:07:24 > 0:07:28# Pretty woman, stop awhile
0:07:28 > 0:07:30# Pretty woman... #
0:07:30 > 0:07:36Very American, southern, polite, and that was my initial impression of Roy.
0:07:36 > 0:07:41Very softly spoken, polite, appreciative. He was a gentleman.
0:07:41 > 0:07:44A real gentleman actually.
0:07:44 > 0:07:51It was that kind of rather sweet, southern states of America charm that he had.
0:07:51 > 0:07:53# Pretty paper
0:07:53 > 0:07:58# Pretty ribbons of blue
0:07:58 > 0:08:01# Wrap your presents
0:08:01 > 0:08:06# To your darling from you
0:08:07 > 0:08:09# Pretty pencils
0:08:09 > 0:08:11# To write... #
0:08:11 > 0:08:16He would invariably come with his wife Claudette and his boys.
0:08:16 > 0:08:18They'd have a little apartment.
0:08:18 > 0:08:24I would spend a lot of time with them as a family cos they were very family.
0:08:24 > 0:08:30And he loved having the boys around, he loved having Claudette around.
0:08:30 > 0:08:34And so I became part of their family.
0:08:34 > 0:08:37# Downtown shoppers
0:08:37 > 0:08:42# Christmas is nigh... #
0:08:42 > 0:08:48He always reminded me of like a preacher. He was so gentle.
0:08:48 > 0:08:52Very sweet. Loved his family. He was just a lovely guy.
0:08:52 > 0:08:56We were all mental. We were young and mad.
0:08:56 > 0:09:00Roy was a very polite American. He was very sweet.
0:09:00 > 0:09:05We were Scousers, hard cases, nutters. He was a gentleman.
0:09:05 > 0:09:10We were idolising Americans at this point.
0:09:10 > 0:09:13We had Cliff and we had Tommy Steele, but...
0:09:13 > 0:09:20We were just kids from Liverpool who knew nothing, following Roy Orbison, a massive star,
0:09:20 > 0:09:24whose songs we had sung for years. We were there with him - a dream!
0:09:24 > 0:09:29# Well, I got a woman mean as she can be
0:09:29 > 0:09:35# Some-a-times I think she's almost mean as me... #
0:09:35 > 0:09:37The Brits were so enamoured
0:09:37 > 0:09:40of American rock'n'roll.
0:09:41 > 0:09:46They possibly appreciated them more than the Americans did.
0:09:46 > 0:09:53The songs seemed more hip, the performances were more hip. That's what we were all about.
0:09:53 > 0:10:00I think any British recording artist from that period would probably tell you the same thing.
0:10:00 > 0:10:04# So ple-e-e-ease... #
0:10:04 > 0:10:08Though Britain was hungry for all things American,
0:10:08 > 0:10:14Roy's first UK tour would be an unexpected test of how loyal his British fans might be.
0:10:14 > 0:10:21An all-English musical phenomenon was sweeping the country and Roy had to share the bill with The Beatles.
0:10:21 > 0:10:24From what George told me,
0:10:24 > 0:10:29they were so starved of rock'n'roll and waited for records to come out.
0:10:29 > 0:10:36They knew this thing was going on in America, so it was just something that they were really hungry for.
0:10:36 > 0:10:41The Beatles responded to Roy with total admiration.
0:10:41 > 0:10:48I can't emphasise how much American artists were the thing to admire.
0:10:48 > 0:10:51And all things American.
0:10:51 > 0:10:55Before I joined The Stones, I thought he was fantastic.
0:10:55 > 0:10:58Then he toured with The Beatles in '63.
0:10:59 > 0:11:05The Beatles were on the tour with us - ourselves and Roy. Massive tour.
0:11:05 > 0:11:081963 was a great time for me.
0:11:08 > 0:11:11It was my first record, first No.1
0:11:11 > 0:11:17and my first tour with Mr Roy Orbison who became a very dear friend.
0:11:17 > 0:11:20And such a lovely guy.
0:11:20 > 0:11:24# Well, I got a woman Yeah, I got a woman
0:11:24 > 0:11:27# Yeah, I got a woman... #
0:11:27 > 0:11:34George told me they followed Roy and they would stand in the wings listening to this big ending
0:11:34 > 0:11:40and they'd be just trembling, thinking, "How are we gonna go out and follow this?"
0:11:40 > 0:11:42APPLAUSE
0:11:48 > 0:11:54And his last note was 47 miles high in the sky. The kids went, "Whoa!"
0:11:54 > 0:12:00In spite of the fact that The Beatles were getting this huge acclaim
0:12:00 > 0:12:03from the British public,
0:12:03 > 0:12:08right from the word go really, from Love Me Do, it started...
0:12:09 > 0:12:11When Roy came on stage,
0:12:11 > 0:12:17he still had the goods to... top them.
0:12:17 > 0:12:22# Just before the dawn... #
0:12:22 > 0:12:25He just stood there...
0:12:25 > 0:12:31And sang. That's all he did. He didn't do anything else.
0:12:31 > 0:12:35I don't remember him putting one foot to the left or right.
0:12:35 > 0:12:37# I can't help it
0:12:37 > 0:12:40# I can't help it... #
0:12:40 > 0:12:42That was what the impact was.
0:12:44 > 0:12:49It was that he had the nerve... to do that.
0:12:49 > 0:12:53To just stand there and let his voice do the work.
0:12:56 > 0:13:03# It's too bad that all these things... #
0:13:03 > 0:13:08Some people just give off this aura. They don't have to move about.
0:13:08 > 0:13:15I've been trying to do it for 30 years, but it doesn't happen with me, so I stay in the shadows.
0:13:15 > 0:13:23# Only in dreams... #
0:13:23 > 0:13:27In my case, when you see me perform,
0:13:27 > 0:13:31what happens is that I sing and the audience watches me do that.
0:13:31 > 0:13:36# Some-a-times I think she's almost mean as me... #
0:13:36 > 0:13:40On opening night, I had between seven to 15, 20 encores.
0:13:40 > 0:13:45Paul and John grabbed me by the arms and said, "Yankee, go home!"
0:13:45 > 0:13:50They wouldn't let me take my last curtain call but it was in good fun.
0:13:50 > 0:13:54And that voice, my God! It used to annoy me, it was so good.
0:13:54 > 0:14:00# Each place we go
0:14:00 > 0:14:05# So afraid... #
0:14:05 > 0:14:11He'd sing Runnin' Scared and his mouth would go... # Just runnin' scared... #
0:14:11 > 0:14:15Like this, this tiny little movement of the mouth.
0:14:15 > 0:14:22And he'd get to the end of that song where it goes up and up and up and his mouth still wasn't moving!
0:14:22 > 0:14:27Not a lot. Not like, "I'm really gonna give it the full whack."
0:14:27 > 0:14:31He'd still stand there and his mouth would open slightly more.
0:14:31 > 0:14:37Then out would come this incredible note and I think that was what was so thrilling.
0:14:37 > 0:14:45His modesty, in combination with his vocal prowess, was quite something to see.
0:14:45 > 0:14:51# You loved him so... #
0:14:51 > 0:14:57He sounded different from what we'd ever heard before. Elvis didn't do that.
0:14:57 > 0:15:03And just a difference in sound that man made, that's why he was so popular.
0:15:03 > 0:15:07# If he came back
0:15:07 > 0:15:12# Which one would you choose? #
0:15:12 > 0:15:18I never had any formal training. I think maybe it's just that I might be a baritone
0:15:18 > 0:15:24with a real high range, two and a half octaves or so, but I never checked it.
0:15:24 > 0:15:27# His head in the air
0:15:29 > 0:15:34# Oh, my heart was breaking Which one would it be?
0:15:34 > 0:15:37# You turned around
0:15:37 > 0:15:43# And walked away with me. #
0:15:43 > 0:15:47I started singing this way because I was writing songs
0:15:47 > 0:15:52and I wrote the melody that I heard in my head
0:15:52 > 0:15:59and then I had to sing those notes as well. I didn't know how high or low you were supposed to go!
0:15:59 > 0:16:05# I could smile for a while... #
0:16:05 > 0:16:09when I tried to sing along with it, of course,
0:16:09 > 0:16:12it sounded like a wounded duck!
0:16:12 > 0:16:15Because of his range.
0:16:16 > 0:16:22And it was something to sing along with to learn how to sing.
0:16:22 > 0:16:24# ..couldn't tell
0:16:24 > 0:16:30# That I'd been cry-y-ying... #
0:16:30 > 0:16:33If you could sing along with it,
0:16:33 > 0:16:39you became aware of how to make your voice do things
0:16:39 > 0:16:43that we might not have understood.
0:16:45 > 0:16:51# Left me standing all alone Alone and crying... #
0:16:51 > 0:16:54There was something in Roy's voice
0:16:54 > 0:16:57that was completely unique to him,
0:16:57 > 0:17:01which was obviously a good thing because it was hard to emulate.
0:17:01 > 0:17:07It had a crying sound to it. It almost was like a controlled cry.
0:17:07 > 0:17:13His performance would just tear your heart out.
0:17:14 > 0:17:16He could...
0:17:16 > 0:17:19He could express all that emotion.
0:17:21 > 0:17:23And, uh...
0:17:24 > 0:17:29He was really different. Really different than anybody else.
0:17:29 > 0:17:37# I love you even more than I did before
0:17:37 > 0:17:43# But, darling, what can I do-o-o?
0:17:43 > 0:17:48# For you don't love me
0:17:49 > 0:17:54# And I'll always be
0:17:54 > 0:18:00# Cry-y-y-ying over you... #
0:18:00 > 0:18:04I think Roy's voice is like an opera voice, only sexy.
0:18:04 > 0:18:11Opera voices... To me they're not sexy because of the music they're singing.
0:18:11 > 0:18:17But Roy doing rock'n'roll and blues and blue notes, with that kind of opera voice,
0:18:17 > 0:18:22that made it really different and put an opera slant on a rock'n'roll track.
0:18:22 > 0:18:26It's wonderful and it's sad at the same time
0:18:26 > 0:18:32because that's the inflection he puts into the soulfulness of his voice.
0:18:32 > 0:18:38He's got marvellous soul. He was probably a soul singer before any of them.
0:18:38 > 0:18:44# Crying
0:18:44 > 0:18:49# O-o-o-o-o-o...
0:18:49 > 0:18:59..ver you-u-u! #
0:18:59 > 0:19:05Like Elvis said, "The best singer in the world right there, Roy Orbison."
0:19:05 > 0:19:08He was the best singer of all.
0:19:08 > 0:19:12# Golden days before they end... #
0:19:12 > 0:19:16Roy's entry into the British music scene had been a triumph
0:19:16 > 0:19:20with It's Over topping the UK charts in 1964,
0:19:20 > 0:19:25but personal tragedy would soon threaten to end Roy's career.
0:19:25 > 0:19:30In 1966, his wife Claudette was killed in a motorbike accident
0:19:30 > 0:19:34and there was even more heartbreak to come.
0:19:34 > 0:19:40He had this beautiful boy called Roy DeWayne. I used to take him to the zoo.
0:19:40 > 0:19:44I loved his company. He was a really sweet kid.
0:19:44 > 0:19:49I remember once I came back to the promotion offices, the Decca offices,
0:19:49 > 0:19:52and Roy DeWayne, I'd exhausted him.
0:19:52 > 0:19:56He must have been about six or seven. He wasn't a baby.
0:19:56 > 0:20:02And I'd had to carry him back to the office. He was so exhausted, he fell asleep.
0:20:02 > 0:20:06I remember his little head on my shoulder.
0:20:06 > 0:20:09# But, oh, what will you do? #
0:20:11 > 0:20:15And then he got... burnt to death in that fire.
0:20:15 > 0:20:19# We're through... #
0:20:19 > 0:20:24We'd been playing the Birmingham theatre for a week.
0:20:24 > 0:20:27It was September, '68.
0:20:27 > 0:20:33The following day we were going to do a last performance, a concert in Bournemouth.
0:20:33 > 0:20:37Then he was flying back to the US. That was the end of the tour.
0:20:37 > 0:20:41I got a call at 3am, local time in England.
0:20:43 > 0:20:48# Send falling stars that seem to cry... #
0:20:48 > 0:20:55He was on tour in England and got the news that his house had burned and he'd lost two of his boys.
0:20:55 > 0:20:58I remember thinking, "How is that...
0:21:00 > 0:21:03"..man gonna cope with that?"
0:21:03 > 0:21:08# It breaks your heart in two... #
0:21:08 > 0:21:12He stayed in seclusion for quite a while.
0:21:12 > 0:21:16We made contact and let him know we cared and were concerned
0:21:16 > 0:21:21and...it was a long time until I saw Roy
0:21:21 > 0:21:27because it wasn't something that he was wanting to talk about.
0:21:27 > 0:21:34To be quite honest, I really thought at that particular point in time that he...
0:21:35 > 0:21:37..that we would never see him again.
0:21:37 > 0:21:42He had not really worked since Claudette had died.
0:21:42 > 0:21:47However, I did get another call saying that he was coming back.
0:21:47 > 0:21:54To a large extent, Roy's return had been made possible by someone he had fallen in love with before the fire.
0:21:54 > 0:22:00We started dating and six weeks later the house fire happened in Hendersonville.
0:22:00 > 0:22:06I think it was such a gift for him to have fallen in love with me before,
0:22:06 > 0:22:13so he did have a focus. It gave him a chance to create a life that he really wanted
0:22:13 > 0:22:19and that was one of a real stable family and to have more kids.
0:22:19 > 0:22:23You know, Roy had just such an incredible gentle strength.
0:22:23 > 0:22:27He scaled the heights and the lows.
0:22:27 > 0:22:30# Lonely rivers sigh... #
0:22:31 > 0:22:35I arrived in December of '68
0:22:35 > 0:22:38in Tennessee.
0:22:38 > 0:22:42And then we travelled in America and we got married in March.
0:22:44 > 0:22:50We had Roy Kelton Junior, who was born in 1970, and Alex in '74,
0:22:50 > 0:22:54and we had Wesley from the marriage with Claudette.
0:22:54 > 0:23:01If you would have seen Roy with the kids, you'd never have suspected that he'd lost two kids
0:23:01 > 0:23:05in a house fire while he was touring in England.
0:23:11 > 0:23:16# Time goes by... #
0:23:16 > 0:23:21He came through it in a really great way, a very surprising way.
0:23:21 > 0:23:27He came back stronger than ever after this terrible loss of his two boys.
0:23:27 > 0:23:32He came back with all of the determination and the will
0:23:32 > 0:23:37to go ahead and be the great artist he is.
0:23:38 > 0:23:41INTRO TO "Pretty Woman"
0:23:42 > 0:23:48As the '70s dawned, a new-look Roy returned again and again to tour for his UK fans.
0:23:48 > 0:23:52And, of course, the Orbison family went, too.
0:23:52 > 0:23:56# Pretty woman walking down the street... #
0:23:56 > 0:24:03When it was tour time, we all went. Nannies, everybody just went... out on the road.
0:24:03 > 0:24:09Baby formulas, baby cribs, perambulators, whatever it took.
0:24:09 > 0:24:12You know?
0:24:12 > 0:24:14Mercy!
0:24:14 > 0:24:20We would be, tours or no tours, probably four or five months out of the year in London.
0:24:20 > 0:24:24We practically lived here in the '70s, and loved it.
0:24:24 > 0:24:27# Pretty woman
0:24:27 > 0:24:30# You look lovely as can be... #
0:24:30 > 0:24:37He loved England. He loved the British people. Something about them Roy liked.
0:24:37 > 0:24:41I think it was a love affair. Roy loved England.
0:24:41 > 0:24:43He loved everything about it.
0:24:43 > 0:24:47He loved the food - and that was tough to love in the '60s!
0:24:47 > 0:24:51He came up to my house in the Midlands
0:24:51 > 0:24:54and he brought with him,
0:24:54 > 0:24:59he showed me in his trunk. "Look what I've brought!"
0:24:59 > 0:25:03And he'd got, like, four sets of pie and mash.
0:25:03 > 0:25:07You know, for everybody. Brought from London.
0:25:07 > 0:25:11# Pretty woman, say you'll stay... #
0:25:11 > 0:25:15Roy, I think, just loved the English way of life.
0:25:15 > 0:25:21He would love to listen to accents, see places in Scotland, visit castles.
0:25:21 > 0:25:25And walk the hills. Nut case!
0:25:25 > 0:25:30We were in bed, he was walking the hills! He just loved Britain. And we loved him.
0:25:33 > 0:25:35# Pretty woman... #
0:25:35 > 0:25:39He was very real. He wasn't slick and he wasn't showbizzy.
0:25:39 > 0:25:45He didn't have a patter. He didn't... He wasn't a schmoozy kind of guy.
0:25:45 > 0:25:47Thank you.
0:25:47 > 0:25:49Thank you very much.
0:25:49 > 0:25:56I appreciate you coming tonight, very much. We're happy to be here. Hope you are.
0:25:56 > 0:26:00He was that same person, onstage and offstage.
0:26:00 > 0:26:02It was never about ego.
0:26:02 > 0:26:06You know, it was just about being himself.
0:26:06 > 0:26:09# Only the lonely
0:26:10 > 0:26:14# Know the way I feel tonight... #
0:26:16 > 0:26:20It's inherent in the British nature
0:26:20 > 0:26:22to admire modesty,
0:26:22 > 0:26:27especially when it's accompanied with a great talent.
0:26:27 > 0:26:30# There goes my baby... #
0:26:31 > 0:26:33He was a shy man,
0:26:34 > 0:26:38a family man, a quiet man.
0:26:38 > 0:26:46Who he was was just as much a part of everything as what he was singing.
0:26:46 > 0:26:49# Know why-y-y
0:26:49 > 0:26:52# I cry... #
0:26:52 > 0:26:59By the time we got married, all that was important was to have a great relationship
0:26:59 > 0:27:01and to live life
0:27:01 > 0:27:06and to sort of mend those incredible painful times
0:27:06 > 0:27:12and to really enjoy life and do what he felt he was called on this earth for.
0:27:14 > 0:27:17# Yeah, a woman.. #
0:27:17 > 0:27:21He said, "For that I'll go anywhere. Smallest club, biggest arenas."
0:27:27 > 0:27:29THRASHING GUITARS
0:27:39 > 0:27:46Though Roy still had a loyal following, the mid-'70s saw a change in the British music scene.
0:27:46 > 0:27:52The rejection of the mainstream and the stripped-down instrumentation of punk rock seemed, at first glance,
0:27:52 > 0:27:55to leave little room for The Big O.
0:28:03 > 0:28:07# Pretty woman Won't you pardon me?
0:28:07 > 0:28:11# Pretty woman I couldn't help but see
0:28:11 > 0:28:16# Pretty woman, you look lovely... # See, I can't get up there!
0:28:16 > 0:28:22When I was in the Sex Pistols, if you were a closet music fan, like myself,
0:28:22 > 0:28:29there were loads of bands I'd have got hung for if it had gotten out that I liked them.
0:28:29 > 0:28:35Would he come under that umbrella that it's old hat and you shouldn't be liking them?
0:28:35 > 0:28:38We were against all that nonsense.
0:28:38 > 0:28:40I don't think that is the case.
0:28:40 > 0:28:46I don't think he ever fell into that bag of being out of flavour.
0:28:46 > 0:28:51When I was growing up in the '70s, Roy was kind of an anachronism.
0:28:53 > 0:28:58He was completely out of kilter with the times and, em...
0:28:58 > 0:29:04People I was hanging out with didn't have Roy Orbison albums. They just didn't.
0:29:04 > 0:29:07He was from a different era.
0:29:07 > 0:29:13But then as the '70s begat punk rock,
0:29:13 > 0:29:18there became an interest in the '50s.
0:29:20 > 0:29:27I think punk rock was a '50s thing, in a way. A rebel without a cause.
0:29:27 > 0:29:33The short haircuts, the stance of Elvis, stripping things down to the bone.
0:29:33 > 0:29:40So it was through the door that punk rock opens that Roy Orbison walks into my life.
0:29:40 > 0:29:48You have to remember, Roy didn't get to be Roy Orbison by being... like anything but outside the norm.
0:29:48 > 0:29:54Those guys in Memphis, when they created rockabilly,
0:29:54 > 0:29:58they didn't create rockabilly by being the boy next door.
0:29:58 > 0:30:03# Just running scared
0:30:05 > 0:30:07# Feeling low... #
0:30:07 > 0:30:13Although he was right in there at the very beginning with Jerry Lee and Elvis,
0:30:13 > 0:30:19I think because he was so unique, his particular type of singing,
0:30:19 > 0:30:23he didn't really come in or out of fashion.
0:30:23 > 0:30:29And when rock'n'roll came to England, and then English music went back to America,
0:30:29 > 0:30:32Roy was sort of outside of that.
0:30:32 > 0:30:36# If he came back
0:30:37 > 0:30:41# Which one would you choose? #
0:30:41 > 0:30:47I think birds liked his music more than blokes. But he wasn't a pansy,
0:30:47 > 0:30:52singing songs about being hurt by some bird and his feelings, you know?
0:30:52 > 0:30:57# His head in the air
0:30:59 > 0:31:03# My heart was breaking Which one... #
0:31:03 > 0:31:08It's not a sissy thing for a man to sing about emotions.
0:31:08 > 0:31:13It's real. And I think everybody can relate to that.
0:31:13 > 0:31:18He does it in such a way that is so open, he opens his heart completely.
0:31:18 > 0:31:21Not being a wimp.
0:31:21 > 0:31:28I think that was the magnificent part about the singer and the songwriter Roy Orbison.
0:31:28 > 0:31:33He turned something that could have been a weakness into a strength.
0:31:33 > 0:31:38It was very unusual at the time. Since then, everybody's crying like a tart.
0:31:38 > 0:31:42But in them days it was quite bold to say he cried.
0:31:42 > 0:31:48He was one of the first Top 40 artists
0:31:48 > 0:31:53to take away or veer off from the traditional way of saying things.
0:31:55 > 0:31:57Which he did in those classic songs.
0:31:57 > 0:32:04I had to write the songs that I wanted to sing because no one else really would at the time.
0:32:04 > 0:32:11Then I thought since I wrote them I might sing them better than the next person. It goes like that.
0:32:11 > 0:32:16What the style is is basically me and my personal taste.
0:32:16 > 0:32:22Roy the singer, people talk about all the time. Everybody curtsies to the voice and so they should.
0:32:22 > 0:32:27The thing people don't talk about enough, as far as I'm concerned,
0:32:27 > 0:32:33is how innovative this music was, how radical in terms of its songwriting.
0:32:33 > 0:32:37I don't think in terms of two verses and a chorus
0:32:37 > 0:32:43or the accepted method of songwriting. Wherever I want to go, that's where I go.
0:32:44 > 0:32:49# In dreams I walk... #
0:32:49 > 0:32:54The classic pop structure is, you know, verse, chorus, verse, chorus,
0:32:54 > 0:33:00middle eight, chorus, end. I mean most pop songs in the world are like that.
0:33:00 > 0:33:03And then you hear In Dreams.
0:33:04 > 0:33:09# In dreams you're mine
0:33:09 > 0:33:11# All of... #
0:33:11 > 0:33:17I can't remember the structure, but it's like A, B, C, D, E, F, G! I mean, nothing repeats!
0:33:17 > 0:33:24From those odd proportions comes the tension and from that comes the emotional impact
0:33:24 > 0:33:27that takes you somewhere unexpected.
0:33:27 > 0:33:32# But just before the dawn... #
0:33:35 > 0:33:39He slowly built it from nothing and into this huge climax
0:33:39 > 0:33:45and then it went into another part which was even better. That's what I liked about his songs.
0:33:45 > 0:33:52# I can't help it I can't help it if I cry... #
0:33:52 > 0:33:58And that's really hard to do as a songwriter.
0:33:58 > 0:34:03The ability to just have the music flow with the storyline.
0:34:06 > 0:34:09Very few people could do that.
0:34:09 > 0:34:15# ..all these things Can only happen... #
0:34:15 > 0:34:19What you end up with is a pop song that broke every rule.
0:34:19 > 0:34:22And...and won.
0:34:22 > 0:34:25It's like a classical composition.
0:34:25 > 0:34:33# Only in dreams
0:34:34 > 0:34:43# In beautiful dreams. #
0:34:43 > 0:34:47I was at a classical concert one night
0:34:47 > 0:34:52and this Schumann song started that was in the programme.
0:34:52 > 0:34:57And I said, "This is the actual melody of a Roy Orbison song!"
0:34:57 > 0:35:02# You know I can't help myself
0:35:02 > 0:35:08# And now I'm crawling back... #
0:35:08 > 0:35:15Roy's song goes... # Only you and you alone Can keep me crawling back
0:35:15 > 0:35:21# After all you've done to me The way you've turned me down
0:35:21 > 0:35:26# I still will be your clown Because I love you...
0:35:26 > 0:35:34# I still will be your clown Because I love you... #
0:35:34 > 0:35:39And the Schumann song goes... HUMS THE SAME MELODY
0:35:39 > 0:35:43It has a very similar shape, you know.
0:35:44 > 0:35:50# You know I would die for you.. #
0:35:50 > 0:35:57I suppose like anybody of his age, he could have turned on the radio and heard some gracious melodies.
0:35:57 > 0:36:02It doesn't fit in with the other things about his music, as I understand it.
0:36:02 > 0:36:09And those early records on Sun were of their time and good records, but they were rock'n'roll records
0:36:09 > 0:36:16and at a certain point he started writing these ballads that are not like anything else.
0:36:19 > 0:36:22# Crawling back to you... #
0:36:22 > 0:36:31Roy was the real thing. In a time when very few people wrote their own material.
0:36:31 > 0:36:35There was so much soul in that music and mystery.
0:36:35 > 0:36:39And it was. It was mystery music.
0:36:39 > 0:36:43They were very dramatic songs and he was kind of dramatic, too.
0:36:43 > 0:36:47He was very dark and always in black and the glasses.
0:36:47 > 0:36:51# Wild hearts run out of time
0:36:52 > 0:36:56# And you'll need a love like mine
0:36:56 > 0:37:00# To show you hope is there... #
0:37:00 > 0:37:06I never knew why he wore the shades. I think he thought he had weak eyes, or something.
0:37:06 > 0:37:09# Wild hearts run out of time. #
0:37:09 > 0:37:17I simply left my clear pair on the aeroplane when I toured with The Beatles in '63.
0:37:17 > 0:37:22By the time the pictures came back and he'd played a couple of nights,
0:37:22 > 0:37:28he never changed. He always wore sunglasses every night he played for the rest of his life.
0:37:28 > 0:37:32# Don't let the bright lights burn you... #
0:37:32 > 0:37:39Buddy Holly made it OK to wear prescription glasses onstage.
0:37:39 > 0:37:46And then Roy made it cool to wear prescription sunglasses. They're still cool today.
0:37:47 > 0:37:51# Wild hearts run out of time
0:37:51 > 0:37:54# When you're up against the night... #
0:37:54 > 0:38:00It's very common for people to wear dark glasses on TV now, but I can't remember anybody before him.
0:38:00 > 0:38:07There was a reason why he did it, but it gave him a mysteriousness and they played that up quite a bit.
0:38:07 > 0:38:11The image and music together, it went together.
0:38:11 > 0:38:14Black sunglasses and mystery.
0:38:14 > 0:38:16# You'll need a love like mine... #
0:38:16 > 0:38:23There was certainly something dark and a little bit... It was menacing, in an odd sort of way.
0:38:23 > 0:38:28# A candy-coloured clown they call the Sandman
0:38:28 > 0:38:32# Tiptoes to my room every night... #
0:38:32 > 0:38:36Roy's records suddenly started to appear in movies
0:38:36 > 0:38:40in the early '80s. Most notably in Blue Velvet.
0:38:40 > 0:38:47The shock of hearing a song like that in a different context, juxtaposed with this very dark scene,
0:38:47 > 0:38:55it heightened what was already in there, this mysterious, slightly unsettling quality the songs have.
0:38:55 > 0:39:00# I softly say
0:39:01 > 0:39:04# A silent prayer... #
0:39:04 > 0:39:11Things like Running Scared and In Dreams were so dense and evocative and dark and cinematic.
0:39:11 > 0:39:15It just had a stranglehold on the dark side of life.
0:39:15 > 0:39:21"Candy-coloured clown they call the Sandman". Where does that come from?
0:39:21 > 0:39:26# In dreams I walk with you... #
0:39:29 > 0:39:34I was thinking all along that it was Crying that would be in Blue Velvet
0:39:34 > 0:39:39and I needed to get the record cos I heard it on the radio.
0:39:39 > 0:39:42So I got Roy's Greatest Hits.
0:39:42 > 0:39:44And...
0:39:44 > 0:39:50So I put it on and I was going through it and In Dreams came up
0:39:50 > 0:39:56and I completely forgot about Crying and In Dreams was just, you know, perfect.
0:39:58 > 0:40:02# A candy-coloured clown they call the Sandman
0:40:02 > 0:40:05# Tiptoes to my room every night
0:40:05 > 0:40:11# Just to sprinkle stardust and to whisper, "Go to sleep..." #
0:40:11 > 0:40:18Dennis Hopper was supposed to sing it and so I got him the music and told him to learn the lyrics
0:40:18 > 0:40:23and practise. And I thought he was memorising it.
0:40:23 > 0:40:29And, uh, Dean Stockwell is a good friend of Dennis's,
0:40:29 > 0:40:35He said he would work with Dennis, so I pictured the two of them going and Dennis having it down.
0:40:35 > 0:40:41And in the process, you know, Dennis had kind of...
0:40:41 > 0:40:48burned himself pretty bad from his past living and wasn't able to memorise these things.
0:40:48 > 0:40:51# ..of you
0:40:51 > 0:40:56# In dreams I walk with you... #
0:40:56 > 0:41:02But Dean memorised it, so when we started rehearsing the scene,
0:41:02 > 0:41:06where the song was supposed to be, at a certain point
0:41:06 > 0:41:12the two of them were sort of singing and Dennis just dropped out and was just watching Dean.
0:41:12 > 0:41:15And Dean was letter perfect.
0:41:15 > 0:41:20And it just was so obvious what was supposed to happen.
0:41:22 > 0:41:25All right. Let's hit the road!
0:41:25 > 0:41:30I heard rumours that after the film was released
0:41:30 > 0:41:34Roy saw it and was upset about...
0:41:34 > 0:41:40That song meant something to Roy and it didn't mean what it was in the film.
0:41:40 > 0:41:47There was such a... sexual conflict going on in his songs.
0:41:47 > 0:41:50They weren't about holding hands.
0:41:50 > 0:41:54They were about... There was a grind to them.
0:41:54 > 0:42:02There was a sweatiness, a longing, an anxiousness about them. They were basically songs about sex.
0:42:02 > 0:42:06# It's too bad... #
0:42:06 > 0:42:13Then he saw it again and changed his mind and appreciated it from a different point of view.
0:42:13 > 0:42:21So by the time I met Roy, he was pretty happy about Blue Velvet.
0:42:21 > 0:42:28# Only in dreams
0:42:29 > 0:42:37# In beautiful dreams... #
0:42:37 > 0:42:41I'd had David Lynch's soundtrack to Blue Velvet
0:42:41 > 0:42:46and I had it on repeat. It was going round and round.
0:42:46 > 0:42:50And it kept stopping, appropriately, on In Dreams.
0:42:50 > 0:42:54I couldn't sleep and this song was going through my head.
0:42:54 > 0:43:00When I woke up the next day, I had a song in my head, which I presumed was another Roy Orbison song.
0:43:00 > 0:43:03I looked for it and couldn't find it.
0:43:03 > 0:43:07Maybe...maybe I'd just written it!
0:43:07 > 0:43:13So I took it down to the soundcheck and I played the tune to the rest of the band. They really liked it.
0:43:13 > 0:43:17I said, "It's like a Roy Orbison song. Is it?"
0:43:17 > 0:43:22They said, "Yeah, yeah." And we played the concert,
0:43:22 > 0:43:28then after the show I was sitting with the guitar again, trying to finish the song.
0:43:28 > 0:43:35They said, "You really are going on about this song." I said, "It's really in my head. Mystery Girl."
0:43:35 > 0:43:41I was trying to finish it. And this sounds like horseshit, but there was a knock at the door
0:43:41 > 0:43:47and John, our security guy, said, "There's Roy Orbison and his wife, Barbara, outside.
0:43:50 > 0:43:54"Can I bring them in? They'd really like to meet you."
0:43:54 > 0:43:57So the band looked at me like...
0:43:57 > 0:44:02I'd either been winding them up or I had some voodoo in me.
0:44:02 > 0:44:06My wife and kiddies had been to see U2,
0:44:06 > 0:44:11and told me about them. I hadn't heard them or seen them.
0:44:11 > 0:44:15I went to one of their concerts in London when I was there
0:44:15 > 0:44:18with fresh ears and...
0:44:20 > 0:44:24I wasn't expecting anything. I just went with an open mind.
0:44:24 > 0:44:32He said in his very quiet voice, "Really liked the show. Can't tell you why I liked it, but I did.
0:44:32 > 0:44:39"You wouldn't have a song for me? Or shall we write a song together? I'm just into what you're doing."
0:44:39 > 0:44:44So everyone's falling round. No one could quite believe their ears.
0:44:44 > 0:44:49And I played him there and then this song, She's A Mystery To Me.
0:44:51 > 0:44:57In 1988, Roy was working on his album Mystery Girl with producer Jeff Lynne,
0:44:57 > 0:45:03who had also worked with George Harrison. During long hours in the studio, George and Jeff often talked
0:45:03 > 0:45:09about the line-up of their dream group. As Lefty Wilbury, Roy Orbison was about to become
0:45:09 > 0:45:12the ultimate musician's musician.
0:45:13 > 0:45:18When George and Jeff were in the studio working together
0:45:18 > 0:45:23they sometimes had this thing, "We could have a band."
0:45:23 > 0:45:30George would say, "We should have a group." I'd go, "Yeah, that'd be good. Let's have a group."
0:45:30 > 0:45:36And it was, literally, "Who do you want in it?" I said, "I'd love Roy Orbison."
0:45:36 > 0:45:42He said, "I want Bob Dylan in it." And it was just like that, like a pair of schoolkids.
0:45:42 > 0:45:48It wasn't a contrived thing that happened. They weren't out to make a band.
0:45:48 > 0:45:52It just happened. One event led to another.
0:45:52 > 0:45:57I was working with Tom at the time and George knew Tom by then.
0:45:57 > 0:46:02We said, "Let's have Tom!" All that remained was for George to ask them to be in it.
0:46:02 > 0:46:07They all did. The one we had to convince last was Roy.
0:46:07 > 0:46:13We went to see Roy in concert out in Anaheim somewhere. We all piled in a car.
0:46:13 > 0:46:21# Don't relax I want elbows and backs I wanna see everybody from behind
0:46:21 > 0:46:25# Cos you're working for the man... #
0:46:25 > 0:46:30It was a brilliant show. All the people were going mad.
0:46:30 > 0:46:34We were all going mad. Like, "Yeah! Give it some!"
0:46:34 > 0:46:40And George was so keen. It was exciting. It was the first time I'd ever seen Roy perform.
0:46:40 > 0:46:45We went back and George said to him, "Do you wanna be in our group?"
0:46:45 > 0:46:51It was kinda like a proposal. I think George even got down on his knee!
0:46:51 > 0:46:56And he sort of went, "Yeah, I suppose. I suppose so. Yeah."
0:46:56 > 0:47:03And he offered to join there and then. So he was in the Traveling Wilburys then,
0:47:03 > 0:47:06from that moment.
0:47:07 > 0:47:11# Reputation's changeable
0:47:11 > 0:47:14# Situation's tolerable
0:47:16 > 0:47:19# But, baby, you're adorable
0:47:19 > 0:47:23# Handle me with care
0:47:23 > 0:47:28# I'm so tired of being lonely
0:47:28 > 0:47:32# I still have some love to give
0:47:32 > 0:47:38# Won't you show me that you really care?
0:47:39 > 0:47:47# Everybody's got somebody to lean on... #
0:47:47 > 0:47:54Sometimes we sing the same song just to see who sounded good. That was a lot of fun.
0:47:54 > 0:47:58And George would kind of audition us, which was really intimidating
0:47:58 > 0:48:04because Roy Orbison would sing the song and then they'd send you out to sing it.
0:48:04 > 0:48:06Damn! That's really intimidating.
0:48:06 > 0:48:09# Last night
0:48:10 > 0:48:12# Thinking 'bout last night... #
0:48:12 > 0:48:19They had a lot of fun, but they didn't goof around. It wasn't just one big party.
0:48:19 > 0:48:22They were working.
0:48:22 > 0:48:29There wasn't a lot of deciding what to do, not a lot of time spent planning out anything.
0:48:29 > 0:48:34We just wrote the best songs we could write and sang them as best we could.
0:48:35 > 0:48:39- She was long and tall. - Or short and fat.
0:48:39 > 0:48:44- She was dressed to kill.- That's good. - She was out to give me a thrill.
0:48:47 > 0:48:52Whichever way I looked around there was some conspiracy!
0:48:52 > 0:48:59'And he was funny. That was the thing George enjoyed about him the most.'
0:48:59 > 0:49:05He seemed to be a tragic figure or there was tragedy attached or projected to Roy,
0:49:05 > 0:49:10but in reality he was very funny and...
0:49:10 > 0:49:15and that was the sort of secret Roy that he loved to be around.
0:49:15 > 0:49:20Sometimes Roy would have George and the guys in hysterics.
0:49:20 > 0:49:25He loved Monty Python. That was his favourite comedy stuff
0:49:25 > 0:49:28and he could do all the sketches on his own.
0:49:28 > 0:49:36He had a slightly southern lilt and yet he would recite lines from Monty Python.
0:49:36 > 0:49:42He'd break into a sketch of one of Python's routines, playing all the parts,
0:49:42 > 0:49:47and end up giggling like a maniac and we'd all start giggling.
0:49:47 > 0:49:50# I'm so tired of being lonely... #
0:49:50 > 0:49:55He was surrounded by all the friends he really loved
0:49:55 > 0:50:01and they really loved him. The basis of the Wilbury record was lots of laughter
0:50:01 > 0:50:05and just lots of fun and incredible creativity.
0:50:05 > 0:50:11# Every time I look into your lovely eyes... #
0:50:13 > 0:50:18And so it came towards '88, Thanksgiving,
0:50:18 > 0:50:23and we had all decided that we would go to George and Olivia's house in England
0:50:23 > 0:50:26and spend Thanksgiving with them.
0:50:26 > 0:50:29# I drift away
0:50:30 > 0:50:33# I pray that you... #
0:50:33 > 0:50:38Roy and I got stuck in Paris and never made it.
0:50:38 > 0:50:45And Roy flew back to America because he had to fulfil two shows he had booked in Boston
0:50:45 > 0:50:51and in Ohio. And those shows were like long-time booked.
0:50:51 > 0:50:54# Baby... #
0:50:55 > 0:50:58And I decided to stay in Europe.
0:50:58 > 0:51:03# Every time I hold you I begin to understand... #
0:51:03 > 0:51:08The last thing I heard from Roy was a message on my answer phone
0:51:08 > 0:51:14saying, "Hey, Jeff, sorry I couldn't see you this trip, but I'm all Wilburied out."
0:51:14 > 0:51:20He was really tired from doing all the interviews and he had his own album coming out.
0:51:20 > 0:51:24He said, "I'll see you when I get back over in a few weeks."
0:51:24 > 0:51:31# No one can do the things you do... #
0:51:31 > 0:51:36I got a call one night from Roy that basically said
0:51:36 > 0:51:44he had given in to come back to England. George had asked over and over for a second Wilbury video.
0:51:44 > 0:51:47And I said, "Are you really sure?"
0:51:47 > 0:51:53He said, "When I get off that plane, I know your smiling green eyes will be waiting for me.
0:51:53 > 0:51:56"For that I will do anything."
0:51:56 > 0:52:00So that was the last time I ever talked with him.
0:52:00 > 0:52:04# Pretty ribbons of blue... #
0:52:05 > 0:52:10The next thing, there was a phone call, a terrible phone call.
0:52:10 > 0:52:13I picked the phone up at 6am.
0:52:13 > 0:52:17# Pretty pencils to write... #
0:52:17 > 0:52:20The phone call that you always dread getting
0:52:20 > 0:52:25was one of those early morning phone calls to say Roy had died.
0:52:25 > 0:52:30# Pretty ribbons of blue. #
0:52:31 > 0:52:35Roy Orbison, one of the first and greatest rock performers,
0:52:35 > 0:52:41has died from a heart attack. He was 52. In his prime, he topped bills above The Beatles
0:52:41 > 0:52:46and this year was in the charts again in a supergroup with George Harrison and Bob Dylan.
0:52:46 > 0:52:52Roy would have liked us to have continued to do The End of The Line. It's a very optimistic song.
0:52:52 > 0:52:57We love Roy and life flows on within you and without you.
0:52:57 > 0:53:01He's around, you know, in his astral body.
0:53:01 > 0:53:07# Maybe somewhere down the road when somebody plays... # We played it like he was there.
0:53:07 > 0:53:14We'd all look at the armchair and there would be Lefty and it was just his guitar.
0:53:14 > 0:53:19# Well, it's all right If you got someone to love
0:53:19 > 0:53:25# Well, it's all right Everything will work out fine... #
0:53:25 > 0:53:31If Roy had been giving you the interview today, and you asked him about his songs,
0:53:31 > 0:53:37what was his best song ever, he'd have said, "I haven't written it yet."
0:53:39 > 0:53:43# I'm just glad to be here Happy to be alive... #
0:53:43 > 0:53:49The artists today that have come along in the last 20 years
0:53:49 > 0:53:53probably don't remember the Wilburys in '88 had a number one album.
0:53:53 > 0:53:59# It's all right Even if you're old and grey... #
0:53:59 > 0:54:04My favourite Roy Orbison song has got to be Crying.
0:54:04 > 0:54:07It's something I want to put on
0:54:07 > 0:54:11when I'm feeling bad about something, some heartache.
0:54:11 > 0:54:14He just touches me with his voice.
0:54:17 > 0:54:21# I thought that I was over you... #
0:54:21 > 0:54:25One of the things I like about his songwriting and his lyrics
0:54:25 > 0:54:28is that I think, ultimately,
0:54:28 > 0:54:31he's letting his guard down.
0:54:31 > 0:54:37All his songs, I think... I'd be made up to write any song like that.
0:54:37 > 0:54:44But it would have to be my favourite, Crying. I'd love to have written that song. Amazing.
0:54:44 > 0:54:49# For you don't love me... #
0:54:49 > 0:54:55That made a lot of sense to me, writing songs. Let your personality out.
0:54:55 > 0:55:00That's been quite a strong influence on myself.
0:55:00 > 0:55:03# Crying over you... #
0:55:03 > 0:55:07I'm totally amazed that so many artists today
0:55:07 > 0:55:11still use Roy as their inspiration.
0:55:11 > 0:55:14Well, I guess...
0:55:14 > 0:55:16Rarrrr!
0:55:20 > 0:55:23# Pretty woman, stop a while
0:55:23 > 0:55:27# Pretty woman, talk a while... #
0:55:27 > 0:55:31The way he was and the way he sang made him dead cool.
0:55:31 > 0:55:35He was cool, all right. He was very cool.
0:55:35 > 0:55:42My lasting memory of Roy will be him walking down the stairs coming to dinner.
0:55:42 > 0:55:46All of us were already down.
0:55:46 > 0:55:50So looking at Roy in his black shirt, black trousers and his dark glasses.
0:55:50 > 0:55:54We all watched Roy coming down the staircase.
0:55:54 > 0:55:59It was like, "Wow!" You know, The Big O.
0:55:59 > 0:56:02# Only the lonely
0:56:02 > 0:56:05# Know the way I feel... #
0:56:05 > 0:56:12At the very end, when he was asked how he wanted to be remembered,
0:56:12 > 0:56:14he paused for a minute and he said,
0:56:14 > 0:56:18"Hm. I just would like to be remembered."
0:56:20 > 0:56:22# There goes my baby
0:56:24 > 0:56:27# There goes my heart... #
0:56:28 > 0:56:32Rock'n'roll has this image
0:56:32 > 0:56:35of...of rebel music.
0:56:35 > 0:56:38And, er...
0:56:38 > 0:56:44And in some sort of juvenile quarters, in which I'd include myself,
0:56:44 > 0:56:48we often... that's often a licence for rudeness.
0:56:48 > 0:56:53You know? Or egocentric behaviour, you know?
0:56:56 > 0:57:01But actually the real rebels to me always had manners.
0:57:07 > 0:57:11This man who had written such extraordinary songs
0:57:11 > 0:57:15and a real innovator in popular music,
0:57:15 > 0:57:20and, you know, truly a great, great singer,
0:57:22 > 0:57:25would be, you know, humble.
0:57:25 > 0:57:33# I'm going back some day Gonna stay on Blue Bayou... #
0:57:33 > 0:57:37I will always try to do the same, but I doubt
0:57:37 > 0:57:42if I could match his courteous self.
0:57:42 > 0:57:47# Ah, that girl of mine by my side
0:57:47 > 0:57:51# Silver moon and the evening tide... #
0:57:51 > 0:57:59A simple guy who had incredible talent who just worked at his craft.
0:57:59 > 0:58:05If I even get remotely close to his legacy, I'd be a happy guy.
0:58:05 > 0:58:09# ..happen in my dreams
0:58:11 > 0:58:18# Only in dreams
0:58:20 > 0:58:28# In beautiful dreams.
0:58:29 > 0:58:37# Still missing you California Blue
0:58:38 > 0:58:42# Still missing you
0:58:42 > 0:58:46# California Blue
0:58:47 > 0:58:50# Still missing you
0:58:51 > 0:58:56# California Blue! #