Page 3 Advertisements Column 1

Rip It Up, Issue 126, 1 January 1988, Page 3

' ■BBBB^BBBHMBHBBBBHBBBBP r : OHIYTHELONtIY ;\-v- fe \ ' ■ ■ - UAH IXS -■ 7>W^:- ...' BKL. -x- v -•„> i Hi DHEAMS IX xx '** x _ gBSS-Mj UPTOWN v J\‘X ’ < — " - ■ ■ ; XMX~ ? xMx ; \J IT ' SOVER i '• • ; X - ... .. • \’’7~v''' > \•< * ™ G g| '"..■/■•-•• j ; » a _ . ' .p—. ’W z jt ’■ -''XXx- W.- 1 DREAMBABY ■ ■".;.‘K>;3g '■. ? • ’ I*4 • i 1 '' ■■■ | BUMANGEL ’■' 'M > 1 A . >; ‘‘ X" j K3s -'lf/ *V W WORKING FOATIgMAI<TJ II^ >ITAI * J '1 L •X 1 T'-l CANDYMAN SVI X ' L V *IN-A’ J, k I 1 RUNNINGSCARED ?'■ $ •■ ' T \ ' X’j FAILING Wt" ”X\Xx‘ -' -.•’<•/ < ; ? X.’ •■. T lu>/ mmimmJb ■ll I'M HOMIN' tIW& / a ' - ' ' r Sxs d CLAUDCTH Ml i '-=W£—- \/ ■ ><-- ... T- : [3 |"jW»j/£>, 7**w g |Tj : 1 OH PUTTY WOMAN MEAN WOMAN BUMS •;---i;. i; OOBYDOOBY < Z W M|g| , . X 'X . UNA - 1 S A< ’’’ * " /‘ ' mHE - ?j SA? ..?’.-‘X'. r \'sl BUMBAYOU .' nusuiYontioY Z 7- J <f iNDREAMS''ISACOLLECTOaSFANTASY-ATREASUSYOFI9ROY 7 '■ ORBISON CLASSICS TOTALLY RERECORDED FOR THE BEST STATE OF THE <V/lfM/-. . ’ "a,*/:*; ‘ ‘1 APS SOUND POSSIBLE. THE TITLE FEATURED . 1 -L PROMINENTLY IN THE AWARD-WINNING FILM “BLUE VELWT^fS^&S^ 4 : / '* ~ 'XXLXX .VfX-Xu’-. L IN LOS ANGELES IN APRIL 1987 WITH ROY, T-BONE BURNETT . AND “BLUE VELVET’ DIRECTOR DAVID LYNCH CO-PRODUCING. THE * 5 ™U.. / z REMAINING 18 SONGS WERE ALL DONE IN 1985. “IN DREAMS” SHOWS •.. X rt > IMI ORBISON'S MUSIC AND VOICE TO BE TRULY TIMELESS-AS VITAL AND '' ;4 Hfe . .CONTEMPORARY AS WHEN IT WAS FIRST PRESENTED. ■ h ■ Ak z B- j W?JKto z W7 o > lr<xieforlshoursinthebackofaUHaultnicktoo f‘ enf<)rßo y Orbisonatthe was how he opened up your vision. He made a little town in New Jersey fed asbigasthe -* .. rjHff '■’/ W\ ; Nashville Al'i'ic Fair. It was a summer night and 1 was 20 years old and he came out in dark sound of his records 'Z~4Z'‘ ri ~' --i'i' ' Z ’ Z, gbssts adarksditandhi plavedsomedarkmusic. / “I always remember lyin’ in bed and right at the end of/r's Over, when he hits that note '- / ’ sounds like the world's going to end, l’d be laying there promising my self that I was '? | fi>r his guitar sound and I was listening to a collection of Phil Spector records and I was never going to go outside again and never going to talk to another woman. f ->3 .~' < jMM; UsteniDgtoßov<;>rf»M>n‘s.4ffrrOTcGA’3rcsr//ialdlavinbedatnightwithjuslthclightsof “Right about that time my needle would slip back to the first cut and I’d hear... (the 1 -jMHQb . I Seared, (My The Uinely ankh's Over opening riff to) Pretty Woman! don't believe you/You’fe not the trutlVNo one could look as V - t4MIF< ~ . good as you. And that was when I understood. < , I / \'‘ ■ and community, but for me. Rov’s ballads were "I carry his records around with me when Igo on tour today, and I’ll always remember what jOWOIy ’' W' »' ■' t and 1 was 20 years old and he came out in dark sound of his records. " '■ k music. “I always remember lyin’ in bed and right at the end oflt's Over, when he hits that note o make Hom to Run, I was looking at Duane Eddv where it sounds like the ; world’s going to end, I’d be laying there promising myself that I was ” - ;v collection of Phil Spector records and! was never going to go outside again and never going to talk to another woman. / V st Hits. I’d lay in bed at night with just the lights of Wt about that time my needle would slip back to the first cut and I’d hear... (the 1 . ' J openingriffto) Pretty Womatvl don’t believe you/You’re not the truth/No one could look as U'>T JF good as you. And that was when I understood. •/ 1 . and community but for me, Roy’s ballads were “I carry his records around with me when 1 go on tour today, and I’ll always rcmcnil)er what . hea wiuwert jcda-L he means to me and what he meant to me when I was young and afraid to love. * 'XWfc■dtirc idea that you needed verse-choßis verse chorus bridge vcTse chorus to “in 75, when Iwentinto thestudio to nuke Bom Roni wanted to make a record with BmD '* Wk .trangements were complex and operatic, they had rhythm and movement and words like Bob Dylan that sounded like Phil Spector, but most of all I wanted to sing like Roy &3a|«HnnMH s / jOWK. the underside of pop romance. They wen? scary. His voice was unearthly. Orbison. Now everybody knows that nobody sings like Roy Orbison " jJjhM f like he’d dropped in from another —BruceSpringsteen /z '. \ > WrK wwwgMßmn wt yet rtwsnrff that was debt to the hart rf what you were livin’ in today, and that At the induction of Roy Orbison for the Rock and Roll Hall of Fame, . ? . • t g z ' January 21.1987. . i. JT ' z z .'.....'.5': K

~\ BRYAN JT -/ - ' , 3/ . / • JERRY x Ax* ■..-s ■. ■'■ . .w w■ Jr ki ? g|;. ...<* / V • ■' '-OyF The long awaited new album ? ;n X ; • Produced by Patrick Leonard & Bryan Ferry j X ■ features the single - •■■,'•' '-•' ' :;/ XX- -fl’ “THE RIGHT STUFF” ' : JI :p Available now on -Wk ” .. * Compact Disc, Cassette &LP XX . CDV 2474 TCV2474 V 2474 ' ' . ' , yzf*-