Mystery Girl is the last album recorded by Roy Orbison, posthumously released on the Virgin label in 1989. The album became a hit worldwide, reaching #5 on the US Billboard 200, and #2 on the UK Albums Chart…
The discography of Roy Orbison (1936-1988) - which yielded some of the most heartfelt, passionate classics of the rock 'n' roll era - shined even brighter with the release of Mystery Girl, the last album Orbison recorded, in 1989. The commercial success of Mystery Girl was nothing short of impressive: the album was a Top 5 hit, eventually earning Orbison his first platinum award for over 1 million sales, and featured the worldwide Top 10 smash "You Got It." Mystery Girl: Unraveled features a new hour-long documentary on the making of the album, executive produced by Roy's sons. The documentary includes new interviews with those behind the album including Steve Cropper, Tom Petty, Mick Campbell and Jeff Lynne. In addition there are eight wonderful music videos, including an unreleased alternate video for "She's a Mystery to Me" and three new videos for "The Way Is Love," "You Got It" and "California Blue.
Who could have known that the much-loved Orbison would record his best album at this late stage in his career; furthermore, that he would be dead a few months later. The success of his role in the Traveling Wilburys gave him a much-deserved boost. Orbison had the great voice of pop and after many years of indifferent material he finally hit gold with great songs such as 'You Got It' (written with Lynne and Petty), 'Careless Heart' (written with Diane Warren) and 'A Love So Beautiful' (written with Lynne). Orbison's tragic dedication to us when he finished this album was 'don't give up before the miracle happens'. - 2014 Muze Inc.
Oh, My Girl, the second album by singer/songwriter Jesse Sykes and her band the Sweet Hereafter – led by Phil Wandscher – picks up where her debut, Reckless Burning, left off. Songs are played at cough-syrup tempo, production is sparse, instrumentation equally so, offering just enough of a frame for the melody and lyrics to hang themselves on, and everything, absolutely everything, is underplayed. There is plenty of dynamic tension, but little to no dynamic range. Yes, this is a good thing. Sykes' ghostly voice, which hovers about her words more than inhabits them, has enough old-world folkiness, raw – if intentionally muted – willingness, and lonesome country pain in it to carry off these tunes with authority. Produced, mixed and engineered by multi-instrumentalist Tucker Martine, Oh, My Girl is full of slow, dipping passion, moody expressionism and poetic smarts to make it stand out in a sensual, narcotic way from the rest of the gothic alterna-twang pack. And one more thing: Sykes has more emotion in the grain of her halting, cracking voice than a whole army of Margo Timmins'es – so let the comparisons stop now, please.