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Only the Lonely: The Roy Orbison Story
MINOR SCUFFING & CHAFING ON BOOK COVERS & SPINE. NO MARKING OR WRITING NOTED INSIDE BOOK. NICE COPY.
256 pages, Paperback
First published January 1, 1989
3 people are currently reading
33 people want to read
About the author
Alan Clayson
64 books10 followersAlan Clayson (Dover, England, 1951) is of a late 1970s vintage of composer-entertainers that also embraces the likes of Wreckless Eric, Tom Robinson, Elvis Costello and John Otway. While he is still making regular concert appearances, he has become better known as an author of around thirty books - mostly musical biography. These include the best-sellers "Backbeat" (subject of a major film), The Yardbirds and The Beatles book box.
He has written for journals as diverse as The Guardian, Record Collector, Ink, Mojo, Mediaeval World, Folk Roots, Guitar, Hello!, Drummer, The Times, The Independent, Ugly Things and, as a 'teenager, the notorious Schoolkids 0z. He has also been engaged to perform and lecture on both sides of the Atlantic - as well as broadcast on national TV and radio.
From 1975 to 1985, he led the legendary Clayson and the Argonauts - who reformed in 2005, ostensibly to launch Sunset On A Legend, a long-awaited double-CD retrospective - and was thrust to 'a premier position on rock's Lunatic Fringe' (Melody Maker).
As shown by the existence of a US fan club - dating from an 1992 soiree in Chicago - Alan Clayson's following grows still as well as demand for his talents as a record producer, and the number of versions of his compositions by such diverse acts as Dave Berry (in whose backing group, he played keyboards in the mid-1980s), New Age Outfit, Stairway - and Joy Tobing, winner of the Indonesian version of Pop Idol. He has worked too with The Portsmouth Sinfonia, Wreckless Eric, Twinkle, The Yardbirds, The Pretty Things, Mark Astronaut and the late Screaming Lord Sutch among many others. While his stage act defies succinct description, he has been labelled a 'chansonnier' in recent years for performances and record releases that may stand collectively as Alan Clayson's artistic apotheosis were it not for a promise of surprises yet to come.
He has written for journals as diverse as The Guardian, Record Collector, Ink, Mojo, Mediaeval World, Folk Roots, Guitar, Hello!, Drummer, The Times, The Independent, Ugly Things and, as a 'teenager, the notorious Schoolkids 0z. He has also been engaged to perform and lecture on both sides of the Atlantic - as well as broadcast on national TV and radio.
From 1975 to 1985, he led the legendary Clayson and the Argonauts - who reformed in 2005, ostensibly to launch Sunset On A Legend, a long-awaited double-CD retrospective - and was thrust to 'a premier position on rock's Lunatic Fringe' (Melody Maker).
As shown by the existence of a US fan club - dating from an 1992 soiree in Chicago - Alan Clayson's following grows still as well as demand for his talents as a record producer, and the number of versions of his compositions by such diverse acts as Dave Berry (in whose backing group, he played keyboards in the mid-1980s), New Age Outfit, Stairway - and Joy Tobing, winner of the Indonesian version of Pop Idol. He has worked too with The Portsmouth Sinfonia, Wreckless Eric, Twinkle, The Yardbirds, The Pretty Things, Mark Astronaut and the late Screaming Lord Sutch among many others. While his stage act defies succinct description, he has been labelled a 'chansonnier' in recent years for performances and record releases that may stand collectively as Alan Clayson's artistic apotheosis were it not for a promise of surprises yet to come.
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Displaying 1 - 10 of 10 reviews
November 18, 2020
Disappointing.
The writer never ceased to remind us how ordinary, unremarkable, unprepossessing (apart from the voice, that is) his subject was. As if to compensate, the style of writing is anything but. I felt that the ever modest Roy was upstaged by the writer’s own ego – to the extent that reading this became something of an irritating chore. Roy Orbison’s all too brief life was interesting and remarkable. His songs were often sad – fittingly so, I guess, since he had more than his share of sorrow..
He deserved better.
2.5* rounded up to 3*
The writer never ceased to remind us how ordinary, unremarkable, unprepossessing (apart from the voice, that is) his subject was. As if to compensate, the style of writing is anything but. I felt that the ever modest Roy was upstaged by the writer’s own ego – to the extent that reading this became something of an irritating chore. Roy Orbison’s all too brief life was interesting and remarkable. His songs were often sad – fittingly so, I guess, since he had more than his share of sorrow..
He deserved better.
2.5* rounded up to 3*
March 20, 2019
Not a fan of his writing. Felt like it was constant name dropping without contextual background. As a Roy fan, the book made me smile. 🎵🎵🎵
July 31, 2015
2.5 stars
While I had a number of frustrations reading this biography, the sincere interest and admiration for the great singer / songwriter was enough for me to recommend it.
However, there is a caveat. Mr. Clayson obviously is a musician, himself. And indeed, upon reviewing, participated in performing and composing with groups that included one that worked with Orbison. Consequently, evaluations of songs, genre, and movements weigh heavily, here.
For myself, I, at times, wanted to know more about the man—even if that man's life was so filled with performing.
Indeed, there are times when the writing, packed with full phrases, with "winks and nods," with faddish idioms, as well as with recording jargon, soars off seemingly on a tangent about changes in rock and roll within a five or ten year period only to return to Orbison with a last sentence.
And, with regard to time, it appears as though a dart was thrown, and an "encircling the perimeter" approach was made toward the conventional linear, or even thematic, telling of a life. There are times when the reader must flip back and forth to pin down dates of life actions. This is not the case, however, with single song recordings, their issues, or performances.
After 2/3rds through the book, a pattern seemingly emerged as well: a qualitative evaluation of others' work but not of Roy. However, this was finally dispelled in the final third of the book describing the 70's period.
The photographs chosen are oddly emplaced with early and late, (post David Lynch Blue Velvet) photographs included in both inserts—rather than a strict progressive presentation.
Finally, Clayson alludes more than once to the Phoenix idea. With Roy, this refers to his return to popularity despite the several death tragedies endured. Likewise, Clayson remarks on this same theme with other performers / artists of the time. However, evaluative comments are made regarding the "cashing in on" [his] death by journalists, opportunists, other musicians, and "the industry."
Yet, one could make a similar evaluative comment about this biography—it being released in 1989—a year after Orbison's death and the year of his final "Mystery Girl" album.
Despite these setbacks, Clayson's admiration and reverence for "The Big O" shines through; and consequently, this sensibility makes Only the Lonely worth the read.
I must say, though, I will continue to look for another biography—one that perhaps offers a more intimate portrait of the great singer / songwriter.
While I had a number of frustrations reading this biography, the sincere interest and admiration for the great singer / songwriter was enough for me to recommend it.
However, there is a caveat. Mr. Clayson obviously is a musician, himself. And indeed, upon reviewing, participated in performing and composing with groups that included one that worked with Orbison. Consequently, evaluations of songs, genre, and movements weigh heavily, here.
For myself, I, at times, wanted to know more about the man—even if that man's life was so filled with performing.
Indeed, there are times when the writing, packed with full phrases, with "winks and nods," with faddish idioms, as well as with recording jargon, soars off seemingly on a tangent about changes in rock and roll within a five or ten year period only to return to Orbison with a last sentence.
And, with regard to time, it appears as though a dart was thrown, and an "encircling the perimeter" approach was made toward the conventional linear, or even thematic, telling of a life. There are times when the reader must flip back and forth to pin down dates of life actions. This is not the case, however, with single song recordings, their issues, or performances.
After 2/3rds through the book, a pattern seemingly emerged as well: a qualitative evaluation of others' work but not of Roy. However, this was finally dispelled in the final third of the book describing the 70's period.
The photographs chosen are oddly emplaced with early and late, (post David Lynch Blue Velvet) photographs included in both inserts—rather than a strict progressive presentation.
Finally, Clayson alludes more than once to the Phoenix idea. With Roy, this refers to his return to popularity despite the several death tragedies endured. Likewise, Clayson remarks on this same theme with other performers / artists of the time. However, evaluative comments are made regarding the "cashing in on" [his] death by journalists, opportunists, other musicians, and "the industry."
Yet, one could make a similar evaluative comment about this biography—it being released in 1989—a year after Orbison's death and the year of his final "Mystery Girl" album.
Despite these setbacks, Clayson's admiration and reverence for "The Big O" shines through; and consequently, this sensibility makes Only the Lonely worth the read.
I must say, though, I will continue to look for another biography—one that perhaps offers a more intimate portrait of the great singer / songwriter.
September 17, 2016
This is a really good account of Roy Orbison's life, personally and in music. One of the best things about this book is the detail about the music scene at the time, this helps to compare Roy's career, especially the peaks and troughs that he saw during changing trends in the 50's, 60's and 70's.
I actually read most of this book whilst streaming the music on Spotify from Orbison and the various different artists mentioned. My own music knowledge and library has expanded thanks to this book.
Really well worth a read not just if you are a fan of Orbison or rock and roll, but if you have an interest in music in general
I actually read most of this book whilst streaming the music on Spotify from Orbison and the various different artists mentioned. My own music knowledge and library has expanded thanks to this book.
Really well worth a read not just if you are a fan of Orbison or rock and roll, but if you have an interest in music in general
October 23, 2025
An awesome read. I have been an Orbison fan since I heard Blue Angel and Only the Lonely in 1960 when I was 11 years old. He was and still is my favourite artist. I cried when I heard the news on the morning radio. My kids still tease me about listening to his songs for three days straight afterwards. My hero.
June 19, 2019
Decently mediocre. Wikipedia-like narrative, with it focusing only on the songs. Interesting, but could have been presented better
August 22, 2012
This is a well-written, interesting biography of Roy Orbison by former 1970s rock star Alan Clayson. You don't normally associate musical performers with writing talent, but this particular gent has written several books on pop and rock music, and certainly has a way with words. He managed to describe the life and timeless warbles of Mr Orbison with an energetic alacrity that would have been missing from any writer not as knowledgeable or enthusiastic about the music business. But if you're looking for celebrity dirt and rumour, this isn't the place. There are no drugs or philandering on Roy's record: just the honest, hard, life's work of a talented musician. Originally written one year after the star's death in 1988, it tells us all about Roy as he lived his music from one year to the next, moving in and out of public favour and finally to the icon he is remembered as today. Yet even after reading, I don't feel I know Orbison much better; Clayson concentrated a little too much on the music and not enough on the man. Even so, I recommend it for any Roy Orbison fan, or anybody interested in the history of popular music in the twentieth century.
September 19, 2016
Bittersweet biography of the up and down life of the greatest make vocalist in the history of rock music. From his humble beginnings to his posthumous success, this book covers all the bases. Especially enjoyable is the section near the later part of his life when he begins his work with producer Jeff Lynne and the Traveling Willburies super-group. We also get a snapshot into his tragic past including the unimaginable loss of his first wife in a horrific accident. Best of all, we really get to see the joy of this singularly unique character whose voice will forever be cherished along with his songs of heartbreak and loneliness.
September 3, 2013
Overall this book didn't really meet my expectations of a biography, with perhaps too much emphasis being placed on the in-depth of individual songs and how they reflected upon the man's state of mind. The one redeeming fact of this book was the epilogue, dealing with the lengths to which Orbison was willing to go to comfort his fans in their time of need.
March 22, 2008
Fairly weak biography of the late, great rock and roll singer/songwriter.
Displaying 1 - 10 of 10 reviews