647:" into United Recording so that Porter could help him with the song's unusual fade out and back in three-quarters of the way through. A bigger concern was that Jarvis wanted a horn section but there were no empty tracks left on the tape. Porter solved the dilemma by mixing the horns live in the studio as the original session tape played back, the total blend being recorded onto a stereo master. The song became a number one hit; the final one both for Porter and for Presley. Also in 1969, Porter founded Porter Industries, as a basis for engineering and electronics sales outside of his studio.
570:, with Rose taking over as producer. Orbison did not ask for Porter on his recording sessions, and he did not have any hit songs with MGM. Years later, Porter said that, though he really liked Orbison, the singer "never understood the engineer's contribution." It was Rose's advice to leave Monument, and he was "doing his job as a manager" to get more money, but, said Porter, "he didn't know that much about the music." Porter felt that only with himself as engineer, Fred Foster as producer and Anita Kerr as arranger was Orbison going to find the right combination.
830:. Never having graduated from college himself, Porter went to Florida to create and co-author the first college level curriculum for the discipline. Porter was their second director of recording services, heading the teaching staff and audio facilities, for the Music Engineering Technology program at the University of Miami beginning in September 1976. He continued to accept tour dates with Presley until August 1977, returning to describe the experience for his students.
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for nearly two weeks of touring during
September–October netted Porter $ 2,600, an amount equivalent to $ 16,100 in current value. Porter recorded several of these shows in the mid-1970s, released as albums, and witnessed firsthand Presley's physical decline from drug abuse. In 1975, Presley's doctors advised him to exercise more, so he had a racquetball court built at his mansion
952:. He said, "They play perfectly together because they were like family. They did it without thinking! ... They played methodical yet simple rhythm patterns or fills. It was almost a jazz concept from the standpoint that a lot of it is in their head. If you listen to Hank Garland, you won't hear the same lick twice."
523:, recorded in July 1961, Porter knew that getting a Christmas mood in the heat of summer would be difficult—he came to the studio that morning carrying all his Christmas decorations, and made the studio look the part. Years later he recalled, "when everybody came in for the session, they were in the mood."
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brought over from the recording studio. He laid the column loudspeakers on their sides at the front lip of the stage and propped them up to aim at
Presley, who was very happy with the result. Presley insisted upon having Porter mix his live show in January even though he was a recording engineer with
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during the first song, but backstage after the show, film stars and musical artists kept complimenting
Presley, telling him that Porter’s concert sound was "just like the album". Porter mixed Presley's live concerts from then on. Presley paid Porter well for a touring sound engineer; a 1974 contract
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with a good intro onto the beginning, and sent that version instead. Four decades later, Porter recalled his quick fix: "this was a need-to-know situation and I figured nobody needed to know. I had been in the business three months or something like that. You're not a good engineer until you destroy
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Friction rose between Porter and RCA's personnel department regarding Porter's small publishing company which he co-founded with Anita Kerr—they said it constituted a conflict of interest. Porter argued that Atkins had his own publishing, as did others in the business, but RCA personnel told him to
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VMI's publishing business never scored a major hit, and Porter was frustrated by what he saw as bad business decisions forced on him by the partnership. In
January 1973, he resigned. On October 14, a "mysterious fire" burned out United Recording of Nevada, including all VMI's papers, stored master
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He is considered by many to be the greatest recording engineer of all time ... Bill Porter deserves as much credit as anyone in creating the "Nashville Sound." He achieved this through his creativeness, his ability to hear sound as colors, and his skill in capturing on tape the full bloom or
963:, and he died in a hospice near Ogden on July 7, 2010, at the age of 79. He was survived by his wife Carole, a brother and a sister, his children Nancy, a retired professor, and Gene, a prominent Las Vegas attorney and politician, and his grandchildren Sam, Marcie, Chandelle, and Weston Porter.
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School of
Communications in St. Louis, Missouri, and for the university's Leigh Gerdine College of Fine Arts, Porter taught nine classes from 1999 to 2005. Porter's pioneering techniques, methodology and curriculum are still taught in many colleges and universities across the United States.
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Porter recorded nearly all of
Presley's number one hits upon the singer's return from Army duty in 1960. Porter had not studied Presley's earlier recordings—he started fresh, "doing what I thought it should be." Instead of the usual microphones used by RCA, Porter chose to use a
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acoustic ceiling panels which he and Tommy Strong, his assistant engineer, cut into triangles and hung from the ceiling at varying heights; these were called "Porter
Pyramids". When Porter left RCA in late-1964, Atkins said, "the sound was never the same, never as great."
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so that he would not be bothered with its needle slamming against its peg. Porter related that the EMT's springs frequently broke under the increased tension, and he would have to replace them, but that the trouble was worth achieving a "brighter and fuller" echo effect.
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tapes and cases of pressed records, and Porter lost all of the recording equipment stored inside, a total he estimated at $ 250,000—about $ 1.72 million in today's dollars. He still had his outside electronics company and he concentrated on that.
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In May 1981, Porter was granted tenure but in June he left because he was not happy in
Florida's tropical climate. He accepted the marketing director position at a mixing console company called Auditronics, then left that to work with televangelist
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had left it. Porter's first day at the studio was
September 1. At that time, United Recording of Nevada had been operating for four years and was the most prominent of the six recording studios in Las Vegas, but it had problems with its equipment,
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as the foreground sound, and built the other sounds below and around it, leaving the percussion almost inaudible. The song's success cemented this mix style as
Orbison's sound. Other Orbison hits recorded for Monument at RCA Nashville were
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were standing by and labels were pre-printed and waiting. The single "Stuck On You" with "Fame and Fortune" on the B-side was released three days later and immediately returned Presley to the number one chart position. Porter engineered
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effects to recordings. Porter arranged to have the dedicated echo room cooled down as much as possible with an air conditioner, and he adjusted the ten springs on the EMT plate to be tighter than usual, in order to feed the plate more
704:, to mix a Presley concert when he received a phone call informing him that the singer had died. He attended Presley's heavily guarded funeral ceremony at Graceland. Between Presley appearances, Porter also handled sound duties for
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Porter served for four years as the chief engineer under guitarist and producer Atkins. Porter became the engineer big-name artists wanted to work with, and he was influential in creating the Nashville sound. Record producer
795:(CMA) in October 1972. He prepared a booklet for the organization in December, an instructional primer on sound techniques, describing microphones and their usage, loudspeaker types, audio mixers, and giving operating tips.
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once asked Atkins how he got his sound, and Atkins said, "it was Bill Porter." He recorded more than 579 records that charted—49 were top 10, 11 were number one, and 37 were certified gold records. Most were recorded at
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that the job would ruin his marriage, but Porter said "I can handle that." He was hired at $ 148 per week and given two weeks to learn all the equipment and how to mix up to 12 microphones for music recordings.
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Much of RCA's business was what they called "custom" clients—independent labels not affiliated with RCA, but willing to pay for recording sessions at the proven hit-maker studio. One outstanding client was
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Porter was the first president of Vegas Music International (VMI), a record company formed in 1971 as a partnership between himself, artist manager Vic Beri, music publisher Frank Hooper, and Bob Reid of
879:. However, before the honor was conferred at the ceremony, a video was played of Atkins congratulating Porter, saying "you improved the echo sound tremendously and made things sound so big and so full."
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two years later); he said he could not hear himself the last time he sang there, and a new run was scheduled for January. Porter went to see Presley's first rehearsal there, and found three
326:. He mixed up to four microphones for television broadcast for $ 92 per week, equivalent to $ 962 today. At nearby RCA Records in 1959, the chief engineer was transferred after angering
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s Country & Western section declaring that he and his assistant, Tommy Strong, were "a couple of big dialers", ready to help RCA Custom Record Sales engage more independent labels.
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The atmosphere in the studio was important to Porter. He felt that the "music has to show the emotion of the artist", and he took pains to enhance the mood in the room. For the album
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magazine's Top 100, a feat none has matched. Porter's engineering career included over 7,000 recording sessions, 300 chart records, 49 Top 10, 11 Number Ones, and 37 gold records.
442:" and the ballad "Fame and Fortune". After Porter edited the two songs from the session tape, an RCA executive took the tapes from his hands to fly them to New York, where
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loudspeaker sound system for the racquetball court and an adjoining lounge. On tour, Porter specified the best-sounding, most roadworthy equipment that existed: he used a
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By October 1960, Porter was pulling in so many non-RCA clients that RCA decided to emphasize that side of the business. RCA Records placed a full-page advertisement in
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559:—but the audio equipment owned by Foster was inferior. The EMT plate was not as good for reverb effects. No top ten hits were engineered by Porter at Foster's studio.
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In 2003, Porter won the William T. Kemper Award for Excellence in Teaching, and he was honored with a lifetime achievement award from the St. Louis chapter of the
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In 1969, Porter and his maintenance technicians modified the 12-input, 4-output mixing console to give it 8 outputs, and made their own 8-track tape recorder from
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hanging 18 feet (5.5 m) high above the stage, with only one working. The hotel's engineers did not get the other two to work, so Porter had some of his own
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in Nashville, where Porter was responsible for the sound. (At the time, there was only one studio, with no letter designation. In 1964, when the larger
959:, and he moved his belongings, including thousands of records, to Ogden in 2006 to be with her. The two married in 2006. Porter's health declined from
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a master and hopefully live to talk about it." In July, the song went to number one on the U.S. country and pop charts, and Porter's reputation rose.
916:, recorded during Porter's stint with Monument Records. Regarding the Nashville Sound, Porter believed that it was in the people who were involved:
342:; it was a crossover success in both the country music and the pop music charts, and Porter began to be requested by name. In June 1959, he mixed "
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in Las Vegas and on the road, under the business name Captain Audio Productions. He consulted on television specials for Ann-Margret and for
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In December 1969, Presley called Porter to ask him to fix the sound for him in the main showroom at the International Hotel (renamed the
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475:". For that session, Porter discarded his standard mix style of building up from a foundation of percussion, and instead used the vocal
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and get a cleaner sound returning from the device. So much signal was being sent to the plate that Porter disconnected the associated
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stop, so he decided to leave the company. RCA's legal department said they found nothing wrong with the practice, and RCA executive
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471:. Porter was able to create for Orbison his trademark sound, with background vocals brought nearer the foreground, beginning with "
700:, who designed a powerful stage monitor system for Presley's show. In August 1977, Porter was changing planes in Boston to fly to
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music professor, Porter helped create the first college program in audio engineering, and went on to teach similar courses at the
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arranging. While editing the master to be sent to New York for pressing, Porter accidentally hit the wrong controls on the
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875:. Porter asked Chet Atkins to accompany him to the ceremony, but Atkins could not attend because of a prior engagement at
555:. Porter found the studio's acoustic space to be superior to RCA's Studio B—it was a high-ceilinged room built to house a
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when he was 10. He grew up loving jazz music and baseball, and for a time considered an athletic career starting with the
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in Nashville, where he stayed for six months, bringing some of his custom clients with him. He left Columbia for
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2692:"Veteran Musician and Young Engineer Open the City's Newest Recording Studio—It's Also the City's Only Studio".
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by Sandi Scott, which did not take off. Better results came soon; in the first year of business, VMI songwriter
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VMI was housed in Porter's United Recording building. The first VMI release was in December 1971—the album was
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Porter's fourth wife, Mary, died while he was teaching in St. Louis. In 2004 he met Carole Smith, a native of
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freight trains passing the building. Porter made recordings at his studio for artists such as personal friend
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Porter in 1972, wearing a lightning bolt pendant given to him by Elvis Presley, who was standing to his left.
2868:"Webster Mourns the Passing of Legendary Sound Engineer and Webster Audio Production Professor Bill Porter"
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called Porter to ask him to stay, but he determined that he did not want to be "dictated to" by personnel.
2761:"The Candle Vegas Music International was Lighting on Its First Birthday Cake Turned Out to be a Rocket".
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was built, the original studio was renamed as "Studio B".) The studio's acoustics were problematic, with
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U-47 on Presley's voice, recording several songs through the night of March 20–21, 1960, including "
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Shortly after starting with RCA on March 31, 1959, Porter mixed the single "Lonesome Old House" for
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and a related single were announced by VMI in late 1972. Other artists recording with VMI included
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Full page advertisement. "A Couple of Big Dialers! Say 'Howdy' to Bill Porter and Tommy Strong."
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installed in other recording studios around the world. The EMT reverb was an electro-mechanical
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from the late 1950s through the 1980s. In one week of 1960, his recordings accounted for 15 of
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in Los Angeles. Putnam was slimming down his business and wished to sell the studio now that
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As a freelance engineer, he continued to work recording dates with famous artists including
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Late in life, Porter said that among his favorites of his career recordings were Atkins's
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In 1975, Porter took a call from Jerry Milam of Milam Audio and Golden Voice Recording in
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and Sammy Davis Jr. By 1980, he had served as engineer on more than 7,000 recordings.
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in the late 1980s, living outside of Denver with his wife Charmaine, "Boots". At the
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on June 15, 1931. His father, a professional baseball player, moved the family to
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2324:"Bill Porter Plays Favorites – An Elvis Presley Recording Session and More"
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Rumble, John W. (1997). "Behind the Board with Bill Porter: Part Three".
2387:"Recording Elvis and Roy With Legendary Studio Wiz Bill Porter – Part II"
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2788:. Vol. 84, no. 51. Nielsen Business Media. December 16, 1972.
2742:. Vol. 83, no. 51. Nielsen Business Media. December 18, 1971.
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Rumble, John W. (1996). "Behind the Board with Bill Porter: Part Two".
3020:
Rumble, John W. (1996). "Behind the Board with Bill Porter: Part One".
2765:. Vol. 84, no. 45. Nielsen Business Media. November 4, 1972.
2696:. Vol. 85, no. 49. Nielsen Business Media. December 8, 1973.
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from nearby broadcast transmitters, and rumbling noises generated by
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and stretched the tape at the beginning of the song, distorting the
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These songs engineered by Porter placed in the top ten in the U.S.
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no previous experience in live sound. Porter quickly learned about
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2719:. Vol. 83, no. 19. Nielsen Business Media. May 8, 1971.
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2845:. Vol. 92, no. 29. Nielsen Business Media. p. 41.
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2294:"Sound Engineer Bill Porter to Appear at Elvis Week August 2006"
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Author John McClellan, biographer of Atkins, writes of Porter's
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wrote "I Will Never Pass This Way Again", a modest success for
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Roy Orbison: the invention of an alternative rock masculinity
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Porter taught audio engineering and music history at the
2514:. Nielsen Business Media. October 31, 1960. p. 29.
908:, an album recorded with lush string orchestration, and
3005:. Vol. 2. Mel Bay Publications. pp. 149–152.
2808:"Bill Porter Speaks at New AES Student Section Opening"
863:
In 1992, the TEC Foundation inducted Porter into their
2418:. Sound matters. Temple University Press. p. 48.
2971:"'Nashville Sound' creator recalled in Cornersville"
2784:"VMI's Bill Porter Writes CMA Sound Technique Aid".
2236:"Mr. Natural: Recording Engineer Bill Porter Part I"
2042:"Mr. Natural: Recording Engineer Bill Porter Part 1"
2191:"Audiophile Elvis From Bill Porter, RCA, & DCC"
2078:. Country Music Hall of Fame Museum. Archived from
2870:. Webster University. July 8, 2010. Archived from
2814:. Preston Media. December 16, 2003. Archived from
2649:"Touring pay, major act, name engineer circa 1974"
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2267:. Vol. 2. Mel Bay Publications. p. 149.
891:three dimensions of sound—width, height and depth.
2558:""What A Wonderful World"Louis Armstrong:1967-68"
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362:. Without telling anyone, he spliced a different
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578:In August 1966, Porter and his family moved to
314:Porter began his engineering career in 1954 at
148:(June 15, 1931 – July 7, 2010) was an American
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2534:"Six Recording Studios Handle Contract Work".
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2715:"Porter Eyes New Record Firm for Las Vegas".
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2618:"'Suspicious Minds': Elvis' Greatest Single?"
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867:Hall of Fame, along with synthesizer pioneer
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2839:"7,000-Session Engineer Rips Today's Sounds"
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3067:Bill Porter talks to Michael Fremer (1987)
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2738:"From the Music Capitals of the World".
2653:Sound Reinforcement Forums: The Basement
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2466:Blakely, Larry (August–September 1982).
2345:Slaughter, Todd; Nixon, Anne E. (2004).
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2999:McClellan, John; Bratic, Deyan (2004).
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2593:. Taipale Media Systems. Archived from
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2261:McClellan, John; Bratic, Deyan (2004).
732:, the song covered by others including
624:in 1968. Porter’s studio also recorded
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692:equalizers. The tour was supported by
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639:parts. In August, Presley's producer
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2201:from the original on 2 February 2007
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2894:"TEC Awards Hall of Fame Inductees"
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2385:Fremer, Michael (January 1, 2006).
2322:Fremer, Michael (January 1, 2006).
2074:Porter, Bill (September 13, 1995).
1697:(Marie's the Name) His Latest Flame
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16:American audio engineer (1931–2010)
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2837:Penchansky, Alan (July 18, 1980).
2647:Brenkman, Lee (January 15, 2010).
2120:Petersen, George (July 13, 2010).
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2922:. Elvis Unlimited. Archived from
2628:from the original on 23 June 2010
2616:Patterson, Nigel; Piers Beagley.
3112:People from the Las Vegas Valley
2896:. TEC Foundation. Archived from
2468:"Bill Porter: Engineering Elvis"
2389:. MusicAngle.com. Archived from
2238:. MusicAngle.com. Archived from
265:while studying electronics at a
3002:Chet Atkins in Three Dimensions
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2920:"Funeral Today for Bill Porter"
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2264:Chet Atkins in Three Dimensions
2234:Fremer, Michael (May 1, 2009).
229:. Porter was inducted into the
209:Porter mixed concert sound for
2128:. Penton Media. Archived from
2034:
1797:(You're the) Devil in Disguise
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2655:. ProSoundWeb. Archived from
2351:. Omnibus Press. p. 57.
2003:
848:University of Colorado Denver
643:brought the master tape for "
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219:University of Colorado Denver
3048:The Journal of Country Music
3035:The Journal of Country Music
3022:The Journal of Country Music
2300:. 2006-06-12. Archived from
2031:McClellan, 2004, pp. 151–152
770:Gladys Knight & the Pips
762:SĂ©rgio Mendes and Brasil '77
597:radio frequency interference
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562:On the advice of his agent,
350:, with Atkins producing and
261:in 1949, then served in the
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1989:It Keeps Right On a-Hurtin'
1377:Please Help Me, I'm Falling
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408:, German makers of similar
263:United States Army Reserves
156:and recorded stars such as
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3143:
3127:Audio production engineers
3122:Webster University faculty
2076:"Bill Porter Oral History"
520:Christmas with Chet Atkins
259:East Nashville High School
2677:Rumble, Part Three, p. 28
2622:Elvis Information Network
1637:Are You Lonesome Tonight?
897:Audio Engineering Society
793:Country Music Association
135:
124:
94:
83:
61:
40:
28:
21:
3092:American audio engineers
2122:"Bill Porter, 1931–2010"
1913:Sad Movies (Make Me Cry)
1891:Ronny & the Daytonas
1397:Let's Think About Living
1025:500 Miles Away from Home
588:United Western Recorders
549:Fred Foster Sound Studio
449:Are You Lonesome Tonight
2177:McClellan, 2004, p. 150
2157:McClellan, 2004, p. 149
2103:Rumble, Part One, p. 27
1165:I Can't Stay Mad at You
993:Highest chart position
905:The Most Popular Guitar
416:used to add artificial
267:University of Tennessee
2950:Vintageaudioportal.com
2412:Lehman, Peter (2003).
1005:What a Wonderful World
893:
630:What A Wonderful World
467:, bringing his client
311:
295:
233:Hall of Fame in 1992.
3107:People from Las Vegas
3102:People from St. Louis
2946:"Recording Engineers"
2900:on September 14, 2010
2597:on September 22, 2010
2481:(8–9). Archived from
888:
828:Frost School of Music
820:South Pekin, Illinois
766:Ike & Tina Turner
535:Columbia and Monument
301:
289:
269:extension program in
190:Ike & Tina Turner
152:who helped shape the
90:and college professor
3097:Grammy Award winners
2242:on November 26, 2010
2082:on December 17, 2010
1817:Crying in the Chapel
1325:That's Old Fashioned
1225:When Will I Be Loved
1065:The Old Lamp-Lighter
871:and record producer
290:Porter's console at
257:. He graduated from
2975:Marshalltribune.com
2926:on December 9, 2010
2587:"Mixing Techniques"
2298:Music City Networks
1319:The Everly Brothers
1299:The Everly Brothers
1279:The Everly Brothers
1259:The Everly Brothers
1239:The Everly Brothers
1219:The Everly Brothers
1199:The Everly Brothers
1185:(Till) I Kissed You
1179:The Everly Brothers
961:Alzheimer's disease
824:University of Miami
814:University of Miami
388:creating an uneven
386:resonant room modes
241:Porter was born in
215:University of Miami
166:the Everly Brothers
146:Billy Rhodes Porter
119:University of Miami
55:St. Louis, Missouri
23:Billy Rhodes Porter
2591:Church Sound Check
2348:The Elvis Archives
1305:Crying in the Rain
852:Webster University
390:frequency response
312:
296:
223:Webster University
2874:on March 15, 2012
2562:Pophistorydig.com
2195:Audio Ideas Guide
2001:
2000:
1617:It's Now or Never
859:Awards and legacy
722:To Be Free and 18
669:acoustic feedback
580:Las Vegas, Nevada
453:It's Now or Never
143:
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2818:on July 17, 2009
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2659:on July 15, 2011
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2488:on June 29, 2011
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2398:
2393:on July 14, 2011
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2326:. MusicAngle.com
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2046:Analogplanet.com
2038:
2032:
2029:
1983:Johnny Tillotson
1963:Johnny Tillotson
1949:Poetry in Motion
1943:Johnny Tillotson
1857:He'll Have to Go
1837:Suspicious Minds
1777:Return To Sender
1577:Oh, Pretty Woman
1145:End of the World
1125:San Antonio Rose
981:
980:
914:Byrd of Paradise
804:Barbra Streisand
652:Las Vegas Hilton
645:Suspicious Minds
541:Columbia Records
513:
490:Oh, Pretty Woman
461:Monument Records
310:, August 5, 1972
277:Recording career
178:Barbra Streisand
111:Monument Records
107:Columbia Records
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2048:. 30 April 2009
2040:
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2015:
2006:
1737:Good Luck Charm
1437:Only The Lonely
1265:Walk Right Back
1045:The Three Bells
999:Louis Armstrong
969:
950:the Jordanaires
940:, Velma Smith,
920:, Ray Edenton,
861:
844:
816:
778:Harry Belafonte
754:Sammy Davis Jr.
748:'s first album
718:Vancouver, B.C.
702:Portland, Maine
626:Louis Armstrong
576:
537:
511:
473:Only the Lonely
463:under producer
344:The Three Bells
284:
279:
239:
194:Sammy Davis Jr.
162:Louis Armstrong
154:Nashville sound
130:Nashville sound
128:Pioneering the
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3061:External links
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926:Harold Bradley
860:
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836:Jimmy Swaggart
815:
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726:Ronnie Gaylord
712:in 1972–1973.
694:Clair Brothers
686:mixing console
656:stage monitors
622:Caesars Palace
575:
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547:to manage the
536:
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494:Boots Randolph
486:Running Scared
444:record presses
283:
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150:audio engineer
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125:Known for
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88:Audio engineer
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69:(aged 79)
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675:
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661:
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641:Felton Jarvis
638:
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601:Union Pacific
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356:tape recorder
353:
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332:New York City
329:
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317:
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305:
304:Elvis Presley
300:
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274:
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256:
255:minor leagues
252:
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211:Elvis Presley
207:
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186:Skeeter Davis
183:
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174:Gladys Knight
171:
170:Elvis Presley
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115:Elvis Presley
112:
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84:Occupation(s)
82:
78:
74:
64:
60:
56:
51:June 15, 1931
43:
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32:
27:
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3001:
2992:Bibliography
2978:. Retrieved
2974:
2965:
2953:. Retrieved
2949:
2940:
2928:. Retrieved
2924:the original
2914:
2902:. Retrieved
2898:the original
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2130:the original
2125:
2084:. Retrieved
2080:the original
2050:. Retrieved
2045:
2036:
1927:Sue Thompson
1907:Sue Thompson
1597:Stuck On You
1371:Hank Locklin
1119:Floyd Cramer
1099:Floyd Cramer
1079:Floyd Cramer
973:
970:
954:
938:Floyd Cramer
922:Buddy Harman
918:Hank Garland
913:
903:
901:
894:
889:
881:
862:
845:
832:
817:
801:
797:
790:
774:Danny Thomas
749:
746:Benny Hester
742:Wayne Newton
721:
714:
664:loudspeakers
649:
634:
614:Mercy, Mercy
612:
592:Wally Heider
577:
561:
553:Sam Phillips
538:
529:Steve Sholes
525:
518:
516:
508:
506:
457:
440:Stuck On You
432:
423:audio signal
414:echo chamber
403:
382:RCA Studio A
373:Owen Bradley
369:
337:
313:
302:Porter with
294:in Nashville
292:RCA Studio B
240:
208:
202:
145:
144:
67:(2010-07-07)
65:July 7, 2010
3087:2010 deaths
3082:1931 births
3054:(1): 24–31.
3041:(2): 20–30.
3028:(1): 27–40.
1969:Without You
1571:Roy Orbison
1551:Roy Orbison
1531:Roy Orbison
1511:Roy Orbison
1491:Roy Orbison
1471:Roy Orbison
1451:Roy Orbison
1431:Roy Orbison
957:Ogden, Utah
873:Phil Ramone
869:Robert Moog
786:Louis Prima
782:Bobby Darin
706:Ann-Margret
584:Bill Putnam
568:MGM Records
564:Wesley Rose
469:Roy Orbison
465:Fred Foster
378:RCA Studios
328:Chet Atkins
282:RCA Records
198:Roy Orbison
158:Chet Atkins
95:Employer(s)
3076:Categories
2308:2007-02-12
2274:0786658770
2205:2007-02-12
2004:References
1851:Jim Reeves
1517:Dream Baby
1457:Blue Angel
1343:"Together"
1285:Ebony Eyes
1059:The Browns
1039:The Browns
1019:Bobby Bare
990:Year-month
946:Anita Kerr
910:Jerry Byrd
884:golden ear
865:TEC Awards
808:Diana Ross
738:Vikki Carr
734:Brenda Lee
618:live album
609:Buddy Rich
498:Yakety Sax
436:Telefunken
398:fiberglass
394:petty cash
352:Anita Kerr
348:the Browns
340:Don Gibson
237:Early life
231:TEC Awards
182:Diana Ross
103:RCA Victor
47:1931-06-15
2851:0006-2510
2843:Billboard
2794:0006-2510
2786:Billboard
2771:0006-2510
2763:Billboard
2748:0006-2510
2740:Billboard
2725:0006-2510
2717:Billboard
2702:0006-2510
2694:Billboard
2544:0006-2510
2536:Billboard
2520:0006-2510
2512:Billboard
2492:August 3,
2136:August 2,
2009:Footnotes
1871:Tommy Roe
1657:Surrender
1557:It's Over
1537:In Dreams
1411:Bob Moore
1391:Bob Luman
1085:Last Date
974:Billboard
930:Bob Moore
674:Graceland
605:Paul Anka
574:Las Vegas
509:Billboard
482:It's Over
324:Tennessee
320:Nashville
308:Paul Anka
271:Nashville
251:Tennessee
243:St. Louis
227:St. Louis
203:Billboard
2980:14 March
2955:14 March
2930:July 11,
2626:Archived
2567:14 March
2199:Archived
2197:. 2000.
2052:14 March
1931:"Norman"
1895:"G.T.O."
967:Top tens
710:Bob Hope
545:Monument
427:VU meter
247:Missouri
136:Children
2904:July 8,
2878:July 8,
2822:July 8,
2663:July 8,
2632:July 8,
2601:July 8,
2397:July 8,
2330:July 8,
2246:July 8,
2086:July 8,
1994:1962-05
1974:1961-08
1954:1960-10
1934:1961-12
1918:1961-09
1898:1964-08
1882:1962-07
1862:1960-01
1842:1969-09
1822:1965-04
1802:1963-06
1782:1962-11
1762:1962-08
1742:1962-03
1722:1961-08
1702:1961-06
1682:1961-04
1662:1961-02
1642:1960-11
1622:1960-07
1602:1960-04
1582:1964-08
1562:1964-04
1542:1963-02
1522:1962-02
1502:1961-08
1482:1961-04
1462:1960-09
1442:1960-06
1422:1961-08
1402:1960-09
1382:1960-05
1362:1964-01
1355:Al Hirt
1346:1961-07
1330:1962-05
1310:1962-01
1290:1961-02
1270:1961-02
1250:1960-09
1230:1960-06
1210:1960-04
1190:1959-08
1170:1963-09
1150:1962-12
1130:1961-06
1110:1961-03
1090:1960-10
1070:1960-03
1050:1959-08
1030:1963-10
1013:1 (UK)
1010:1968-02
978:chart:
976:Hot 100
502:Al Hirt
488:" and "
316:WLAC-TV
99:WLAC-TV
3009:
2849:
2792:
2769:
2746:
2723:
2700:
2542:
2518:
2422:
2355:
2271:
1877:Sheila
1497:Crying
1417:Mexico
1359:"Java"
1245:So Sad
984:Artist
944:, the
500:" and
346:" for
221:, and
196:, and
2486:(PDF)
2471:(PDF)
750:Benny
684:PRO4
682:Midas
660:Shure
637:Ampex
512:'
360:pitch
73:Ogden
3007:ISBN
2982:2023
2957:2023
2932:2010
2906:2010
2880:2010
2847:ISSN
2824:2010
2790:ISSN
2767:ISSN
2744:ISSN
2721:ISSN
2698:ISSN
2665:2010
2634:2010
2603:2010
2569:2023
2540:ISSN
2516:ISSN
2494:2010
2420:ISBN
2399:2010
2353:ISBN
2332:2010
2269:ISBN
2248:2010
2138:2010
2088:2010
2054:2023
987:Song
784:and
740:and
690:UREI
688:and
496:'s "
484:", "
451:", "
364:take
306:and
77:Utah
62:Died
41:Born
2812:Mix
2475:Mix
2126:Mix
1033:10
912:'s
826:'s
628:’s
620:at
611:'s
586:of
492:".
406:EMT
318:in
225:in
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2044:.
2016:^
1997:3
1977:7
1957:2
1937:3
1921:5
1901:4
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