After having a surprise renaissance with his hit re-recording of "In Dreams" in 1986, Roy Orbison was once again an in demand pop superstar. Such a reawakening caught the ear of many singers and musicians who cited the Big O as an influence: Tom Petty, Jeff Lynne, Bono, Elvis Costello and several others sought to make sure Roy's comeback was not a fluke. The resulting collaborations resulted in "Mystery Girl."
It's very clear that the record's collaborators had the utmost respect for Orbison. The material given to him here is very strong throughout, with each song being a perfect match for Orbison's abilities, both vocally as well as subject wise. The record also manages to update Roy's sound to (then) contemporary standards, while not overwhelming it with the glossy sickness that was par for the course in the 1980s'.
Opening with the hit single "You Got It," it's clear that Roy is in peak form. Although it's probably the weakest song on the album, it's still a very charming retro rocker that recalls "(Oh) Pretty Woman" with its chugging backbeat and jangly guitar lines, as well as Roy's soaring, pleading vocal performance. While Roy was consistent throughout his career, "Mystery Girl" sees him soaring to new heights as a vocalist; his upper register still has the brightness of his youth but also carries a more mature, heavier sound, and his vibrato is stronger than ever, with a newfound stability to draw out and sustain certain notes and phrases for maximum effect.
As with most of Roy's output, the best songs on "Mystery Girl" are the ballads. Roy knew how to plumb the emotional depth of a song better than almost any other pop singer, and the ones here among his best. In particular, the quasi-title track "She's a Mystery to Me" is up there with his very best performances, with Roy's haunting, almost ghostly vocals perfectly embodying the distance the narrator feels towards his lover in the lyrics. Elvis Costello's magnificent "The Comedians" is a masterclass in how to build tension and drama; its marching rhythm allows Roy to sing each word right on beat and enunciate perfectly, drawing out the pathos as well as the quality of the lyrics like he was directing a suspense thriller. The final crescendo truly feels like the climax of a great film, something built up to so tautly that it doesn't feel rushed nor dragged out, instead having the perfect feel of release for both the singer and the listener.
Other standouts on the album include the longing, atmospheric "California Blue," the rollicking "All I Can Do Is Dream You," and the towering "A Love So Beautiful," a lachrymose ballad that Roy manages to elevate to something great thanks to his sense of dynamics and conviction. There really isn't a bad song on the album, though, thanks to the pedigree of the album's contributors, as even weaker songs such as "Windsurfer" still leave an impression.
"Mystery Girl" stands as Roy Orbison's best album, a top quality record that not only represents Roy's talent at their peak, but exemplifies why he was (and is) seen as such a seminal influence on following generations of singers and songwriters. It's a shame Roy never got to explore this newfound personal and professional windfall further, as he maybe could've even eclipsed what he accomplished here.
