an agonised, beautiful bang". Bruce Springsteen and Billy Joel both commented on the otherworldly quality of Orbison's voice. Dwight Yoakam stated that Orbison's voice sounded like "the cry of an angel falling backward through an open window". Barry Gibb of The Bee Gees went further to say that when he heard "Crying" for the first time, "That was it. To me that was the voice of God." Elvis Presley stated Orbison's voice was the greatest and most distinctive he had ever heard. Orbison's music and voice have been compared to opera by Bob Dylan, Tom Waits, and songwriter Will Jennings, among others. Dylan marked Orbison as a specific influence, remarking that there was nothing like him on radio in the early 1960s: Likewise, Tim Goodwin, who conducted the orchestra that backed Orbison in Bulgaria, had been told that Orbison's voice would be a singular experience to hear. When Orbison started with "Crying" and hit the high notes, Goodwin stated: "The strings were playing and the band had built up and, sure enough, the hair on the back of my neck just all started standing up. It was an incredible physical sensation." Bassist Jerry Scheff, who backed Orbison in his A Black and White Night concert, wrote about him, "Roy Orbison was like an opera singer. His voice melted out of his mouth into the stratosphere and back. He never seemed like he was trying to sing, he just did it." His voice ranged from baritone to tenor, and music scholars have suggested that he had a three- or four-octave range. Orbison's severe stage fright was particularly noticeable in the 1970s and early 1980s. During the first few songs in a concert, the vibrato in his voice was almost uncontrollable, but afterward, it became stronger and more dependable. This also happened with age. Orbison noticed that he was unable to control the tremor in the late afternoon and evenings, and chose to record in the mornings when it was possible. Performance Orbison often excused his motionless performances by saying that his songs did not allow instrumental sections so he could move or dance on stage, although songs like "Mean Woman Blues" did offer that. He was aware of his unique performance style even in the early 1960s when he commented, "I'm not a super personality—on stage or off. I mean, you could put workers like Chubby Checker or Bobby Rydell in