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Reviews

Reviews for Rebekah Del Rio & Love Hurts Love Heals

Myles Matisse – Los Angeles based Video DJ, Musician, Writer

Finished listening to the entire “Love Hurts Love Heals” album and I’m finding I’m going back to it. I’ve gotta say it’s a very moving step forward from the previous “All My Life” CD and vocally is at an all new level. More powerful with nuance, emotion and layers upon layers of cinematic flavors that stun. The rawness and true, soul squeezing end result of all the songs is very moving. And, one noticeable difference is that much of the new album is in English, an enjoyable departure from “All My Life” and one that adds new depth and mystique to Rebekah’s already legendary status as a singer and artist.

“Before We Say Goodbye” is a deep, deep love song with a calm force behind Rebekah’s layered and emotive voice. Lush.

“Betty Blue” is a wondrously beautiful & haunting song. Gorgeous and dangerously seductive.

“Damned” is wonderful. The drums add a rockin’, groove quality that lifts the song. But, it’s Rebekah’s voice that punches through, proving quite simply how wonderfully powerful her voice is. This is the type of song I waited for on “All My Life”. Well, the wait is over. This song is EPIC and a look into the pain of being damned in love!

“Delicious Mistake” creeps up on you and locks you in a tight embrace of the soul and doesn’t let up til the last organ note. The strings give the song profound beauty. God help you if you attempt to escape.

“El Amor” is an exquisite Spanish song where Rebekah’s voice literally cries for love. Heavenly in it’s raw expression.

“I Just Want U 2 B Loved” is a violin laden, cabaret style gem that aches with longing for a loved one to be loved.

“Lean On” is Rebekah exploring a folk, country kind of approach with a hint of gospel. A remarkable and smooth exploration of a past era of Rebekah’s music.

“Love Hurts Love Heals” will make you weep. This is Rebekah Del Rio performing in a raw, explosively emotive way that I don’t think has ever been captured in song. It starts out quietly, while at the same time squeezing your heart. Then around the 2 1/2 minute mark when you’ve been brought to your knees, the tempo changes into a fiery, celebratory romp where you’ll find yourself on your feet, getting your best Latin dance moves going. Sexy, naughty and glorious.

“No Stars” is one I’ve waited to see on a RDR release. Written by Rebekah Del Rio, David Lynch and Lynch’s longtime engineer John Neff while she was fresh off her “Mulholland Drive” film performance, this is Rebekah in peak form, and one where she takes you on a sonically cinematic journey that heals. A stunning example of musical & romantic purity.

“Temporary” begins with just a piano, with Rebekah’s voice coming in to comfort, embrace and reassure that all hardships and difficult times are only temporary. Like an angel from Heaven, she rescues one from depression and anguish on this.

“Love Hurts Love Heals” is a masterpiece showcasing Rebekah Del Rio’s power, grace, sensitivity, sensuality and complete authority as a songstress of the highest order. This new album will be a journey that will haunt you beautifully for a long time after the last song ends.

The review of Rebekah’s album “LOVE HURTS LOVE HEALS” wouldn’t be complete without writing about the closing song, “1111 One One One One”. A perfect way to close the album as it brings everything back to “One”. Listening to it is like a calming form of meditation where you feel at one with yourself, at one with the world around you, at one with the universe and at one with her song. Beautiful and empowering.

J. Hoberman, Village Voice
“at the show’s climax, Rebekah Del Rio sings an a cappella Spanish-language version of “Crying.” She collapses onstage, but the song continues”

Steve Warren, Reeltime
“don’t forget the performance art in the middle of the night at Silencio’s, where Rebekah del Rio sings a kickass “Llorando” (Roy Orbison’s “Crying” in Spanish)”.

SignalStation
“possibly the best effect yet in his films, [David Lynch] indulges in his fetish for lip-syncing, as Rebekah del Rio delivers a powerful a capella version of “Llorando”– Roy Orbison’s “Crying”, almost unrecognizable in Spanish without backing music. Del Rio’s unadorned singing moves the main characters, listening, to tears– and then she abruptly collapses while the music continues without her, the vocals merely a prerecorded track.”

Gregory Weinkauf, SF Weekly
“there is a scene of dreamy genius involving a nightmare cabaret club called Club Silencio, visited by Betty and Rita, wherein Rebekah Del Rio croons a uniquely twisted version of Roy Orbison’s “Crying”. Utterly enthralling.”

Dennis Lim, Village Voice
Mulholland Drive’s rupture point is cued by a Spanish-language version of Roy Orbison’s “Crying.” Lynch says his discovery of the singer, Rebekah del Rio, was a “happy accident”: A music-agent friend brought her over to his recording studio, and “four minutes off the street, she hadn’t even had her coffee,” Del Rio belted out a stunning a capella “Llorando.” Lynch wrote her—and that very recording—into the film. To hear him tell it, her choice of song was destiny. “In 1985, going through Central Park, I heard Roy Orbison’s version of ‘Crying’ on the radio. I was riding with Kyle MacLachlan, and we were going down to start shooting Blue Velvet, and I said, ‘I gotta get that song!’ I got an album with Roy’s greatest hits, and I listened to ‘Crying,’ but listening to it again, it didn’t marry with the film. I was a little bit depressed, but I kept listening, and I heard ‘In Dreams,’ and instantaneously, every note, every nuance married to the film. It was ‘Crying’ that led to ‘In Dreams,’ and years later, it comes back but in a completely different way.”

The scene is accompanied by convulsive weeping—a recurring motif in Lynch’s films, most conspicuously in the Twin Peaks pilot and Fire Walk With Me. “The thing about crying is, it’s contagious, you know, if there’s some honesty to it,” he says. “On The Straight Story, in the editing room, I’d just be sobbing my eyes out.”

Jonathan Richards, filmfreak
“a mesmerizing Spanish rendition of Roy Orbison’s “Crying” ends with the performer (Rebekah Del Rio) collapsing onstage while the song continues eerily to sing itself”.

Andrew Chan, Filmwritten Magazine
When a Spanish singer (Rebekah Del Rio) steps out of the curtains and belts out a Roy Orbison tune, the effect is not only overwhelming to the two heroines but to Lynch’s audience as well. The soaring vocals and the aching song work us into an emotional frenzy

Jon Kern, Jiminy Critic
“If Mulholland Dr has an essence, it is captured in one particular scene. A singer, we are told her name is Rebekah Del Rio, drunkenly stumbles towards a microphone at the center of the stage. She is alone, and we watch her from the balcony. After collecting herself, she breaks into a haunting, heart-rending rendition of Roy Orbison’s Crying in Spanish. A close-up of the singer’s face shows a single tear drop colorfully painted beneath her right eye. Betty and Rita watch from the balcony, visibly disturbed and emotionally moved. Generic theatrical Tears-from-a-Bottle roll down that well-carved path in their pretty cheeks. Suddenly the singer collapses while the recording, actually voiced by Rebekah del Rio, continues on. Betty and Rita quickly gather themselves, the moment now broken by the apparent artificiality. Does it matter?”

Christopher Kelly, Entertainment News Daily
Angelo Badalamenti’s lush and enveloping score; Rebekah Del Rio, who sings an a capella, Spanish-language version of Roy Orbison’s “Crying” that may be one of the most wrenching musical performances ever committed to film.

Robert Denerstein, Rocky Mountain News
In an interview with David Lynch: “my favorite moment in Mulholland Drive. It’s when Rebekah Del Rio sings an a cappella version of Roy Orbison’s Crying.”

John Powers, LA Weekly
“a Latina singer belt(s) out a song with wrenching passion. It’s a dazzling star turn.”

John Stackpole, Audience Magazine
“there was a moment—a truly inspired cinematic moment—late in the film when Rebekah Del Rio sings an a cappella version of Roy Orbison’s Crying in Spanish. At the end, my jaw literally dropped. That one scene made the whole movie worthwhile.”

Stephen Holden, New York Times
“as in Blue Velvet, a Roy Orbison ballad (“Crying,” sung stunningly a cappella and in Spanish by Rebekah Del Rio) supplies an expressionistic flourish”.

Richard Sharp, Movie Habit
“About 2/3 of the way into David Lynch’s latest sensual mind-f@#% noir, Mulholland Drive, the film’s leading females (Naomi Watts and Laura Harring) take a visit to a hyper-surreal nightclub in an abandoned alley. Inside the club (¡Silencio!) they experience a dreamland variety show, where a sequence of performers carry out a vaudevillean stage show with the apparent aid of a soundtrack running behind the curtain. The show revolves around the way that sound affects audience perception, climaxing with a spine tingling Spanish version of Roy Orbison’s “Crying” by unknown vocalist Rebekah Del Rio. When “Llorando” begins, it looks suspiciously like Del Rio isn’t doing the singing herself. The action is disorienting, and the song seems forced. As the vocals and images synch, the effect is genuinely breathtaking, and Del Rio’s a capella sails through the theater.”

Aquarius Records
Have you seen this film yet? It’s so amazing! Worth the price of this disc alone is Rebekah Del Rio’s version of Roy Orbison’s “Crying”, sung in Spanish and totally spine-chillingly good.

Barnes & Noble.com, 5 out of 5 stars
Llorando (Crying) by Rebekah Del Rio Makes it worth it! Rebekah Del Rio performs a haunting, incredible rendition of Roy Orbison’s “Crying” in Spanish that is not to be believed. Her voice is so amazing you’ll have chills.”

Theresa Dolan, Los Angeles, CA
Take me back to Silencio!, 4 out of 5 stars

“This music is practically just as good at home as it was on film since it’s all so powerful, unforgettable, and conjures up each scene all over again. Highlights are the opening track, which I’m sure would result in the whole block busting out in the Jitterbug if I played it out the window; the cover of “I’ve Told Every Little Star,” which somehow still carries the combined dread and sexual charge of the recording scene in the movie; “the Beast,” which could have been written by Gumby; and of course the theme song, which is haunting and beautiful at any time of day. I recommend the CD even if you haven’t seen the movie, but if you have, it’s the perfect memento.”

Heather Phares, All Music Guide
Like every collaboration between David Lynch and Angelo Badalamenti, Mulholland Drive’s soundtrack is equally eerie, elegant, and eclectic, spanning the up-tempo swing of “Jitterbug” and the haunting drones of the film’s main theme in its first two tracks alone. Badalamenti’s work ranges from the jazzy “Dinner Party Pool Music” to the ominous ambience of “Diner,” “Silencio,” and “Dwarfland/Love Theme.” Lynch’s own surfy, guitar-based compositions, “Mountains Falling” and “Go Get Some,” aren’t quite as transporting as Badalamenti’s pieces, but they do offer a sonic twist on the sunny California that Lynch subverts in the film. Similarly, Linda Scott’s sugary-sweet “I’ve Told Every Little Star” takes on a slightly disturbing edge in the context of the album, while “Llorando,” Rebecca Del Rio’s Spanish a cappella version of Roy Orbison’s classic “Crying,” only sounds more vulnerable and heart-wrenching. More focused than the Lost Highway soundtrack and more traditionally Lynchian than the score for The Straight Story, Mulholland Drive is a mysterious and affecting soundtrack from one of the most consistently creative teams working in film.

Barnes & Noble.com
Rebekah del Rio kicks serious butt, 5 out of 5 stars

The high point of the film and the soundtrack, IMHO, is the astonishing performance of ‘Llorando’ (Roy Orbison’s ‘Crying’ performed in Spanish a cappella). It’s worth the price of admission and then some.

Anthony Lake, the New Yorker
“when a woman named Rebekah Del Rio – a real life singer from Los Angeles – sobs her soul out in a stage rendition of “Llorando,” she ends up swooning to the floor, yet her voice carries on. She was miming to a tape, yet the mimicry of passion was enough to fell her”.

Dustin Putman, all-reviews.com, 4 out of 4 stars
“Rebekah Del Rio performs Roy Orbison’s “Crying’” in a nightclub completely in Spanish, and it is such an overwhelmingly powerful rendition that she leaves onlookers Betty and Rita in tears”.

Fionn Meade, Amazon.com Reviews
Triggered by a rapturous Spanish-language version of Roy Orbison’s “Crying,” Lynch’s best film since Blue Velvet splits glowingly into two equally compelling parts. –

Adam Nayman, Eye
“Lynch has always emphasized music in his films, especially Blue Velvet, which pivoted on Isabella Rossellini’s haunting refrain of the title song. Mulholland Drive’s greatest aural stunner is a breathtaking rendition of Roy Orbison’s “Crying,” sung in Spanish by actor Rebekah Del Rio. Her performance is eventually revealed to be a hoax: in this world, apparently, it is not enough to merely mistrust your eyes, but your ears as well. But when film music is this seductive, that’s a difficult proposition.”

Chief Engineer, John Neff Interviewed by Dugpa.com

Dugpa: I noticed on the trailer, there was a new face… Rebekah Del Rio, who performs a cover of Roy Orbison’s “Crying”. Could you tell us about that?

John Neff: Yes. A Spanish version of Crying, which in Spanish is “Llorando” or in certain areas of the Spanish-speaking world, it’s “Jorando”, which is how she pronounces it. She came into the studio with her agent in November or December of ‘98. And she walked in, and the guy was telling us what a great voice she had… she’s real nice, she’s very personable, and very friendly, and Dave just… she’s in there 5 minutes and he says “Well, sing us something.” Meanwhile, I had a beautiful old tube mic heated up in an isolation room, and a Protools system up and running. So she walked in the booth, put on headphones, I had some reverb on it, and she blasts out “Llorando” right there. And except for one tiny edit, just to shorten a note just a hair, what you hear in the film is exactly what she walked in the room and did. No EQ. No compression. No nothing. Just reverb added. She walked in and knocked this out a cappella, and knocked us out right off the bat. David wrote her into the TV Pilot based on that. So then that didn’t go anywhere, but now she’s in the movie, and it’s sort of a pivotal scene. And we’re also producing some other stuff with her. We’ve got one song finished, and a couple of other songs started with her. We’ll also have some showcase shows slightly after the film is released.