Under no circumstances should Roy Orbison's "Crying" ever be listened to by anyone who's even remotely depressed. The grief, regret, and eternal damnation to an existence drenched in tears that Orbison vividly invests with typically breathtaking vocal bravado could be overwhelming enough to drive anyone so inclined to end it all. For more stable types, "Crying" is simply a beautiful albeit heart-wrenching ballad that opens with an innocuous rhythm carried by tom-tom and acoustic guitar (the latter likely the work of Orbison himself) and steadily builds via sweeping strings and a heavy dose of melodramatic intensity to a climax of utterly shattering proportions. Orbison nails a stunning high note at the end, his mighty pipes holding it for what seems like an eternity as the strings and drums throb with sheer dread. Inspired by the Vernon, TX, native's broken love affair of a few years earlier (reportedly it was the Big O's favorite of all his classic compositions) and waxed with an array of music row's top sessioneers in smooth support, "Crying" vaulted to number two on Billboard's pop lists in late summer of 1961 -- his sixth hit for Fred Foster's Nashville-based Monument logo in little over a year and a half. Its flip side, the reassuringly lighthearted rocker "Candy Man," was simultaneously a sizable seller in its own right.