This song has as many breaks of standard time signature and radical chord changes as a '70s progressive rock song, but it's an early '60s rock n roll song. Furthermore, Roy Orbison had absolutely no regard for ordinary pop song form (verse/chorus/verse, etc.), and instead wrote songs sounding remarkably organic, like he made them up as he recorded them. Listen to everything in this song after the succulent middle bridge: He vamps on this single chord, finding all kinds of things to sing, not intending to fade out or anything, just meditating, letting music emanate as it pleased. He was very kind to music. His control came in egging on musical energy, not confining it. It's an odd connection, but I envy Janelle Monáe for the same quality.

Roy Orbison was not good-looking, wore sunglasses out of fear, sang about beautiful women, with his handsome voice. He composed everything around that voice; it was his secret weapon, against everything.