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ROY ORBISON - ARTIST Of The WEEK


  Although he shared the same rockabilly roots as Carl Perkins, Johnny Cash, and Elvis Presley, Roy Orbison went on to pioneer an entirely different brand of country/pop-based rock & roll in the early '60s. What he lacked in charisma and photogenic looks, Orbison made up for in spades with his quavering operatic voice and melodramatic narratives of unrequited love and yearning. In the process, he established rock & roll archetypes of the underdog and the hopelessly romantic loser. These were not only amplified by peers such as Del Shannon and Gene Pitney, but also influenced future generations of roots rockers such as Bruce Springsteen and Chris Isaak, as well as modern country stars the Mavericks.

Orbison made his first widely distributed recordings for Sun Records in 1956. Roy was a capable rockabilly singer, and had a small national hit with his first Sun single, "Ooby Dooby." But even then, he was far more comfortable as a ballad singer than as a hepped-up rockabilly jive cat. Other Sun singles met with no success, and by the late '50s he was concentrating primarily on building a career as a songwriter, his biggest early success being "Claudette" (recorded by the Everly Brothers).

After a brief, unsuccessful stint with RCA, Orbison finally found his voice with Monument Records, scoring a number-two hit in 1960 with "Only the Lonely." This established the Roy Orbison persona for good: a brooding rockaballad of failed love with a sweet, haunting melody, enhanced by his Caruso-like vocal trills at the song's emotional climax. These and his subsequent Monument hits also boasted innovative, quasi-symphonic production, with Roy's voice and guitar backed by surging strings, ominous drum rolls, and heavenly choirs of backup vocalists.

Between 1960 and 1965, Orbison would have 15 Top 40 hits for Monument, including such nail-biting mini-dramas as "Running Scared," "Crying," "In Dreams," and "It's Over." Not just a singer of tear-jerking ballads, he was also capable of effecting a tough, bluesy swagger on "Dream Baby," "Candy Man," and "Mean Woman Blues." In fact, his biggest and best hit was also his hardest-rocking: "Oh, Pretty Woman" soared to number one in late 1964, at the peak of the British Invasion.

It seemed at that time that Roy was well-equipped to survive the British onslaught of the mid-'60s. He had even toured with the Beatles in Britain in 1963, and John Lennon has admitted to trying to emulate Orbison when writing the Beatles' first British chart-topper, "Please Please Me." But Orbison's fortunes declined rapidly after he left Monument for MGM in 1965. It would be easy to say that the major label couldn't replicate the unique production values of the classic Monument singles, but that's only part of the story. Roy, after all, was still writing most of his material, and his early MGM records were produced in a style that closely approximated the Monument era. The harder truth to face was that his songs were starting to sound like lesser variations of themselves, and that contemporary trends in rock and soul were making him sound outdated.

Orbison, like many early rock greats, could always depend on large overseas audiences to pay the bills. The two decades between the mid-'60s and mid-'80s were undeniably tough ones for him, though, both personally and professionally. A late-'60s stab at acting failed miserably. In 1966, his wife died in a motorcycle accident; a couple of years later, his house burned down, two of his sons perishing in the flames. Periodic comeback attempts with desultory albums in the 1970s came to naught.

Mystery Girl
Orbison's return to the public eye came about through unexpected circumstances. In the mid-'80s, David Lynch's Blue Velvet film prominently featured "In Dreams" on its soundtrack. That led to the singer making an entire album of re-recordings of hits, with T-Bone Burnett acting as producer. The record was no substitute for the originals, but it did help restore him to prominence within the industry. Shortly afterward, he joined George Harrison, Bob Dylan, Tom Petty, and Jeff Lynne in the Traveling Wilburys. Their successful album set the stage for Orbison's best album in over 20 years, Mystery Girl, which emulated the sound of his classic '60s work without sounding hackneyed. By the time it reached the charts in early 1989, however, Orbison was dead, claimed by a heart attack in December 1988.


 ROY ORBISON - ARTIST Of The WEEK




MAJOR LANCE - The Story Of Major Lance (2Cd) "Collection "Artist of The Week"


 Blessed with a warm, sweet voice, Major Lance was one of the leading figures of Chicago soul during the '60s and the top-selling artist for OKeh Records during the decade. Lance not only had a lovely voice, but his material was excellent. During the height of his success, the majority of his songs were written by Curtis Mayfield and produced by Carl Davis, and the pair developed a smooth, Latin-flavored sound that was punctuated by brass and layered with vocal harmonies, usually from the Impressions. It was urban, uptown soul and while it was considerably less gritty than its Southern counterpart, its breezy rhythms and joyous melodies made songs like "The Monkey Time" and "Um, Um, Um, Um, Um, Um" some of the most popular good-time R&B of its era. Major Lance's career declined significantly after he parted ways with Mayfield and Davis in the late '60s, but his classic OKeh recordings remain some of the best-loved soul music of the decade.

Born in Winterville, Mississippi, Major Lance moved to Chicago as a child, where he was initially raised on the west side of the city, before he moved near the north. While studying at Wells High School -- where Curtis Mayfield and Jerry Butler also attended -- Lance began boxing, but his attention soon turned to music and he formed the Floats with Otis Leavill. Although the Floats never released any records, his dancing earned him a spot on a local American Bandstand-styled program hosted by disc jockey Jim Lounsbury. The DJ helped Lance secure a one-shot single for Mercury Records in 1959, and the singer recorded "I Got a Girl," which was written and produced by Mayfield. The single disappeared and Lance spent the next three years working odd jobs.

In 1962, Lance was signed to the revived OKeh Records, based on his connections with Otis Leavill and, especially, Curtis Mayfield, who signed with the Impressions to ABC Records and had hits with his own group. Later that year, Lance recorded his first single, "Delilah," for the label. Like most of the Major's material, the song was written by Mayfield who, along with OKeh president Carl Davis and arranger Johnny Pate, developed a distinctive, Latin-tinged sound for the record, filled with sliding trombones and a light-stepping rhythms in order to distinguish Chicago soul from its counterparts in the South, New York, Detroit, and California. Though "Delilah" wasn't a hit, Lance's second single, "The Monkey Time," was a monster. Released in the summer of 1963, "The Monkey Time" reached number two on the R&B charts and number eight pop, establishing not only Lance as a singer but the revitalized OKeh Records as a pop music force. "Hey Little Girl" was a Top 15 pop and R&B hit later that year, followed by the Top Ten "Um, Um, Um, Um, Um, Um" early in 1964.

"The Monkey Time" and "Um, Um, Um, Um, Um, Um" proved to be the height of Lance's popularity. Over the next year-and-a-half, he continued to turn out a series of Mayfield-written and Davis-produced singles, nearly all of which reached the R&B Top 40, but only a handful -- "The Matador" (which Mayfield didn't write), "Rhythm," "Come See"-- were pop hits. Following the summer 1965 release of the Top 20 R&B hit "Ain't It a Shame," Pate departed for ABC Records and Mayfield began concentrating on his group, but Lance and Davis continued to mine the same Chicago sound, using guitarist Gerald Sim as a songwriter and co-producer. After releasing a few singles, including the R&B hit "Too Hot to Hold" and the Van McCoy-written "Everybody Loves a Good Time," Davis left OKeh Records due to arguments with his superiors at Epic Records and Lance was sent to work with Billy Sherrill in Nashville. Out of these sessions, "It's the Beat" became Lance's only Top 40 hit. Since the teaming with Sherrill wasn't working out, Lance worked with a number of producers during 1966 and 1967, with only "Without a Doubt" scraping the R&B charts in 1968. He left OKeh shortly after that single, moving to Daka Records the following year, where he had the Top 40 R&B hit "Follow the Leader." Within a year, he moved to Mayfield's Curtom label, which resulted in his last two Top 40 R&B hits -- the number 13 "Stay Away from Me (I Love You Too Much)" and "Must Be Love Coming Down."

Lance left Curtom later in 1971 and he moved through a variety of labels, including Volt and Columbia, over the next several years without much success. In 1972, he relocated to England, where Northern soul -- a phenomenon of dance clubs playing rare, underappreciated, and just plain obscure American soul and R&B records -- was in full force. For the next two years, Lance was a staple on the Northern soul circuit, eventually returning to Atlanta in 1974. He signed with Playboy and released a disco version of "Um, Um, Um, Um, Um, Um" that became a minor hit, which was followed by a pair of minor hits in 1975. Shortly afterward, his career entered a downward spiral, and in 1978, he hit rock bottom when he was convicted of selling cocaine. Lance spent the next four years in prison. Upon his release, he began playing the beach music circuit on the Carolina coast, but a 1987 heart attack prevented him from launching a full-scale comeback. In 1994, Lance gave a final, triumphant performance at the Chicago Blues Festival, which turned out to be his last. He died of heart failure on September 3, 1994 at the age of 55, leaving behind a recorded legacy that stands among the best Midwestern soul of the '60s

MAJOR LANCE - The Story Of Major Lance  (2Cd)

 1. Hey Little Girl (02:25)
2. The Matador (02:28)
3. Rhythm (02:23)
4. It Ain't No Use (02:47)
5. Gotta Get Away (02:15)
6. The Monkey Time (02:47)
7. Um Um Um Um Um Um (02:11)
8. Girls (02:09)
9. Come See (02:22)
10. Sometimes I Wonder (02:12)
11. Ain't It A Shame (02:05)
12. Sweet Music (02:05)
13. You Belong To My Heart (02:51)
14. Investigate (02:38)
15. What's Happening (02:23)
16. The Beat (02:31)
17. Everybody Loves A Good Time (02:18)
18. Keep On Loving You (02:08)


 1. Please Don't Say No More (02:16)
2. I just can't help it (02:11)
3. Gonna Get Married (02:12)
4. Think nothing about it (02:15)
5. It's all right (02:37)
6. Mama didn't know (02:44)
7. I'm the one (02:08)
8. Gipsy woman (02:22)
9. Gotta get right to cry (02:18)
10. Little young lover (02:17)
11. That's what mama say (02:37)
12. Crying in the rain (02:25)
13. Just one look (02:26)
14. Delilah (02:17)
15. Too hot to hold (02:46)
16. Ain't no soul (02:23)
17. Forever (02:05)
18. You don't want me no more (02:09)
19. Phyllis (bonus track) (01:59)

From Eddy

MAJOR LANCE - The Story Of Major Lance  (2Cd)



 ROY ORBISON - ARTIST Of The WEEKTHE CATS - Collection "Artist of The Week"HELEN SHAPIRO  - Collection "Artist of The Week"MAJOR LANCE - The Story Of Major Lance  (2Cd) "Collection "Artist of The Week"

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