MAJOR LANCE, "COME SEE" C/W "YOU BELONG TO ME, MY LOVE" (OKEH 4-7216, REL. 2/1965)

 Major Lance was a well-established Chicago soul artist when he made today’s single—his first of 1965. The A-side reached #40 on the pop charts and is a fine song by Curtis Mayfield; the real gem here is the B-side, which only appeared on this 45 and was co-written by Lance.

The former boxer presented with grace and style, and his Curtis Mayfield-penned A-sides got him into the hit parade in r&b and pop many times in the mid-1960s. He made his first solo record for Mercury Records in 1959, with Mayfield on guitar and as composer. Lance grew up in the Windy City with Mayfield, Otis Leavill and Jerry Butler. Once those three musicians became popular, they helped their friend get into the music scene. His idol was Jackie Wilson, but the Major had a sound all his own that had pop appeal.

“Come See” has a vivid arrangement by Riley Hampton, with Mayfield and Carl Davis sharing producer credit. Like so many Chicago soul tracks of the era, it has an anthemic feel—a declaration that music can bridge all flaws and failings in a still-segregated America. Its message becomes current again with the rise in fascism; perhaps music will save the day. One can hope.

Strings, bursting brass and Mayfield’s unmistakable guitar decorate this big, bold slab of sound—which comes across well in a styrene record that had seen better days. To my surprise, these Okehs almost always play well. The same can’t be said of Columbia Records’ releases, nor of Epic’s. The Okehs must have been manufactured outside Columbia’s usual channels. I do have some that are made of the same low-grade crap as the Columbia 45s, so I always look for these pressings. They have a different make-up to their labels: clearer printing and different typefaces than the standard Columbia product. I’m glad these pressings exist.

Hear it >>>>> HERE. <<<<<

“You Belong to Me, My Love” was co-written by Lance, Otis Leavill (as O. Cobb) and Walter Bowie.  This triumvirate co-wrote two Lance B-sides—among them “Sweet Music,” which The Yardbirds attempted in a disastrous 1964 rendition. Leavill and Lance penned several others with a different third party.

This atmospheric, eerie ballad opens with powerful group harmony vocals. It’s possible we’re hearing an uncredited guest appearance by The Impressions as Lance’s backup. Curtis Mayfield’s guitar echoes throughout this side. Its tense-yet-calm vibe is gripping; the contrast of Lance’s mellow voice and the impassioned Impressions—not to mention the turbulent bossa-nova-ish tempo—creates a haunting fascination.

This side lasts just the right amount of time. It accomplishes its goals and then fades out, to not wreck the spell it has cast. This is something only Black music of this era could do.

Hear it >>>>> HERE. <<<<<

Columbia put out an excellent 2-CD collection of Major Lance’s Okeh sides 30 freakin’ years ago. Everybody Loves a Good Time: The Best of Major Lance (Epic/Legacy ‎E2K 66988) is well worth picking up. I miss the golden era of the compact disc. I think the format will have a revival of interest in another decade—assuming we’re still around!

Tomorrow: Girl group The Cookies in disguise (again) with a pair of powerful Carole King/Gerry Goffin songs. The duo also arranged and produced the lone single of ‘The Palisades’ for Donny Kirshner’s Chairman Records in 1962.