Скачать или смотреть Terry Black - Rainbow (1966)

Terry Black was born in Vancouver, BC on February 3rd 1949. He was made for the stage and screen and would begin performing in his youth; singing on various TV shows throughout BC. He was performing on a show known as “Teen Dance” in the early 1960’s, when he caught the attention of agent Buddy Clyde. His striking good looks, distinct vocal talent, and catchy songs made him a shoe-in for ARC Records upon Buddy bringing Terry to their attention. He’d capture the fascination of vice-president and sometimes producer Bill Gilliland; whose recent successes with Richie Knight and The Mid-Knights had him searching for another hit act to produce.

Terry signed with ARC Records in early 1964 (while he was still 15) and wasted no time releasing his first single. “Dry Bones/ Sinner Man” was released in April/May of that year and got decent airplay in a few markets but was not a significant hit. His follow-up “Unless You Care/Can’t We Go Somewhere,” would go on to become an international hit; reaching #2 on the RPM Top 40, CHUM charts, and a number of others throughout Canada, and squeaking into the Billboard hot 100 in the US at #99.

His success with his first two singles landed him an opening gig for Lonnie Mack, Billy J. Kramer & The Dakotas, and Gerry & The Pacemakers on the Canadian leg of their tour; which absolutely helped increase his popularity throughout the country. Following the end of the tour, he’d release “Everyone Can Tell/Say It Again,” to minor chart success.

The recent hits and successful supporting role on tour had him appearing on Dick Clark’s “American Bandstand” in late 1964. Wrapping up his perfect year, back in Canada, he won “Male Vocalist of The Year,” and released his debut album “The Black Plague” in December. This album featured different mixes of all his previously released singles.

1965 began with a bang! He’d release multiple singles that went top 20 across Canada; including "Little Liar," and a cover of Sam Cooke's "Only Sixteen." The success of these singles warranted another album. Interestingly, most of the songs are the same as his debut but in a different order. This was a decision based on the lacking sales of his debut; probably repackaged away from the "doom" feeling of the first albums art and title.

Around this period, his father was offered a job in California. This couldn’t have happened at a more perfect time; with the recent hit singles and successful second album, his star was bigger than ever! His management saw an opportunity here to make him a multi-faceted star. Like Sinatra and most recently with Elvis, Terry’s management sought to maximize on his star power by getting him into movies. Ironically, he was cast in a script as Elvis' brother, but the gig never materialized. Ultimately, after a few months, the family grew weary of the “hustle & bustle” of Hollywood life. They’d move back to Toronto in early 1966.

Terry wasted no time getting back into recording, upon arriving home. Touring and moving to L.A. had him weary of travelling, so at this time he decided he’d just release singles and perform in Toronto. By March, he’d release “Rainbow/There’s Something About You;” with the A-Side going Top 20 on the Canadian charts. He started doing the club circuit which gained him critical praise as a developing artist.

The following two years saw Terry performing throughout Toronto and parts of Ontario as well as releasing one more single “Wishing Star/Kick Me Charlie” in 1967. The single failed to chart but Terry, undeterred, continued playing live and tried to get into acting here in the city. His foray into acting and theatre saw him cast in the Toronto production of Hair in 1968; this is where he met Laurel Ward. The two hit it off instantly and would begin dating that year.

Terry Black's career is one of fascination. As one of Canada's earliest pop stars, he was a pioneering force in our early industry and paved the way for the generations that followed. Both his solo work and that of his duo Black & Ward are no more than a footnote in Canadian music history today which is a real shame.