Bette McLaurin

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Bette McLaurin (* North Carolina ) is an American R&B singer .

Life

McLaurin became known when she was a band singer in Claude Hopkins' orchestra in 1950 ; the song Crying My Heart Out Over You was released on the small R&B label Big Nickel Records . In 1951 she made recordings a. a. with Lucky Thompson ( A Cottage for Sale ). Her next session, the first under her own name for the Derby label, was arranged by Eddie Wilcox ; it emerged I May Hate Myself in the Morning (and the jazz standard I Hear a Rhapsody ), which further cover versions of songs by Decca , RCA , Mercury and Capitol Records had the consequence. The song hit the national pop charts.

She got engagements at The Glass Bar in St. Louis and the Regal Theater in Columbus, Ohio ; a tour of Canada followed with Ink Spots . The following song, My Heart Belongs Only to You , also hit the pop and R&B charts. In mid-1952 she was accompanied by the vocal group The Striders ( I Won't Tell a Soul I Love You ) when recording for Derby . McLaurin received a recording contract with the Decca sub-label Coral and appeared in New York's Apollo Theater . In 1953 she performed in St. Louis with Willie Mabon and in Chicago with Illinois Jacquet , in 1954 with Dizzy Gillespie and the comedians Dusty Fletcher and George Kirby in Philadelphia. Her former label Derby released some previously unreleased songs on Central Records; In 1954 she switched to the Jubilee label , which she wanted to market more as a pop than as an R&B singer; there the standard Ol 'Man River and the song How Can I? Her former manager at Derby and Coral, June Phil Rose, brought her to his own label, Glory Records .

However, the changed taste in music in the USA in the mid-1950s made it more difficult to achieve further success. In the mid and late 1950s there were only a few pictures of McLaurie; it also seldom occurred. Up until the mid-1960s, further recordings were made, including a. for Atco Records ( As Long As You're Mine , (I'm Afraid) The Masquerade Is Over , Autumn Leaves and What A Night for Love ) but fell into disuse in later years.

Discographic notes

  • The Masquerade Is Over (Crystal Ball, ed., 1989)

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