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・ Frankie J. Holden
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Frankie Laine
・ Frankie Laine (1949 album)
・ Frankie Laine (1950 album)
・ Frankie Laine (disambiguation)
・ Frankie Laine (wrestler)
・ Frankie Laine discography
・ Frankie Laine Time
・ Frankie Lam
・ Frankie Lane
・ Frankie LaRocka
・ Frankie Lee
・ Frankie Lee (musician)
・ Frankie Lee Sims
・ Frankie Librán
・ Frankie Liles


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Frankie Laine : ウィキペディア英語版
Frankie Laine

Frankie Laine (March 30, 1913 – February 6, 2007), born Francesco Paolo LoVecchio, was an American singer, songwriter, and actor whose career spanned 75 years, from his first concerts in 1930 with a marathon dance company to his final performance of "That's My Desire" in 2005. Often billed as "America's Number One Song Stylist", his other nicknames include "Mr. Rhythm", "Old Leather Lungs", and "Mr. Steel Tonsils". His hits included "That's My Desire", "That Lucky Old Sun", "Mule Train", "Cry of the Wild Goose", "A Woman In Love", "Jezebel", "High Noon", "I Believe", "Hey Joe!", "The Kid's Last Fight", "Cool Water", "Moonlight Gambler," "Love Is a Golden Ring," "Rawhide", and "Lord, You Gave Me a Mountain."
He sang well-known theme songs for many movie Western soundtracks, including ''3:10 To Yuma'', ''Gunfight at the O.K. Corral'', and ''Blazing Saddles'', although he was not a country & western singer. Laine sang an eclectic variety of song styles and genres, stretching from big band crooning to pop, western-themed songs, gospel, rock, folk, jazz, and blues. He did not sing the soundtrack song for ''High Noon'', which was sung by Tex Ritter, but his own version (with somewhat altered lyrics, omitting the name of the antagonist, Frank Miller) was the one that became a bigger hit, nor did he sing the theme to another show he is commonly associated with—''Champion the Wonder Horse'' (sung by Mike Stewart)—but released his own, subsequently more popular, version.
Laine's enduring popularity was illustrated in June 2011, when a TV-advertised compilation called ''Hits'' reached No. 16 on the British chart. The accomplishment was achieved nearly 60 years after his debut on the UK chart, 64 years after his first major U.S. hit and four years after his death.〔("Take That progress back to the top of album charts," MusicWeek, Alan Jones. June 19, 2011." )〕
==Style==
A clarion-voiced singer with lots of style, able to fill halls without a microphone, and one of the biggest hit-makers of late 1940s/early 1950s, Laine had more than 70 charted records, 21 gold records, and worldwide sales of over 100 million records. Originally a rhythm and blues influenced jazz singer, Laine excelled at virtually every music style, eventually expanding to such varied genres as popular standards, gospel, folk, country, western/Americana, rock 'n' roll, and the occasional novelty number. He was also known as Mr. Rhythm for his driving jazzy style.
Laine was the first and biggest of a new breed of singers who rose to prominence in the post–World War II era. This new, raw, emotionally charged style seemed at the time to signal the end of the previous era's singing styles and was, indeed, a harbinger of the rock 'n' roll music that was to come. As music historian Jonny Whiteside wrote:

In the Hollywood clubs, a new breed of performers laid down a baffling hip array of new sounds ... Most important of all these, though, was Frankie Laine, a big lad with 'steel tonsils' who belted out torch blues while stomping his size twelve foot in joints like Billy Berg's, Club Hangover and the Bandbox. . . . Laine's intense vocal style owed nothing to Crosby, Sinatra, or Dick Haymes. Instead he drew from Billy Eckstine, Big Joe Turner, Jimmy Rushing, and with it Laine had sown the seeds from which an entire new perception and audience would grow. . . . Frank Sinatra represented perhaps the highest flowering of a quarter century tradition of crooning but suddenly found himself an anachronism. First Frankie Laine, then Tony Bennett, and now Johnnie (Ray), dubbed 'the Belters' and 'the Exciters,' came along with a brash vibrancy and vulgar beat that made the old bandstand routine which Frank meticulously perfected seem almost invalid.〔"Cry: The Johnnie Ray Story," Jonny Whiteside, Barricade Books Inc., 1994, p. 40.〕

In the words of Jazz critic Richard Grudens:

Frank's style was very innovative, which was why he had such difficulty with early acceptance. He would bend notes and sing about the chordal context of a note rather than to sing the note directly, and he stressed each rhythmic downbeat, which was different from the smooth balladeer of his time.〔"The Best Damn Trumpet Player:Memories of the Big Band Era and Beyond," Richard Grudens, Celebrity Profiles Publishing, 1997, p. 42.〕

His 1946 recording of "That's My Desire" remains a landmark record signaling the end of both the dominance of the big bands and the crooning styles favored by contemporaries Dick Haymes and Frank Sinatra.〔''Cry: The Johnnie Ray Story'', Jonny Whiteside, Barricade Books Inc., 1994, p. 85. "Frank Sinatra represented perhaps the highest flowering of a quarter century tradition of crooning but suddenly found himself an anachronism. First Frankie Laine, then Tony Bennett, and now Johnnie (), dubbed "the Belters" and "the Exciters," came along with a brash vibrance and vulgar beat that made the old bandstand routine which Frank () meticulously perfected seem almost invalid. He had elevated popular song interpretation as no one since () Crosby, and now it seemed as if the public was defiantly turning their backs on him."〕 Often called the first of the blue-eyed soul singers,〔''That Lucky Old Son'', Frankie Laine, co-authored with Joseph F. Laredo, Pathfinder Publishing, 1993, p. 82.〕〔(Frankie Laine – America's Number One Song Stylist! )〕 Laine's style cleared the way for many artists who arose in the late 1940s and early 1950s, including Kay Starr, Tony Bennett, and Johnnie Ray.

I think that Frank probably was one of the forerunner of . . . blues, of . . . rock 'n' roll. A lot of singers who sing with a passionate demeanor—Frank was and is definitely that. I always used to love to mimic him with 'That's . .. my...desire.' And then later Johnnie Ray came along that made all of those kind of movements, but Frank had already done them. – Patti Page〔Interviewed in "Frankie Laine: An American Dreamer," video documentary, 2003.


Throughout the 1950s, Laine enjoyed a second career singing the title songs over the opening credits of Hollywood films and television shows, including ''Gunfight at the O.K. Corral'', ''3:10 to Yuma'', ''Bullwhip'', and ''Rawhide''. His rendition of the title song for Mel Brooks's 1974 hit movie ''Blazing Saddles'' won an Oscar nomination for Best Song, and on television, Laine's featured recording of "Rawhide" for the series of the same name became a popular theme song.

You can't categorize him. He's one of those singers that's not in one track. And yet and still I think that his records had more excitement and life into it. And I think that was his big selling point, that he was so full of energy. You know when you hear his records it was dynamite energy. — Herb Jeffries


抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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