Her first big hit was Hurt in 1961 and she followed it with the equally good What's a Matter Baby (Is It Hurting You?) the following year. as well as pulling r'n'b and country music into the mix. She had an undeniable soulful quality but also a keen sense of jazz phrasing. Yuro from Chicago (born Rosemary Timothy Yuro, 1940) was an Italian-American gal who could belt out a ballad with such power she could peel paint. They knew each other in Los Angeles before Proby went to Britain. If PJ Proby had a predecessor it was probably the great Timi Yuro, and in fact he sang a number of songs that she did. The cool people of the early Sixties favoured slightly sleazy nightclubs, cocktails with swizzle sticks, and singers with expressive voices which sat atop string sections arranged by the likes of Quincy Jones and Nelson Riddle. Just a few years previous big, aching ballads and torch songs had been massively popular. Proby in fact seemed to belong to an earlier era, but one which had passed rapidly with the arrival of the Beatles.
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Yet Proby was never really a pop singer: he had a massive voice and right from the start would cover show tunes (Somewhere from West Side Story was an early hit) and his albums were often full of big-voiced ballads.
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He split his trousers in performance (which meant he was banned in some places, but incorporated it into his act) and that - plus his outspoken belief that he was better than anyone - ensured plenty of headlines.
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He cracked a number of big pop hits in '64-'65 (Hold Me, Mission Bell, Let the Water Run Down) and with his velvet suits and ponytail (adopted from the movie Tom Jones) he cut quite a figure. The Texas-born singer had been doing demos for various people in the States (including Elvis) and arrived in the UK to appear on a Beatles television special. The results are erratic, but the most potent performances, like the Teddy Randazzo-penned Northern soul favorite "Can't Stop Running Away," the devastating ballad "Just a Ribbon," and a bluesy, ballsy cover of Johnny "Guitar" Watson's "Cuttin' In," rank alongside Yuro's Liberty classics.When PJ Proby burst onto the British pop scene in 1964 he was an amazing anomoly. Universal's 2005 CD reissue doubles the original LP's 12 cuts via rare singles, B-sides, and all four Italian-language songs recorded for the 1965 San Remo Festival.
She nevertheless delivers each syllable with absolute sincerity and conviction.
Produced by Quincy Jones and arranged by Bobby Scott, the album is lush and dreamily romantic, a collection of standards some distance removed from the lean R&B of early hits like "Hurt." If anything, the material is a little too sophisticated for its own good, as the emotional restraint of the lyrics effectively straitjackets the stunning poignancy of Yuro's booming vocals. Once it became clear to Timi Yuro that Liberty Records had no idea what to do with her extraordinarily gifts, she jumped ship, issuing her lone Mercury album, The Amazing Timi Yuro, in 1964.
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