Listening now, “More Than Enough Rain” isn’t even the best track on First Peace. Lance’s soulful vocal work, supported by The Sweet Inspirations, is a highlight of the album. There’s not a trace of Lance’s Brooklyn roots in his singing; he sounds like an authentic son of the South, and he insists that it came naturally when he sang. Because most of the songs were Lance/Robins compositions originally intended for various other acts on Atlantic, the record is a showcase of varying styles. The gospel strains of Lance’s Southern-flavored blue-eyed soul come to the fore on “Brother’s Keeper,” and it’s easy to imagine Aretha Franklin covering “One Turn You’re In One Turn You’re Out.”
Overall, the First Peace sessions cost a good bit of money. But because Motown was poised to share in any profits First Peace made, the decision was made at the highest levels within Atlantic not to promote the record. So despite the strong songs and performances, First Peace didn’t make a ripple on the album charts; the LP would quickly go out of print. The label gave the record only a perfunctory push, releasing a pair of singles to radio stations: “Brother’s Keeper” and “Shake Down Blues” were both promo-only 45rpm discs, featuring monaural mixes (for AM radio play) on the A-side, and stereo (for FM stations) on the B side.
In late summer 1971, Lance got a pair of rare, if brief, mentions in Billboard Magazine’s “Signings” column, noting that he had recently signed a new management contract with SAS, Inc., the artist management firm run by Sidney Seidenberg, B.B. King‘s longtime manager. While his musical career was bearing creative fruit, behind the scenes, his career was a mess, with SAS, Motown and Atlantic all involved to varying (and confusing) degrees.
Still, by 1972, Lance was once again in the studio, there to cut his follow-up LP. And in line with his goals as an artist, he sought to make an album that reflected his individual creative persona. Now billing himself only as B. Lance, he was recording for release on the higher-profile Atlantic label. Rollin’ Man would bear the credit, “Arranged and Produced by Bob Lance,” though engineer Geoff Haslam – in demand thanks to his production work on a successful string of albums by Atlantic label mates Cactus – played a significant role. Recording in the company’s New York City studios, Lance had chosen not to use the Muscle Shoals session players for the album. Instead he auditioned and assembled a proper band, and the members – coming from Alabama, Chicago and New York City – had convened in New York for several weeks of pre-recording rehearsals.
Gone, too, were King Curtis and his horns, The Sweet Inspirations, and Edwards’ string arrangements. Nor was Lance’s sister Fran Robins involved: all nine tunes of Rollin’ Man are Lance solo compositions.
Alabama-born guitarist Kenny Mims handled all lead guitar duties on the album; it was his first professional gig ever, but his lean and assured lines – like the double-tracked leads on “Bar Room Sally” – sound like the work of a seasoned pro. And though his background was in jazz, keyboardist Mitch Kerper played in a rollicking, R&B style; the instrumental dialogue between Kerper and Mims throughout the album – most notably on the eight-minute-plus “Hot Wood and Coal” – is one Rollin’ Man‘s most enduring features. “She Made Me a Man” is a soulful ballad in a style similar to Lance’s fellow New Yorker, Laura Nyro. The call-and-response vocals of “John the Rollin’ Man” – all overdubbed by Lance – capture the rhythm and blues vibe. The rhythm section of Dick Bunn (bass) and drummer Jimmy Evans cooks on “You’ve Got to Rock Your Own.” And with its mix of Mississippi delta acoustic blues guitar and gospel-inflected piano, “He Played the Reals” features a lyric that explores Lance’s deep feeling for the music he loves. And the brief “Tribute to a Woman” closes the album with a message to the woman Lance loved.
The Rollin’ Man LP came housed in a gatefold sleeve that featured Lance’s lyrics alongside a photo collage. Like its predecessor, and again without marketing support from Atlantic, Rollin’ Man did not chart; most copies of the semi-rare LP found today are cut-outs (remaindered, non-returnable stock). No one seems to know how many copies Atlantic pressed. The label did release a legitimate (as in, not simply a promotional disc) single, “Rock Your Own” b/w an edit of “Hot Wood and Coal” from Rollin’ Man, but it, too, failed to chart.
In the meantime, as part of his contract, Lance continued with other duties for the label. He handled vocal arrangement duties for King Curtis’ “Ridin’ Thumb” on Curtis’ 1971 Atco LP Everybody’s Talkin’, and penned “If a Dream Goes By,” a non-charting 1972 Garland Green soul side on Cotillion.
Lance’s sister Fran continued her songwriting career on her own, penning a number of songs for a wide variety of acts including Tony Orlando. She also began doing public readings of her poetry, mostly in the town of New Bern NC, were she and husband Norm lived. In her later years she was reportedly working on a musical. Fran Robins passed away in May 2014.
By the end of 1972, with the terms of his Atlantic contract fulfilled, Lance found himself without a record deal. Since neither First Peace nor Rollin’ Man had scored any chart activity, there was little demand for a follow-up record. The Rollin’ Man lineup landed a few live dates in and around New York City, but nothing high profile came of their efforts.
Lance soon left the business and settled in Tarrytown, New York, just up the Hudson River from New York City. He eventually enrolled in college, earning a pair of Bachelor’s Degrees: one in Biology and one in Music. He also earned a Master’s Degree in Education. Lance developed an interest in literacy through music, eventually combining his musical background with teaching. For nearly twenty years now he has been teaching students in a school environment. He still writes songs and plays music.
Thanks to Norm Robins, Kenny Mims, and Bob Lance for their help in researching this story.
With a background in marketing and advertising, Bill Kopp got his professional start writing for Trouser Press. After a stint as Editor-in-chief for a national music magazine, Bill launched Musoscribe in 2009, and has published new content every business day since then. The interviews, essays, and reviews on Musoscribe reflect Bill's keen interest in American musical forms, most notably rock, jazz, and soul. His work features a special emphasis on reissues and vinyl. Bill's work also appears in many other outlets both online and in print. He also researches and authors liner notes for album reissues, and co-produced a reissue of jazz legend Julian "Cannonball" Adderley's final album. His first book, Reinventing Pink Floyd, published by Rowman & Littlefield, is available now.