Cyndi Lauper True Colors 1986 Zip

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Page 006072 The New York Times Archives TONIGHT'S THE night - deadline night. Cyndi Lauper arrives at Sterling Sound in midtown Manhattan clutching a bottle of Dom Perignon champagne, to be opened when her long-awaited second album, 'True Colors,' is completed. 'True Colors' will be Lauper's return to the pop music marketplace, amid all the expectations and pressure that follow a multimillion-selling debut album and a yearlong absence from the public eye. As one of the rock-video era's first superstars, Cyndi Lauper has to consider her image along with her music, and to stay a step ahead of fashion. Where she built her old public persona on funny, feisty eclecticism - independence with a girlish giggle - she intends to go further in every direction with 'True Colors.'

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' In this album, she has traded her earlier clipped rock-style diction for a range of swoops, rasps and whispers, and has added glamour and maturity to her old image of zany unpredictability. At Sterling Sound, the deadline is sometime before dawn; early the next day, a master lacquer disk of 'True Colors' must be flown to Japan so that LP's can be pressed in time for Lauper's current sold-out Japanese tour. Along with her co-producer (and a senior vice president of Epic/Portrait Records), Lennie Petze; her manager (and boyfriend), Dave Wolff, and her recording engineer, Brian McGee, Lauper has been working day and night on final sound mixes. They are a widely assorted crew. Wolff and McGee are trim blonds with hippie-length hair; Petze, a burly older man, seems large enough to carry the 5-foot-3, 108-pound Lauper in his shirt pocket. But they have one thing in common: none of them has slept in the last 36 hours. While some performers leave mastering to producers or engineers, Lauper is overseeing 'True Colors' down to the final detail.

She is not just its singer and main songwriter; she is also its co-producer, the co-art director of the album cover, and co-writer of the video clip based on the album's title song. Between recording sessions, the 33-year-old singer has been performing in the video, posing for and selecting publicity photographs, attending art and marketing meetings, and finishing up the album cover design. For Lauper and other 1980's performers, how they are presented visually has become nearly as important as how they sound on records and tapes. And Lauper's career is riding on 'True Colors,' which will be released in the United States this week - nearly three years after the appearance of her blockbuster solo debut, 'She's So Unusual.' ' With its blithely anthemlike single 'Girls Just Want to Have Fun,' buoyed by Lauper's unmistakable video image -blond hair streaked red, flailing arms, grins and grimaces on the streets of New York -that first album sold 4.4 million copies, and made Cyndi Lauper a household name. But three years is a long time, and during that period Madonna - Lauper's most visible competition as a l980's pop icon - has followed her l983 debut album, 'Madonna,' with two more best-selling albums, numerous hit videos and a feature-film acting role.

A decade ago, Lauper would have been a pop singer-songwriter. Today, she calls herself a 'multimedia artist,' a performer who uses all the forms of mass communication to bring her message to the largest public she can reach. Music videos created a new kind of rock career in the early 1980's - one that allowed Lauper and a handful of other performers to craft public personas through a powerful combination of lyrics, music and images. The right song playing incessantly on radio stations and a memorable video dominating the rock-video television stations can immediately bring a performer's sense of style to a vast public, as it did for Cyndi Lauper in 1984.

Suddenly, she was a hitmaker, a trendsetter, a celebrity, reaching the million-selling stratosphere alongside Michael Jackson, Bruce Springsteen, David Bowie and Sting (all of whom had substantial careers in the 1970's), and other newcomers like Madonna, Whitney Houston and Culture Club's Boy George. These performers have careers that an Al Jolson or a Maria Callas would hardly recognize, in which stage performances are all but subsumed by recorded artifacts, audio and video. Video clips can transform the meaning of the songs they sell - pinning down a reference in a lyric, showing off a fancy dance move, displaying a costume that can make the performer look ultrahip or just plain silly.

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