Part 1—The Raelettes and Ray Charles: A Journey Through Musical Alchemy
In the late fifties and early sixties, a group named the Cookies embarked on an adventure that would not only see them become the harmonious heartbeat behind the legendary Ray Charles but also witness a delightful twist in their name game.
The Cookies (Left to Right: Margie Hendrix, Earl-Jean McCrea, and Pat Lyles). Illustration by J.D. Humphreys
• RAY’S HAND IN THE COOKIES JAR •
The Cookies in 1958, armed with their enchanting melodies, stepped into the limelight joining Ray Charles as the Raelettes. Ever the trailblazer in the music realm, Charles had discovered the Cookies in Philadelphia back in 1956 and was captivated with their soulful sound. Recognizing the transformative power of female background singers, Charles knew they were the missing ingredient to elevate his performance—and his image.
“Since we became an integrated part of Ray Charles’ orchestra, it would have been perfectly stupid to continue using the ‘Cookies’ name,” remarked Raelette Margie Hendrix in October 1961 in an interview for Jazz Hot. “On a nice morning Ray tackled the problem, and came to the conclusion that only two names were possible: the ‘Silver Bells’ or the ‘Raelettes.’ I immediately rejected ‘Silver Bells’ – the name appeared ridiculous to me. And that’s how we called ourselves the Raelets. We’ve never been called the Raylettes. That name would be an error. In American [English], Ray [is a name] for men, and Rae is for the ladies.”
“Since we became an integrated part of Ray Charles’ orchestra, it would have been perfectly stupid to continue using the ‘Cookies’ name.”
- Margie Hendrix of the Raelettes
But the Cookies, true to their sweet essence, didn’t crumble. In 1961, a resilient group emerged from the original Cookie dough, featuring Earl-Jean McCrea (a founding member’s sister), Dorothy Jones, and Margaret Ross (Dorothy’s cousin). This revamped version of the Cookies inked a deal with Gerry Goffin and Carole King’s Dimension record label in 1962. The new Cookies wasn’t just a revival; they were a force to be reckoned with. Hits like “Don’t Say Nothin’ Bad (About My Baby)” climbed to number 7 on the Billboard pop chart and an impressive number 3 on the R&B chart. Their rendition of “Chains” echoed far and wide, catching the ears of the Beatles, who later covered the song. Not stopping there, the Cookies lent their harmonious touch to Neil Sedaka’s classics like “Breaking Up Is Hard to Do,” “The Dreamer,” and “Bad Girl.” Little Eva also found solace in the Cookies’ vocal prowess, featuring them as the magical backdrop to her hit “The Loco-Motion.”
LISTEN TO “CHAINS” BY THE COOKIES
The liner notes to the LLLLoco-Motion album, penned by Al Nevins and Don Kirshner praised the group: “The Cookies, whose voices have backed more hits than most stars record in a lifetime, are in perfect harmony with Little Eva. As you hear them, you’ll understand why backing is often that special ingredient which makes a record a hit.”
LISTEN TO “THE LOCO-MOTION” BY LITTLE EVA (BACKING BY THE COOKIES)
Amidst the whirlwind of touring, Earl-Jean McCrea found herself facing an unexpected twist—she was pregnant. To thicken the plot further, Gerry Goffin, who happened to be married to Carole King at the time, emerged as the father. In 1964, Dawn Reavis was born and McCrea left the Cookies and signed onto Colpix.
Financial support flowed in generously from the duo of Goffin and King, who not only provided assistance but also crafted singles tailored specifically for McCrea. One such gem, “I’m Into Something Good,” written by Goffin and King, carried Earl-Jean's name on the credits. The song carved its path to number 38 on the Billboard Hot 100, a testament to McCrea’s newfound solo journey. Interestingly, this song caught the attention of the British group Herman’s Hermits, who not only picked it up but also propelled it to even greater heights.
LISTEN TO “I’M INTO SOMETHING GOOD” BY EARL-JEAN/THE COOKIES
As the years unfolded, the Cookies found themselves at a crossroads, and by 1967, the group disbanded, each member venturing into their own musical paths.
• THE RISE OF THE RAELETTES •
Groups like the Ikettes, Bo-ettes, and Raelettes took the stage with their identities intricately tied to the male artists who stood as the focal points of their respective ensembles. Yet, paradoxically, the success of Ike Turner, Bo Diddley, and Ray Charles hinged on the harmonious contributions of these girl groups. While their names bore the imprint of the male figures they supported, the chance to be affiliated with Ike, Bo, and Ray eclipsed any notion of a subordinate workig for “their” man. Instead, the association with these iconic male artists became a hallmark of prestige, transcending traditional perceptions and establishing these female groups as integral components.
Ray Charles also knew what he was achieving when he brought on the women to be his Raelettes. The girls brought a sexual element to his performances with his call and their responses. “He’s the minister, the Raelettes are the choir,” said Dr. Todd Boyd, Critical Studies professor at the University of Southern California, in the documentary 20 Feet from Stardom. “He brings the same church format to playing popular music. Yet, he’s singing about sex.”
“He’s the minister, the Raelettes are the choir. He brings the same church format to playing popular music. Yet, he’s singing about sex.”
- Dr. Todd Boyd, Critical Studies professor at the University of Southern California
Susaye Greene was 18 when she auditioned to be a Raelette in 1968 and was aware of the sexual undertones permeating from Charles’s music. “I sang ‘My Funny Valentine’ or something like that. I had never been around him [Ray Charles]. I knew his music because my dad was a huge jazz aficionado and he played all kinds of music. He had a room that we were only allowed to go into at certain times (that’s when he was in the house). When he would leave, because naturally you’re a curious teenager and there were all these pristine albums. All you had to do was go in there and play it and put things back and he’d never know. I’d go in there and listen to ‘What’d I Say’ which I wasn’t allowed to listen to because it has that part that goes ‘uhh, uhh, uhhhh.’ He thought that was inappropriate [chuckling].”
LISTEN TO “WHAT’D I SAY” BY RAY CHARLES (BACKING BY THE RAELETTES)
As Ray Charles enchanted the world with his sensual melodies, a clandestine narrative unfolded behind the scenes. Charles, despite being married, engaged in intimate relationships with various Raelettes. These romantic entanglements, though not uncommon in the backdrop of show business and touring in the sixties, remained seldom spoken of openly. Behind the curtain of fame, anyone in proximity or behind the scenes with the male artist, these hidden narratives were known but rarely acknowledged in the public discourse of the time.
“Certainly I’ve gotten next to many, many of the Raelettes,” he wrote in his autobiography Brother Ray. “But I’ve never insisted that any woman sleep with me. When sex happens between me and one of the Raelettes, it happens naturally. It doesn’t concern her pay or her music. I’ve never allowed those two currents – lovemaking and music – to cross each other.”
Ray Charles with the Raelettes (Left to Right: Clydie King, Merry Clayton, Alex Brown, and Gwen Berry). Illustration by J.D. Humphreys
Raelette Margie Hendrix became pregnant and when she resolved to keep the baby, Charles stepped in with financial support. Charles candidly admitted to not being a proponent of using condoms, leaving the decision to the women whom he had multiple affairs resulting in several children. Audiences at the time knew Charles’s music could be risqué and passionate, yet mostly unaware that he played out those desires in life too. For Hendrix, she demanded that Charles divorce his wife—a wish that Charles adamantly refused. Hendrix had been the foremost member with Charles remarking, “Aretha, Gladys, Etta James — these gals are all bad, but on any given night, Margie will scare you to death.”
“Aretha, Gladys, Etta James — these gals are all bad, but on any given night, Margie will scare you to death.”
- Ray Charles
The strain took its toll on their relationship, sending Hendrix into a downward spiral marked by the pitfalls of alcohol and drug use. This tumultuous phase cast a shadow over her performances and career, leading to a decline that ultimately resulted in her dismissal. The breaking point came during a tour in Europe, where a potential physically violent altercation prompted her expulsion, and she found herself on a one-way journey back to the United States. She later died in 1973.
• GENRE ALCHEMY WITH THE RAELETTES •
Greene fondly recalls Charles’s genuine commitment to leaving a lasting impact and delighting fans on a global scale. Charles wasn’t just playing the notes; he was orchestrating a symphony of sincerity, resonating with audiences far and wide. Charles skillfully blended and enriched genres like an alchemist.
The art of blending and intertwining genres demanded an incredible level of flexibility and talent from the Raelettes. In February 1962, when Ray Charles recorded the groundbreaking albums Modern Sounds in Country and Western Music, he ventured into a realm traditionally sealed off to Black artists. The fusion of soul and country not only shattered stereotypes but also boldly challenged racial barriers, propelling Charles to the forefront as one of the pioneering artists in control of his own recording destiny.
This music metamorphosis birthed four charting singles, with “I Can’t Stop Loving You” leading the charge. The singles resonated so profoundly that they transcended boundaries, earning substantial airplay on both R&B and country stations.
LISTEN TO “I CAN’T STOP LOVING YOU” BY RAY CHARLES
“People loved him around the world,” Greene remarked. “The fact that he recorded a country album that was such a huge hit—he never realized how much of an impact it would have around the world. Because of that, that changed everything for him. He already changed what was gospel music into R&B. That changed music.”
While country is commonly linked to white audiences, many musicologists contend that its roots bear the indelible marks of African-American musical influences. Doug Freeman, in his exploration for the Austin Chronicle, notes the historically delicate connection between country and soul, a tension often exacerbated by the racial identifications of their respective fanbases.
“Yet despite the perceived disconnect between the two genres, the populist formats of both have always been more fluid and contiguous than is traditionally recognized,” Freeman writes. “Elvis’s melding of country and R&B may even arguably be considered the genesis of Rock & Roll, though that middle ground has largely only served to allow soul and country to remain segregated. With his 1962 Modern Sounds in Country and Western Music, Ray Charles created the benchmark for crossing the line, highlighting the similarities in sentiment often overshadowed by sound.”
LISTEN TO “BYE BYE LOVE” BY RAY CHARLES (BACKING BY THE RAELETTES)
Not everyone in the industry was sold. Revered Stax artists like Booker T. Jones admired Charles, but raised doubts about his venture into country and western music. Jones commented in 1967, "He’s not being himself, I’m sure, with the country and western things he’s doing. I like the old Ray better."
"He’s not being himself, I’m sure, with the country and western things he’s doing. I like the old Ray better."
- Booker T. Jones, Stax Artist
• ALWAYS A STUDENT OF MUSIC •
Despite his musical innovations yielding success, Charles continued to be a student of music. Even at the height of his fame, he consistently took the time to revisit and pay homage to the roots of R&B. This dedication did not go unnoticed by the Raelettes.
Greene recalls, “On Sundays, Ray got out his compact tape recorder that was very expensive and would play [recordings of] The Five Blind Boys or Billie Holiday when she was 15 years old, things that he had collected over the years that no one has ever heard.”
Even in selecting songs, Charles emphasized it "had to strike me in some way in my heart, and then I want to sing it." While many great singers search for songs or styles to showcase their distinctive voices, Charles adopted a revolutionary approach by crafting a unique style that harmonized with his voice. Throughout, he preserved a steadfast Black sound. He expressed, "Whatever you do, you can only be yourself," adding, "And you have to put all of yourself into every song that you sing."
"Whatever you do, you can only be yourself. And you have to put all of yourself into every song that you sing."
- Ray Charles
During the sixties, record stores were often divided between the race side and the white side. Charles emerged as a compelling midcentury voice, breaking barriers alongside white singers. The Raelettes, with their sensual vocals, played a crucial role in helping him bridge the racial divide.