The Rise of the Soul Girls
“You were often seen as creations of genius men,” Ronnie Spector of the Ronettes said of being a female artist in the sixties. While often creative directed by male figures in the music industry, girl groups served as trailblazers for female artists, challenging gender norms and paving the way for future generations of women in music. Their success opened doors for women to assert their voices and assert their presence in an industry largely dominated by men.
Illustration by J.D. Humphreys
• FROM THE ADORABLES TO ZIP AND THE ZIPPERS •
The Supremes reigned as the most successful girl group of the sixties, achieving tremendous success in an industry filled with aspiring girl groups. Many of these groups, bearing names like Candy and the Kisses, Barbara and the Browns, Bobbi-Pins, Royalettes, Jelly Beans, Liberty Belles, Yum Yums, and Veneers, struggled to attain even a fraction of the Supremes' iconic status.
A
Adorables
Andantes
Anglos
Apollas
LISTEN TO “YOU’RE ABSOLUTELY RIGHT” BY THE APOLLAS
Arnells (Teenettes)
Artettes (later the Ikettes)
B
Baby Jane and the Rockabyes
Barbara and Brenda
Barbara and the Browns
Betty and Rose (later The Teen Queens)
LaBrenda Ben and the Beljeans
Shirley Matthews and the Big Town Girls
Blossoms
Patti LaBelle and the Bluebelles
Bobbettes
Bobbi-Pins
LISTEN TO “WHY DID YOU GO” BY THE BOBBI-PINS
Tootie and the Bouquets
Bronzettes
Butterflys
Buttons (later the Butterflys)
C
Candy and the Kisses
LISTEN TO “THE 81” BY CANDY AND THE KISSES
Casinyets (later the Marvlettes)
Chansonettes
Chantels
Chapter Three
Charlettes (The Toys)
Gigi and The Charmaines
Charmels
Charmettes
Chevells
Chic-Lets (The Darlettes)
Chiffons
Cinderellas (later The Cookies)
Cinnamon Angels (The Chiffons)
Clickettes (The Jaynetts)
Contessas
Continettes
Cookies
Cooperettes
Crystals
D
Darlettes (Diane and the Darlettes)
Darnells (The Andantes with the Marvelettes)
Davenport Sisters
Del-Phis (later Martha and the Vandellas)
Delicates
Deltairs
Demures
DeVaurs
Devonnes
Dimples (Eddie Cooley and the Dimples)
Dixie Belles (The Tonettes)
Dixie Cups
LISTEN TO “CHAPEL OF LOVE” BY THE DIXIE CUPS
Dolls
Donays
Dorelles
Drapels
Dream Girls
Drew-Vels
Duettes (later Barbara and the Uniques)
Dynells
E
Electrodes
Elektras (later Henrietta and the Hairdooz)
Elgins
Patty and the Emblems
Emeralds
Emotions
Ervin Sisters
Exciters
LISTEN TO “TELL HIM” BY THE EXCITERS
F
Fabulettes
Fascinations
LISTEN TO “GIRLS ARE OUT TO GET YOU” BY THE FASCINATIONS
Fawns
Hattie Littles and The Fayettes (Martha and the Vandellas)
Flirtations
Fortune Cookies (Asian girl group)
Four Buttons (later the Butterflys)
Four Jewels
Four Pennies (later the Chiffons)
Fran-Cettes
G
Gems
Geminis
Girlfriends
LISTEN TO “MY ONE AND ONLY, JIMMY BOY” BY THE GIRLFRIENDS
Glories
Goodnight Kisses
Gypsies (later The Flirtations)
H
Hearts
Heartbreakers
Henrietta and the Hairdooz (The Lullabyes)
Honey and the Bees
LISTEN TO “DON’T HURT ME” BY HONEY AND THE BEES
Honey Bees (Later The Cookies)
Honey Cone
Honey Love and the Love Notes (Candy and The Kisses with Harriet Laverne)
I
Ikettes (Ike & Tina Turner)
LISTEN TO “PEACHES ‘N CREAM” BY THE IKETTES
Impalas (Later The Four Jewels)
Inspirations
J
Janit and the Jays
Jaynetts
LISTEN TO “SALLY, GO ‘ROUND THE ROSES” BY THE JAYNETTS
Jeanne and the Darlings
Jelly Beans
Jewels
Joytones (later the Four Jewels)
K
Kavettes
Kolettes
LISTEN TO “WHO’S THAT GUY” BY THE KOLETTES
L
Leola and the Lovejoys (later The Apollas)
Leverett Sisters
Liberty Belles
Little Foxes (The Versalettes)
Little Iva and Her Band
LISTEN TO “WHEN I NEEDED YOU” BY LITTLE IVA AND HER BAND
Lollipops
Loreleis
Lornettes
Lovettes
Lovelites
Lullabyes
M
Mamselles
LISTEN TO “LOVE HIM” BY THE MAMSELLES
Marvelettes
Mar-Vells (later The Fabulettes)
Mirettes (former Ikettes)
N
Nu-Loves
O
Opals
LISTEN TO “HOP, SKIP AND JUMP” BY THE OPALS
Orlons
P
Palisades (Later The Cookies)
Patty Lace and the Petticoats
LISTEN TO “SNEAKY SUE” BY PATTY LACE AND THE PETTICOATS
Pearlettes
Pearls
Penny Sisters (The Chiffons)
Percells
Persianettes
Petals
Pets (Later The Lovettes)
Playgirls (The Blossoms)
Pointer Sisters
Poppies (later the Clickettes)
Primettes (later The Supremes)
Q
Elouise and the Q-Tips
LISTEN TO “I’LL BE YOUR GIRL” BY ELOUISE AND THE Q-TIPS
Quin-Tones
R
Rachells
Raelettes (Ray Charles)
Ramblettes
Ribbons
Roleaks
Ronettes
Ronnie and the Relatives (Later The Ronettes)
Rosettes (The Darlettes)
Royal Debs
Royalettes
LISTEN TO “IT’S GONNA TAKE A MIRACLE” BY THE ROYALETTES
S
Sables
Sandpepples
Sharmettes
Sherrys
Shirelles
Shondelles
Socialites
Sonnettes
Spandells
LISTEN TO “SAY NO GIRL” BY THE SPANDELLS
Sparkels (later The Sables)
Starlets (Danetta and the Starlets)
Stepping Stones (The Cookies)
Strangeloves (later The Emotions)
Storey Sisters
Supremes (Diana Ross and The Supremes)
Swans
Sweet Inspirations
Sweet Things (Clydie King and the Sweet Things)
The Sweet Three
Ruby Yates and the Swinging Rods
Symphonettes (later Candy & The Kisses)
T
Taffys
Tandels
Teen Queens
LISTEN TO “THERE’S NOTHING ON MY MIND” BY THE TEEN QUEENS
Tiaras
The Three Degrees
The Tiffanies
Barbara Mason and the Tiffanys
Tonettes (later the Charmels)
Toys
Tren-Teens
Trinkets (The Versalettes)
Twilettes
U
Barbara and the Uniques
LISTEN TO “THERE IT GOES AGAIN” BY BARBARA AND THE UNIQUES
V
Martha and the Vandellas
Fannie and The Varcels
Velvelettes
Velvettes
Vels (later Martha and the Vandellas)
Veneers
Versalettes
LISTEN TO “SHINING ARMOR” BY THE VERSALETTES
Yvonne and the Violets
W
Wildcats (The Blossoms)
The Will-Ettes
LISTEN TO “SUMMERTIME IS GONE” BY THE WILL-ETTES
X
Y
Yum Yums
LISTEN TO “GONNA BE A BIG THING” BY THE YUM YUMS
Z
Z-Debs (The Jaynetts)
Zip and the Zippers (The Orlons)
LISTEN TO “WHERE YOU GOIN’, LITTLE BOY?” BY ZIP AND THE ZIPPERS
Their fate hinged not only on their talents but also on the whims of predominantly white music executives, or occasionally, the rare Black studio owner or executive who offered them a fleeting opportunity to showcase their abilities. For many, their dreams were dashed as they were dismissed by labels or came to the realization that their talents were not enough to secure a spot in the industry. Some redirected their skills to supporting other singers, while others disbanded entirely to focus on various aspects of life such as education, careers, family, or motherhood. Despite the challenges, their brilliance still shines through in the depths of today's streaming music libraries and curated collections, for those who seek it out.
The music industry is marked by stark disparities between the experiences of white female artists and their Black counterparts. While white female musicians often enjoyed greater opportunities and support, Black female artists faced significant challenges and systemic barriers. White artists benefited from broader exposure, more extensive marketing campaigns, and access to better resources and infrastructure within the industry. Conversely, Soul girls encountered pervasive racism, limited access to mainstream platforms, and discriminatory practices that hindered their career advancement. Despite their immense talent and contributions to music, Soul girls struggled to receive the recognition and opportunities afforded to their white counterparts, reflecting the deep-seated racial inequalities prevalent in society during that era.
Emerging from humble beginnings on stoops and in church choirs, Soul girls captivated audiences on renowned stages worldwide. Under the guidance of predominantly male management, these girl groups were meticulously crafted to captivate audiences with their charm, beauty, harmonies, and micromovements, such as swaying hips and graceful hand gestures. Throughout the sixties, crossover success was achieved with each record sold. Artists like Tina Turner, the Ronettes, and even the Supremes in the latter part of the decade pushed the boundaries with every performance and recording, challenging societal norms and expectations.
• THE ‘DIVA’ •
In mainstream society, these determined and talented women are often labeled as "divas." While originally intended as a term of respect, it now carries implications of attitude, petulance, or entitlement. However, in the sixties, the term lacked these negative connotations and was primarily associated with female opera singers. “Girl singers could be in the old tradition of the word ‘diva,’” remarked jazz singer Nancy Wilson. “We didn’t call them ‘divas,’ it was the b-word as opposed to ‘diva.’” Wilson was told by David Kavanaugh, her producer at Capitol Records, along with musician John Levy that “there were four sexes: male, female, homosexuals, and girl singers.” Becoming offended, Wilson asked why she was put into a class of her own. “He said, ‘Maybe we’re not including you there yet, but the bottom line is people look at girl singers…’”
“We didn’t call them ‘divas,’ it was the b-word as opposed to ‘diva.’”
- Nancy Wilson
Wilson also contended that numerous record companies were reluctant to engage with the male figures accompanying the female singers., adding, “They were detrimental to their well-being. There was a lot of abuse. I did not like what I saw, and consequently talked with David and John a lot about that and was fortunate enough to be surrounded by musicians who never abused anybody. I mean, you don’t marry five times if you’re happy. You just don’t.”
• "DON’T MAKE ME OVER” DIONNE WARWICK STANDS HER GROUND •
Mid-century modern voices like Dionne Warwick, who often referred to herself in third person during interviews, knew her individuality was an advantage: “The only thing I ever really wanted was not to become an Ella Fitzgerald or Lena Horne but to attain the status they have acquired. If Ella decided she wanted to take a four-year vacation, she could and when she came back, she’d still be Ella Fitzgerald… Lena Horne is not a second anybody. Ella Fitzgerald is not a second anybody. So far Dionne Warwick is Dionne Warwick and that’s where it’s going to stay. I’ve been called a pop, gospel, and rhythm and blues singer. You figure it out. That only means that I cover every market.”
Dionne Warwick. Illustration by J.D. Humphreys
Warwick's debut single in 1962, "Don't Make Me Over," emerged from a pivotal moment when she walked out of Burt Bacharach's office. While driving to New York, Warwick heard Jerry Butler's rendition of "Make It Easy on Yourself." Upon demoing the song for Bacharach and Hal David, it was unanimously decided that this would mark her first release. Calvin Carter, the head of A&R at Vee Jay Records, had expressed interest in recording the song with Butler weeks prior, presenting an opportunity that Bacharach couldn't turn down.
“We have a problem here,” raising her voice at Bacharach as she entered his office. “You want me to record with you? I am who I am. Don’t make me over, man!” Warwick had made her point and David and Bacharach, inspired by the outburst and, perhaps taking her seriously, started writing.
“We have a problem here. You want me to record with you? I am who I am. Don’t make me over, man!”
- Dionne Warwick to Burt Bacharach
Warwick's assertiveness and strong sense of self in her career were deeply rooted in her upbringing, which began at the age of six when she started singing gospel. Raised by her mother, Lee Drinkard, manager of the family gospel group the Drinkard Singers, Warwick was instilled with the importance of education alongside her musical pursuits. Despite the demanding schedule of balancing her studies with her burgeoning music career, Warwick persevered, eventually earning a Master’s Degree and later receiving an honorary doctorate in Music Education. This formal education provided Warwick with a significant advantage, distinguishing her as not just a singer, but as a true artist. It wasn't merely about harmonizing or vocal range; Warwick's ability to play instruments and read musical notation elevated her craft to a whole new level, allowing her to breathe life into her performances in a way that set her apart from others.
Burt Bacharach. Illustration by J.D. Humphreys
Recognizing Warwick's immense talent early on, Bacharach and David made every effort to nurture their working relationship with her. As a graduation gift, they presented her with the song they had penned from her outburst, "Don’t Make Me Over." Warwick reflected on this in her autobiography, My Life, As I See It, “‘Don’t Make Me Over’ was a hit and turned out to be just the beginning of a wonderful relationship between Burt, Hal, and me. It was also the first indication that my style would appeal to a wide and diverse audience.” However, there was a slight hiccup with the single's release: Warwick's last name was mistakenly printed as "Warwick" instead of "Warrick." Despite efforts to rectify the error, it was deemed too late to avoid confusion, and "Warwick" became her established name both personally and professionally moving forward.
LISTEN TO “DON’T MAKE ME OVER” BY DIONNE WARWICK
• THE COUNTER-FEMINIST ANTHEM “WIVES AND LOVERS” •
Bacharach and David were commissioned to compose a song on marital infidelity for the promotion of the film Wives and Lovers in 1963. The song, "Wives and Lovers," was recorded by white male singer Jack Jones but did not make it into the film. Its lyrics reflect the societal norms and realities of married women in the sixties, often regarded as secondary to their husbands. Married women were frequently dependent on their husbands for financial stability, needing his approval even for basic tasks like opening a bank account or obtaining credit in their own name. "Wives and Lovers" advises married women not to become complacent in their marriages (“wives should be lovers too”), warning that if they neglect their appearance, their husbands may seek affection elsewhere, even with any of the “girls at the office.” The song places blame on the wife for any of her husband’s infidelity, suggesting that without him, she is nothing. At the end of the day, according to the song, “men will always be men.” "Wives and Lovers" did not align with the feminist ideals that were emerging during the decade. Despite its outdated and insensitive message, the song was recorded by Dionne Warwick in 1965 for her album The Sensitive Sound of Dionne Warwick. Additionally, Nancy Wilson covered the song in 1964, and Lena Horne in 1965.
LISTEN TO “WIVES AND LOVERS” BY DIONNE WARWICK
However, the song also serves as a reflection of the prevailing attitudes towards gender roles and relationships during the time it was released. By highlighting the song's problematic lyrics and the attitudes they represent, it can spark conversations about the progress that has been made in challenging traditional gender norms and the work that still needs to be done to achieve true gender equality. In this way, "Wives and Lovers" serves as a reminder of the ongoing struggle for women's rights and the importance of challenging sexist attitudes and behaviors in society.
While "Wives and Lovers" emphasized subservience, the 1963 song "You Don't Own Me" by 17-year-old white singer Lesley Gore took a radically different stance. Written by Philadelphia songwriters John Madara and David White, "You Don't Own Me" served as a powerful manifesto of defiance, challenging the idea that women were beholden to the men in their lives. The song also foreshadowed the burgeoning women's rights movements that were to come.
LISTEN TO “YOU DON’T OWN ME” BY LESLEY GORE
"Wives and Lovers" and "You Don't Own Me" emerged as striking contrasts and iconic tunes in the 1996 women empowerment film First Wives Club, featuring Bette Midler, Goldie Hawn, and Diane Keaton. Warwick's rendition of "Wives and Lovers" in the opening credits conveyed unwavering loyalty among the wives, while "You Don't Own Me" served as the rallying cry as the three divorcées plotted revenge against their unfaithful ex-husbands.
• TRADITION TO EMPOWERMENT •
When did the girl groups of the sixties evolve from echoing traditional female roles to becoming symbols of female empowerment? Their impact extended beyond music, intertwining with the burgeoning social narrative characterized by Civil Rights advancements and the women’s liberation movement, particularly towards the latter part of the sixties.
By the decade's end, the girl group phenomenon dwindled, making way for mixed-gender groups and solo artists who continued to advocate their message into the seventies and beyond. This evolution paved the way for a resurgence of all-female talent in the eighties and nineties, with groups such as The Pointer Sisters, Vanity 6, The Weather Girls, En Vogue, SWV, Destiny’s Child, Blaque, Spice Girls, and TLC. Together, they collectively addressed social issues of their time, raising awareness and confronting challenges head-on.
Beyoncé’s 2024 album, Act II: Cowboy Carter, ignited a fiery debate about the reclamation of country music by Black artists, marking a pivotal moment in musical history. The release, by the iconic "Queen Bey" at 42, has caused a stir about its profound political message and leaving many to still unpack it: “Why is this Black woman singing country?” “Is it country?” Meanwhile as haters hate and fans rejoice, Beyoncé became the first Black female artist to top the Billboard Country Albums chart.
Traditionally, country music has been a predominantly white domain, often shutting out its deep-rooted connections to Black culture. Considered a hallmark of white Americana, the genre has been defined not just by its content, but also by its creators. While Beyoncé, hailing from Texas no less, is not the first Black woman to create country music, she is undeniably one of the most renowned. She sings: “Used to say I spoke ‘too country’/And the rejection came, said I wasn’t country ’nough/Said I wouldn’t saddle up, but/If that ain’t country, tell me what is?” However, Beyoncé's album, alongside recent releases from other Black artists, continues a transformative shift in the industry. Infusing elements of hip-hop, R&B, and soul into the genre, artists like Beyoncé are reshaping its sonic landscape and storytelling, while honoring its origins.
“Used to say I spoke ‘too country’/ And the rejection came, said I wasn’t country ’nough / Said I wouldn’t saddle up, but / If that ain’t country, tell me what is?”
- Beyoncé in “Ameriican Requiem”
“This album has been over five years in the making,” wrote Beyoncé in a March 2024 Instagram post. “It was born out of an experience that I had years ago where I did not feel welcomed... and it was very clear that I wasn’t. But, because of that experience, I did a deeper dive into the history of Country music and studied our rich musical archive.” The experience Beyoncé referred to is not really known but it could have been when she was booed onstage at the 2016 Country Music Association Awards while performing “Daddy Lessons” with the group then known as The Dixie Chicks.
Linda Martell. Illustration by J.D. Humphreys
Cowboy Carter stands as a celebration of Black excellence and a daring challenge to the traditional boundaries of country music. Critics of the album must also grapple with the support of iconic country stars like Dolly Parton and Willie Nelson, who endorse Cowboy Carter. Additionally, the collaboration with Linda Martell, the first commercially successful Black female artist to grace the Grand Ole Opry, further emphasizes the diverse and vibrant spectrum of Black musical expression and propels the ongoing journey toward inclusivity in the genre.
She continued in the post, “My hope is that years from now, the mention of an artist’s race, as it relates to releasing genres of music, will be irrelevant.”
“My hope is that years from now, the mention of an artist’s race, as it relates to releasing genres of music, will be irrelevant.”
- Beyoncé