Part 1 —The Ronettes: Bonded by Blood
In the bustling heart of New York City’s Spanish Harlem, three talented and determined young women embarked on a musical journey that would change their lives forever. Sisters Veronica and Estelle Bennett and their cousin Nedra Talley forged a tight-knit bond that extended beyond bloodlines.
The Ronettes: (Left to right): Estelle Bennett, Veronica (Ronnie) Bennett, and Nedra Talley. Illustration by J.D. Humphreys
“People will say, ‘Oh, if you’re Black, you must’ve been raised singing in the church.’ We were not, we were singing for our family and making money,” said Nedra Talley.
“The Darling Sisters” were the embodiment of diversity in every sense. Their mother was a striking mix of Black and Cherokee heritage, while their father proudly represented Irish-American roots. Talley, the charismatic cousin, was a fusion of Black and Puerto Rican ancestry. Together, these three extraordinary women not only shared their family connections but also their deep passion for music. They were often mistaken for triplets due to their similar features and undeniable chemistry. This visual harmony was only a small preview of the musical magic they would soon create.
“Being half-breeds, we were born different, so we figured the thing that set us apart from the other girl groups was our look,” said Ronnie.
“Being half-breeds, we were born different, so we figured the thing that set us apart from the other girl groups was our look.”
- Veronica Bennett (Ronnie Spector)
Using their grandmother’s home as a studio space, they honed their vocal skills and polished their harmonies with relentless determination. They drew inspiration from their crush Frankie Lymon and the Teenagers, whose music filled their hearts with endless motivation and the desire to reach similar heights. The Darling Sisters’ talent soon caught the ear of the music industry scouts, leading to a life-changing opportunity. The trio was offered a recording contract with Colpix Records, marking the beginning of their professional journey in the music industry.
In August 1961, they made their debut under the new name Ronnie and the Relatives with the release of their first single, “I Want a Boy.” Fueled by a desire to capture the essence of youthful yearning and the melodies that resonated with their own experiences, they poured their hearts into this track. However, despite their earnest efforts, the song failed to capture the attention of the mainstream audience.
LISTEN TO “I WANT A BOY” BY RONNIE AND THE RELATIVES
Undeterred by the initial setback, Ronnie and the Relatives regrouped and returned to the studio with renewed determination. Early in 1962, they released their follow-up single, “I’m Gonna Quit While I’m Ahead.” Yet, much to their dismay, this second attempt also failed to make waves in the ever-competitive music industry.
LISTEN TO “I’M GONNA QUIT WHILE I’M AHEAD” BY RONNIE AND THE RELATIVES
• A CASE OF MISTAKEN IDENTITY •
The infectious “Twist” dance craze had taken over the nation, with The Peppermint Lounge emerging as the epicenter of this musical revolution. It was the place to see and be seen, and it was here that a chance encounter would alter the course of the trio. Eager to blend in with the vibrant atmosphere of the lounge, Nedra and Veronica, who were underage, had gone to great lengths earlier that evening to look older than their years.
“Our mother said, ‘You gotta put stuff here and have a cigarette in your hand to look older to get in,’” Ronnie said.
As the music played and the dancers swirled in the dimly lit lounge, the night became a story of mistaken identity. The trio was initially confused for being associated with the renowned dance group, Joey Dee and The Starliters, who were creating waves with their Twist performances. Amid the confusion, Veronica soon found herself holding a microphone. With courage and determination, she belted out Ray Charles’ soulful classic, “What’d I Say.” The effect was electrifying, and the audience was left in awe with the trio. The starts had aligned, and their fate was sealed. The Peppermint Lounge, recognizing their exceptional talent, extended an invitation for them to become a permanent act for $10 per night.
The group needed a name that would capture the essence of their unique blend of talent and charm. The trio became known as The Ronettes — “Ro” for Ronnie, “ne” for Nedra, and “es” for Estelle. Despite their success at The Peppermint Lounge, their success at Colpix still had not landed. They recorded “Silhouettes” and reissued “I’m Gonna Quit While I’m Ahead” in 1962. Yet the charts remined stubbornly indifferent to their efforts.
LISTEN TO “SILHOUETTES” BY THE RONETTES
“We couldn’t figure out why our stuff wasn’t selling, but listening to those songs today, I can see why they didn’t make it,” said Ronnie in her memoir. “Colpix had no idea what to do with us. Stu Phillips just didn’t know what Rock & Roll was — I mean, he had us in the studio backed up by two fake McGuire Sisters. And with the strange songs he picked for us, it’s no surprise our recording career was going nowhere.”
• THE BROOKLYN FOX DAYS (AND NIGHTS) •
The Ronettes still had a valuable ace up their sleeves – their scintillating performances at the The Peppermint Lounge. They were flown to Miami to help launch a branch of The Peppermint Lounge where their energy and charisma did not go unnoticed. Famed radio host Murray the K approached the trio backstage and proposed that they perform regularly at the Brooklyn Fox in New York.
The Ronettes gladly accepted the offer, and they became known as Murray the K’s “Dancing Girls.” They soon found themselves in high demand as backing singers for other acts, a testament to their extraordinary vocal abilities. Their identity as the was not lost as they frequently performed as the Ronettes. Their secret weapon was their unapologetic embrace of their unique differences. In an era when girl groups often crafted a wholesome and elegant image, the Ronettes stood out by being authentically themselves. Their individuality was a breath of fresh air in a sea of conformity, setting them on a course for stardom that was uniquely their own.
“We weren’t afraid to be hot. That was our gimmick. When we saw the Shirelles walk onstage with their wide party dresses, we went in the opposite direction and squeezed our bodies into the tightest skirts we could find.”
- Veronica Bennett (Ronnie Spector)
“The songs we sang were already tougher than the stuff the other groups did,” Ronnie said. “While the Shirelles sang about their ‘Soldier Boy,’ we were telling the guys, ‘Turn on Your Love Light.’ We weren’t afraid to be hot. That was our gimmick. When we saw the Shirelles walk onstage with their wide party dresses, we went in the opposite direction and squeezed our bodies into the tightest skirts we could find. Then we’d get out onstage and hike them up to show our legs even more. After a while it got to be so much trouble hiking these tight skirts up that we finally just cut slits up the sides. That was the Ronettes’ look. And we definitely made an impact.”
As the Ronettes continued to perform at the Brooklyn Fox, the reality remained that they were hitless. Within the theater’s hallowed halls, a dynamic mix of talent was on display, ranging from groups just starting their musical journeys to those who had already ascended the charts. These relentless performers, including the Ronettes, were faced with a grueling schedule that demanded them to give it their all in three shows a day. The theater’s back rooms became their second homes, where they would spend an impressive twelve hours or more together. Amid the hustle and bustle, some interesting personalities emerged. Diana Ross was a frequent lipstick borrower and Little Stevie Wonder, a prodigious talent even in his early years, couldn’t resist playing pranks and keeping the atmosphere light with his mischievous antics. The long corridor connecting the dressing rooms became a cultural melting pot where laughter, music, and stories flowed freely. It was a place where friendship blossomed, ideas were exchanged, and bonds were forged in the crucible of creativity and show business. However, it wasn’t all harmonious as some groups were not eager to mingle.
“Of course we didn’t get all get along with everybody,” Ronnie recalls. “I couldn’t stand the Shirelles when we were just starting out. They were headliners, and they didn’t want to have anything to do with the other groups. Boy, they were stuck up. The Shirelles were the only girl group with their own valet. I mean, to have a valet, you had to be superstars. And they sure thought they were. These girls would not even come out of their dressing room until they were ready to go onstage. And then they hardly spoke to you. They just walked straight out to the stage with their valet waiting in the wings. The Shirelles looked at us like we were little nothings. I just said, ‘Well, gee!’”
In an industry where fame and fortune beckoned on one side and heartache and rejection lurked on the other, rivalries were common as the catchy melodies that filled the airwaves. Among the musical groups of the era, it was the girl groups who often took center stage, not just with their harmonies but also with their penchant for throwing shade, upstaging one another, and occasionally sparking feuds. In addition to the standard pressures of youth and society, they had to navigate the ruthless world of show business, where success often seemed elusive and failure was constant. Jealously and resentment ran rampant when one group or artist saw another’s star rising.
However, the Ronettes were different. They held a unique advantage over their peers, and it wasn’t just about their extraordinary talent. Their bond was flesh and blood. The ties that bound Ronnie, Nedra, and Estelle were not merely professional or musical; they were family.
“There was never any rivalry, and we never fought backstage, unless it was over makeup,” Ronnie said. “If I had a half jar of cold cream, I might switch it with Nedra’s full jar. But these were little things. We had blood ties that gave us a closeness that the other groups just couldn’t match. The three of us were family, and there just wasn’t any jealousy then.”
“How many people can say they sat on the toilet butt to butt, cheek to cheek—that’s how we did it. Ronnie was honestly my breath growing up—my life.”
- Nedra Talley
Nedra added, “How many people can say they sat on the toilet butt to butt, cheek to cheek—that’s how we did it. Ronnie was honestly my breath growing up—my life.”
The Ronettes reached a breaking point with Colpix when their single “Good Girls” had failed to make any significant mark on the charts. The frustration was palpable, and they knew it was time for a change.
LISTEN TO “GOOD GIRLS” BY THE RONETTES
Nedra’s mother was also the trio’s staunch advocate. “My mom had no fear of going downtown, knocking on doors, and saying, ‘There are these three pretty young girls, they can sing, and we’d like something to happen with them.’” After listening to her pitch, numerous executives would disregard the notion of signing a girl group, asserting concerns that the members might prioritize marriage, motherhood, and eventual departure. Instead, they exhibited a greater interest in signing guy groups, perceiving them as more reliable.
• PHIL SPECTOR SCOOPS UP THE RONETTES •
The chance encounter with Phil Spector is one that has been exaggerated over the years. It goes like this: One day, Estelle accidentally dialed the wrong number. Upon learning that they were the Ronettes, Spector’s curiosity was piqued and arranged an audition at miles away at Mira Sound Studios. This wrong number call turned out to be the right connection at the perfect moment.
According to Nedra, this was “The big lie. No, it didn’t happen that way. He came to the Brooklyn Fox Theatre and came backstage and said, basically, 'You know, you’re very good. You got a look.'” An audition was arranged.
The audition at Mira Sound Studios was a defining moment in the Ronettes’ career. Spector, a maestro in the world of music production, was eager to witness their talent firsthand. As they began performing the classic “Why Do Fools Fall in Love” by Frankie Lymon, a transformational moment occurred. Some accounts claim Spector was so moved by their performance that he couldn’t contain his enthusiasm and jumped up, causing the piano bench to tumble to the floor. He exclaimed, “That’s it! That’s it! That is the voice I’ve been looking for.”
Nedra disputes Spector’s initial excitement: “It didn’t happen that way.”
Spector did see a spark of brilliance. The Ronettes had found their champion and mentor in Spector. When it came to Ronnie, he was completely captivated by her.
“We all ate pastrami and potato salad while Phil played us a tape of his latest record,” Ronnie recalled. “It was Darlene Love singing ‘(Today I Met) The Boy I’m Gonna Marry.’ When the song ended, Phil ran back into the control room and played it again. And again. And again. It was so entertaining, the way he ran all around the control room like Charlie Chaplin. He knew he had an audience, and he did everything he could to keep us laughing.”
Spector had an uncanny knack for working his magic, and his enchantment didn’t stop at the music. Ronnie would later reflect on their first encounter. It was like a scene out of a classic romance novel. Was he trying to tell her something by playing that song over and over again? “Because it sure did speak to me,” she said. “I couldn’t stop thinking that today I really had met the boy I was going to marry.”
The moment of their official signing with Spector in March 1963 was nothing short of a showdown. Behind this milestone lay a tale of unwavering family loyalty and sheer determination of the trio. Initially, Spector had his sights set on Ronnie as a solo act. It seemed as though the world-famous producer was determined to work with her alone. However, he had not taken into account the formidable force of the family. The Bennetts’ mother, their staunch advocate, was having none of it. With a resolute spirit, she made it abundantly clear to Spector that it was an all-or-nothing deal. The family bond ran deep, and it was clear that they would be a package deal. With the ink barely dry on their contract, the Ronettes wasted no time. They set to work, rehearsing their enchanting rendition of “Why Don’t They Let Us Fall in Love.” Soon enough they were off to Hollywood to record it at the renowned Gold Star Studios.
“We thought we were there to record ‘Why Don’t They Let Us Fall in Love,’ which we assumed would be our first single,” said Ronnie. “It was only later that we found out that Phil had no intention of recording our first record at these sessions. The real purpose of that trip was to give him a chance to hear how we sounded in the studio. We thought we were old pros after our Colpix sessions, but during those first days at Gold Star, we found out how little we really knew about professional recording techniques.”
Spector indeed had other plans. He listened to their work and, with a critical ear, declared the single simply wasn’t good enough. He was determined to create their “first million-seller,” a promise that hung tantalizingly in the air. At this time, the lines between mentorship and romance had blurred between Spector and Ronnie. With hearts intertwined, Ronnie had grown to trust not only his musical guidance but also his vision for the group and their future together.
LISTEN TO “THE TWIST” BY THE RONETTES
The Ronettes took a spin at some iconic covers, including “The Twist,” the Orlons’ “The Wah Watusi” led by Nedra, “Mashed Potato Time,” and “Hot Pastrami.” However, these renditions ended up on the 1963 album The Crystals Sing Their Greatest Hits, Volume 1, credited to the Crystals themselves. This didn’t sit well with the Crystals. They felt the Ronettes were stealing the spotlight, and suspicions arose that Spector might be playing a little trick with their royalty money.
• “BE MY BABY” LANDS WITH THE STREET KIDS •
As Ronnie arrived at Gold Star to record “Be My Baby,” accompanied by Nedra and Estelle for backing vocals, she was soon struck by how her voice would become “the final brick” in Spector’s Wall of Sound. The Wall of Sound was crafted using the studio’s exceptional acoustics in Studio A, where the goal was to make the music as immense as possible. This often involved multiple musicians playing the same instrument, creating a sonic masterpiece that would leave a lasting impact to the listener.
“I was always surprised at how much Phil used me when he had singers like Fanita James and Darlene Love around,” Ronnie said. “When I’d hear them singing with those great big gospel voiced, I’d start to wonder what was so special about my little voice. But I have to give Phil credit. He loved the way I sang, and he knew exactly what to do with my voice.”
“Be My Baby” marked the inception of Spector’s ambitious Wall of Sound experiment. The backing vocals were a star-studded affair, featuring the likes of Darlene Love, Fanita James, Bobby Sheen from Bob B. Soxx and the Blue Jeans, Nino Tempo, Sonny Bono, and Cherilyn Sarkisian (Cher). Nedra and Estelle were absent from the recording session, making it a noteworthy omission from the Ronettes’ lineup.
LISTEN TO “BE MY BABY” BY THE RONETTES
As the Ronettes toured with Joey Dee and the Starliters in Westwood, New Jersey, their song “Be My Baby” received an extraordinary endorsement on American Bandstand. Host Dick Clark introduced it as the “Record of the Century.” Upon hearing the news, Spector pulled the trio from the tour back to New York to seize the moment and promote their newfound hit. The Brooklyn Fox marquee bore the proud name “Ronettes” for the very first time, signaling their rise in the music world. “Be My Baby” rose to the second spot on the Billboard Pop Singles chart and number four no the R&B chart. The song’s infectious charm resonated with listeners far and wide, leading to a staggering two million copies sold in 1963 alone.
“The other acts at the Fox were just as happy for us – even the Shirelles!” Ronnie said. “Shirley Alston called us into her dressing room. The Shirelles were the biggest girl group around, so for us, this was like being called in to visit the queen.”
The song’s enchanting allure and romantic fervor had a profound effect on the Beach Boys’ Brian Wilson. The following year, Wilson and his group responded to the siren call of “Be My Baby” with their song “Don’t Worry Baby.”
“I really did flip out. Balls-out totally freaked out when I heard.”
- Brian Wilson, Beach Boys
Wilson, upon hearing the song for the first time: “I was in my car with my girlfriend and we were driving around... When all of a sudden this guy Wink Martindale a disc jockey—he goes, ‘All right! Here we go with Be My Baby by the Ronettes.’ It started playing … All of a sudden it got into this part—'be my, be my baby’—and I said ‘What is—what?! Whoa whoa!’ I pulled over to the side of the street of the curb and went, ‘...My God! ...Wait a minute! ...No way!’ I was flipping out. I really did flip out. Balls-out totally freaked out when I heard. … In a way it wasn't like having your mind blown, it was like having your mind revamped. It's like, once you've heard that record, you're a fan forever.”
In her autobiography, Ronnie recounts a dramatic incident that unfolded during one of their performances at the Apollo Theatre. Tensions reached a boiling point in the alley outside the venue, where two opposing groups, one Black and one Spanish, became embroiled in a heated altercation over the concept of the Ronettes’ racial identity. “We were amazed that two gangs of kids were actually fighting over our skin color!” Ronnie said. “The funny thing is, they were both right. Nedra is half-Spanish, and my sister and I are half-Black. Of course, we weren’t about to go out there to settle the argument.”
The Apollo Theatre could be especially rough and walking out for the first time in “front of a few hundred tough Harlem street kids who had just paid two dollars each to see us,” was especially frightening, according to Ronnie. She was not sure “Be My Baby” being sung by “these three little half-breeds” would get a good reception, especially after Patti LaBelle and the Bluebelles had just left the stage with thunderous applause. But the Ronettes received an ovation from the audience after performing “Be My Baby.”
“When the street kids applauded us at the Apollo, it was like we were getting our wave — from that moment on, we knew we could pass in the Black world.”
- Veronica Bennett (Ronnie Spector)
“When the street kids applauded us at the Apollo, it was like we were getting our wave — from that moment on, we knew we could pass in the Black world,” Ronnie said.
“Be My Baby” emerged as a musical game-changer, its echoes reverberating far beyond the confines of the industry. It wasn’t just a song; it was a sonic manifesto of social consciousness that resonated with teenagers from diverse backgrounds. This iconic track didn’t merely define the Ronettes, it announced their arrival on the world stage with an eclectic fanbase that would follow.
With voices honed in the vibrant streets of Spanish Harlem, the Ronettes embodied a unique blend of sultry rebellion. More than just sweet harmonies, they were a symbol of female empowerment that had young women everywhere aspiring to emulate them. For male teens, the Ronettes represented the quintessential dream date—a harmonious fusion of sweetness and streetwise allure. Even within the lyrics of “Be My Baby,” Ronnie’s words painted a vivid picture of youthful euphoria, where the mere act of dating made heads turn wherever they went. The Ronettes captured the essence of the teenage experience in a way that eluded many other musical groups.
“‘Be My Baby’ is a Rock & Roll classic… [It] was tough record, but it had a sweet side to it, just like the Ronettes,” Ronnie remarked. “It was the kind of song a street kid would like. And a lot of them did. After that, the Ronettes were bigger than ever with the kids on the street.”