The Shirelles: From High School Halls to America’s Halls of Fame
The freshly inaugurated Passaic High School auditorium had barely seen a month pass by before four Black girls graced its stage as the Poquellos. Alan Coen, a senior in 1957 at the integrated high school in northern New Jersey, vividly recalled those moments. “We used to have a talent assembly in the auditorium,” Coen said. “In those days, the students that would perform would play violin or piano. Then Shirley Owens came on and they did their thing. It was so fantastic.”
The Shirelles: Shirley Owens (top left), Doris Coley (top right), Beverly Lee (bottom left), and Addie “Micki” Harris. Illustration by J.D. Humphreys
Within seconds, the voices of Shirley Owens, Doris Coley, Beverly Lee, and Addie “Micki” Harris filled the auditorium, casting a spell over their fellow students and faculty alike. The audience sat in rapt attention, their mouths agape in sheer wonderment.
Unbeknownst to many, the Poquellos had meticulously rehearsed well-known tunes they had discovered from their beloved R&B radio station WWRL, located in nearby New York.
“We did those songs and the kids were just flabbergasted. And then we did ‘I Met Him On A Sunday’ and they all went bezerk. They could relate to our songs because we were kids and we were singing about things that kids were doing.”
- Beverly Lee
"We were doing some things like ‘Walking Along’ by the Solitaires, ‘Little Darlin’ by the Diamonds, ‘A Sunday Kind of Love,’” Lee said. “For some strange reason, we thought we needed another song. We did those songs and the kids were just flabbergasted. And then we did ‘I Met Him On A Sunday’ and they all went bezerk. They could relate to our songs because we were kids and we were singing about things that kids were doing.”
The only thing that seemed off was their name, but they wholeheartedly embraced it.
“We thought it [Poquellos] meant ‘birds.’ We were taking Spanish,” Lee explained. “We asked our Spanish teacher and she said, ‘That doesn’t mean birds. It means nothing.’ So it was just a made-up name, same way we made up the name Shirelles, because the ‘elle’ sound was in the Dells, Chantels...”
• THE GREENBERG AUDITION AND A NEW NAME •
In the midst of the captivated audience, one young girl knew she had witnessed something extraordinary, a secret she couldn’t keep to herself or let someone else spoil. With a heart brimming with excitement, Mary Jane Greenberg made her way toward the Poquellos and implored them to audition for her mother, Florence Greenberg, a visionary who was just launching a record label.
Lee recalls, “She chased us daily. ‘Let my mother hear your song.’ She wouldn’t give up. Finally, we got tired of her chasing us. We said okay.”
Now as the Honeytones, the girls found themselves on the spot in Greenberg’s living room where they auditioned. Greenberg, a determined housewife with a fierce passion for music and an audacious dream of owning a record label, defied convention. With no prior experience, she fearlessly ventured into the world of music, actively seeking out talent to build her roster. As she navigated this uncharted territory as a woman, she rubbed shoulders with titans of the music industry, all driven by her unwavering vision.
Now as the Honeytones, the girls found themselves on the spot in Greenberg’s living room where they auditioned. Greenberg, a determined housewife with a fierce passion for music and an audacious dream of owning a record label, defied convention. With no prior experience, she fearlessly ventured into the world of music, actively seeking out talent to build her roster. As she navigated this uncharted territory as a woman, she rubbed shoulders with titans of the music industry, all driven by her unwavering vision.
The Honeytones’ voices quickly filled the more compact air of the Greenberg living room than it had the auditorium. Greenberg was initially hesitant but could not deny their potential. In a moment that would shape their destinies, she decided to sign them to a her record label, Tiara Records, as the Shirelles, a name that would soon become synonymous with timeless music and iconic success.
• FIRST SINGLE, FIRST FLOP •
The Shirelles’ journey into the music industry kicked off with their debut single, “I Met Him On A Sunday (Ronde-Ronde),” released through Tiara Records and licensed by the prominent Decca label in 1958. As the needle hit the groove, anticipation soared, but the song’s ascent on the chart was far from meteoric; it managed to reach only the 49th spot before hitting a roadblock.
LISTEN TO “I MET HIM ON A SUNDAY (RONDE-RONDE)” BY THE SHIRELLES
However, the twists and turns of the music industry were just beginning for Greenberg and the Shirelles. In 1959, Decca not only acquired the rights to “I Met Him On A Sunday” but also made a fateful purchase of Tiara Records itself, along with the Shirelles’ contract. Greenberg sealed the deal for a sum of $4,000 (about $42,000 in today’s purchasing power) and stayed as their manager.
The Shirelles were set to perform on the illustrious stage of the Howard Theater in Washington, D.C. The air was charged with anticipation as the audience waited, and backstage, the girls watched the Five Royales take center stage.
“It was tough,” recalls Shirley Alston Reeves (formerly Owens). “It was a man’s world, so to speak. When it came to the music business, that’s all we’d hear—and they’re all great—we loved the songs that the male artists recorded.”
As the Five Royales poured their hearts into “Dedicated to the One I Love,” a song that hadn’t received chart-topping success for them, the Shirelles listened with a discerning ear. There was something undeniably special in the melody and lyrics, a hidden gem that beckoned to their own music sensibilities.
“It was tough. It was a man’s world, so to speak. When it came to the music business, that’s all we’d hear—and they’re all great—we loved the songs that the male artists recorded.”
-Shirley Alson Reeves (formerly Owens)
With the lyrics to “Dedicated to the One I Love” etched into their memory, the Shirelles approached Greenberg with a proposition—that this song be their next single. Greenberg, always open to the potential of her talented proteges, recognized their passion for the song and endorsed their choice. She took them to Beltone Studios in Manhattan to record their version. Coley’s voice would usher in the song’s captivating narrative with Greenberg, alongside her son Stanley, assumed the roles of co-producers.
“When we started, we were taking some of what the male groups did and feminizing it,” Lee said.
“Dedicated to the One I Love” made its debut on the music charts with high hopes. However, its initial appearance at a modest number 83 was followed by a swift descent. Two subsequent singles suffered a similar fate, leaving the Shirelles at a crossroads.
LISTEN TO “DEDICATED TO THE ONE I LOVE” BY THE SHIRELLES
Decca Records, the label that had once welcomed them, now appeared to lose faith, deeming the Shirelles a fleeting one-hit wonder. Greenberg, fiercely protective of her talented quartet of girls, disagreed vehemently. She believed in their potential and had no intention of letting them fade into obscurity. With a determined spirit, she boldly accused Decca of lacking the vision to promote four gifted Black girls.
• GREENBERG MOVES THE GIRLS TO SCEPTER •
Determined to reshape their destiny, Greenberg took matters into her own hands by moving the Shirelles to her newly-founded Scepter Records, envisioning a brighter future where their talent could flourish. Yet, despite this bold move, the Shirelles still found themselves in a frustrating rut as they ventured into the early months of 1960, their journey filled with both promise and uncertainty. While Greenberg created hits for Dionne Warwick, Chuck Jackson, BJ Thomas, and a pre-Motown Tammi Terrell (Tammy Montgomery), the Shirelles were her only girl group on the roster.
“Florence was like a mother hen,” Lee said. “She was very protective of us.”
Greenberg hired Wally Roker to take on promotion. His group, the Heartbeats, had just split up after singing for various labels and had one hit years earlier, “A Thousand Miles Away.” Roker’s work with various artists earned him the title of “The Godfather of Doo-Wop.”
One day in an elevator, Roker introduced Greenberg to a charismatic and handsome Black man named Luther Dixon. Dixon, a renowned songwriter and producer, boasted an impressive resume that included collaborations with iconic artists like the Crests for “Sixteen Candles,” the Platters, Nat King Cole, and even acclaimed white singers Pat Boone and Perry Como.
Intrigued by the potential of a new partnership, Greenberg wasted no time in extending an enticing proposition to Dixon—join forces and work his magic with her girls, the Shirelles. Already familiar with the Shirelles and their musical prowess, he welcomed her offer.
A series of meetings later, Dixon officially became a part of Scepter Records, assuming the roles of head of A&R (Artists and Repertoire), production, and securing a stake in the publishing pie. The strategic move allowed Greenberg to focus her energy on her true passion—running the company and orchestrating their promotional efforts. There was change in the air, especially the Shirelles.
Dixon, a man of remarkable talents and youthful exuberance, stood 18 years younger than Greenberg. Yet, beyond the realms of music, Dixon managed an astonishing feat by capturing her heart. Their love story unfolded quietly, like a melody in the background, blossoming as they continued to collaborate and create musical magic together. However, their love was not without further complexities as Greenberg was married and held their passionate affair as a guarded secret.
• “TONIGHT’S THE NIGHT” FOR THE WIN •
His unwavering determination centered on one clear goal: to catapult the Shirelles to stardom with their first bona fide hit. He forged a close bond with the girls, collaborating tirelessly on writing new songs. As the clock ticked down to the next day’s crucial recording session, Greenberg instructed that there was need for an additional song to complete the lineup. It was already evening and the pressure was on.
“When?” Owens asked.
“Tonight,” Greenberg snapped back.
“Well, I guess tonight’s the night,” Owens said.
“Tonight’s the night”… “Tonight’s the night” kept bouncing in their minds. The phrase was a spark and Owens and Dixon decided to write the lyrics based on that title. In a short time, they were ready for the next day’s production.
“Luther was a wonderful producer because he had an ear for music,” Lee said. “He knew how to record us. He knew what to get out of us and how to get it out of us. [He was patient with us] to a certain degree. But when he wanted something, he was adamant about it. He didn’t play, when it came to music. And rightfully so.”
Owens adds, “I was told by Luther Dixon that I had a ‘sellable sound’—that’s the way he classified me. He said, ‘Listen, Shirley, never go out there and think that you can battle like big Aretha Franklin or anybody who has that kind of powerful sound.’ But he said, ‘You have a sellable sound.’ He said there was a sweetness to it. So I’m happy for that.”
Unveiled as Scepter 1208 in 1960, “Tonight’s the Night” held a groundbreaking narrative underscored by a distinctive vocal performance. The song wove a tale of a woman teetering on excitement and trepidation about having sex for the first time that night. Owens sings her lines with a unique vocal tinged with imperfection that conveys virginal innocence, authentic yearning, and vulnerability.
LISTEN TO “TONIGHT’S THE NIGHT” BY THE SHIRELLES
The song would be a litmus test for Greenberg’s promotional skills, and little did she know the obstacles the musical journey had in store. She soon discovered that a newly-formed girl group the Chiffons had also recorded their version of “Tonight’s the Night.” However, it’s worth noting that this particular group of Chiffons, who recorded on Big Deal Records, were from Los Angeles and had no relation to the more renowned Chiffons in New York.
Undeterred, Greenberg embarked on a tireless promotional campaign. Armed with pressings of the Shirelles’ “Tonight’s the Night,” Greenberg personally visited radio stations and befriended influential disc jockeys such as Douglas “Jocko” Henderson and “Murray the K” Kaufman, whose support would prove invaluable.
With a potent combination of solid songwriting and Greenberg’s relentless promotional skills, the scales began to tip in favor of the Shirelles. Sales figures revealed a divided audience, with the Chiffons’ cover landing at number 76 on the charts, while the Shirelles soared to number 39.
The success of “Tonight’s the Night” marked a pivotal moment in Greenberg’s career, allowing her to take a significant leap forward and relocate operations to the iconic 1650 Broadway in the heart of New York City. This historic move positioned Scepter as an esteemed outpost of the renowned Brill Building, located just steps away at 1619 Broadway. The allure of the Brill Building, coupled with the rising popularity of the Shirelles, who had captured the hearts of audiences by the close of 1960, acted as a magnet for aspiring songwriters eager for a chance to present their fresh material to the world. Furthermore, Murray the K hosted the Shirelles frequently on his All Star Rock Shows at WINS in New York.
Don Kirshner, a renowned publisher known far and wide as “The Man with the Golden Ear,” had recently added a talented young couple to his roster—Carole King and Gerry Goffin. The duo was in the midst of crafting a song titled “Tomorrow,” earmarked for the Shirelles to record as part of Scepter’s catalog, specifically as Scepter 1211.
However, with little details they had, the Shirelles were not convinced that the song would suit their style. It wasn’t until they stumbled upon a pleasant surprise that their doubts began to melt away. The revelation came when they discovered that the song boasted lush orchestral and string arrangements, a musical tapestry waiting to envelop their harmonious voices.
“It sounded like a real country & western song and we did not like it. Thank God Luther had an ear for music and what was good material for us. And Luther said, ‘You’re gonna do this song.’”
- Beverly Lee
“When Carole brought the song up to Scepter Records, she was singing on the demo,” Lee said. “It was rough, real twangy. It sounded like a real country & western song and we did not like it. Thank God Luther had an ear for music and what was good material for us. And Luther said, ‘You’re gonna do this song.’ And we said, ‘Okay.’ When went into the studio and there was this big orchestra there, cellos and strings. And, oh, when they started playing it was so lush! I said, ‘Oh, my God!’”
Featuring its soaring vocals complemented by orchestral strings, the song “Tomorrow” initially gained popularity. Nevertheless, radio disc jockeys soon started referring to it as “Will You Love Me Tomorrow,” directly quoting its lyrics. The decision to change the title came when it was evident that “Will You Love Me Tomorrow” was a more distinctive and widely recognized name. As it climbed the music charts, both the Shirelles and Scepter Records solidified their positions in the mainstream music scene.
LISTEN TO “WILL YOU LOVE ME TOMORROW” BY THE SHIRELLES
In the waning days of 1961, an album entitled Tonight’s the Night was released containing most of their songs to date, including “Dedicated to the One I Love,” “Will You Love Me Tomorrow,” “Tonight’s the Night,” and less popular songs—though thematically rich—such as “Tonight at the Prom.”
“For the most part, even more so than some other Shirelles’ long-players, the LP evokes a bygone era when innocuous young love and its accompanying hurts were the centers of many teenagers’ universes, fretted over with the detailed seriousness of international diplomacy,” wrote music journalist Richie Unterberger for AllMusic.
Interestingly, the Shirelles themselves remained elusive on the album’s cover, instead opting for a captivating scene that told its own story. A pink prom dress hung in silent anticipation, an unlocked diary whispered secrets waiting to be uncovered, and two tickets hinted at a night of possibilities. Roses adorned with a tag that read “Dedicated to the one I love” added a touch of romance, while a table draped in golden elegance beckoned with promise. Perched on this table, an illegible handwritten letter sparked curiosity, a framed portrait of a young, crew-cut white male, and a pair of pristine white gloves. It was a cover, much like the Shirelles’ music, left listeners intrigued and eager to dive into the rich and mysterious world of Tonight’s the Night.
“In those days, they did not put our pictures on the albums in the South. So the kids down there had no idea we were Black. And they loved our music. So there was a demand for us to come there. And we opened the doors.”
- Beverly Lee
“In those days, they did not put our pictures on the albums in the South,” Lee said. “So the kids down there had no idea we were Black. And they loved our music. So there was a demand for us to come there. And we opened the doors.”
On January 30, 1961, “Will You Love Me Tomorrow” reached its zenith, claiming the number one spot on the charts and maintaining its reign for an extra week into February. Across the pond in the UK, the song also made waves, securing a solid position at number four. This remarkable achievement etched the Shirelles into history as the first Black girl group to attain a coveted number one hit. For the songwriting duo of King and Goffin, this milestone marked a turning point in their careers. They bid farewell to their day jobs, deciding to dedicate themselves entirely to the craft of songwriting, fueled by the song’s success.
Years later, Owens shared an interesting tidbit during an appearance on Jim Parsons’ widely-syndicated oldies radio program, Shake Rattle Showtime. The record had been banned by some radio stations due to concerns over its perceived sexual undertones. “Will You Love Me Tomorrow” appeared to continue the narrative set by “Tonight’s the Night,” capturing the intense anticipation of a first-time sexual encounter. Now that love had been made—or is in the making—with “the magic in your sigh” and “a lasting treasure” versus “a moment’s pleasure,” only left to question the newfound love would stand the test of the next day. It was electrifying scenario that seemed to strike a chord with teenage listeners, providing a poignant backdrop for their own coming-of-age stories.
Greenberg, the once bored housewife, expanded her company to create Wand Records, a subsidiary of Scepter. It was designed to cater to artists specializing in heavier Soul music. Wand’s inaugural artist was Chuck Jackson, who struck gold in 1961 with his first hit “I Don’t Want To Cry!” and remained with the label until making a leap to Motown a few years later. As for the Shirelles, Greenberg was unwavering in her determination to ensure that “Dedicated to the One I Love” received the recognition it deserved. With the resources now available, she embarked on an intensive promotional campaign to breathe new life into the song. Reissued as a follow-up to the hit “Will You Love Me Tomorrow,” “Dedicated to the One I Love” ascended the charts once more, this time reaching an impressive number three on the pop chart, thanks to Greenberg’s savvy and effective promotional strategies.
In that very same year, “Mama Said” clinched the number four position on the charts. This infectiously catchy tune delivered a bold message, with the singer’s mother reassuring them that love would eventually find its way and that fretting over it in the present moment was unnecessary. This maternal wisdom echoed a sentiment found in the 1960 hit by the Miracles, “Shop Around,” where a mother advised her son not to settle for just anyone in matters of the heart.
“Mama Said” starts off with a captivating swirl of vocal harmonies, immediately ensnaring the listener’s curiosity about what musical journey lies ahead. “With ‘Mama Said,’ that beginning little high part wasn’t there,” Lee said. “When we got into the studio, Luther had them playing the beginning of the song, just musically and Doris and I started fooling around. I started singing something. And she harmonized with me. So that’s how that came about.”
LISTEN TO “MAMA SAID” BY THE SHIRELLES
Following that, “Baby It’s You” came into the scene, climbing to the eighth spot on the pop chart and securing a strong position at number three on the R&B chart. Notably, this song marked the first collaboration between the Shirelles and the prolific Burt Bacharach. Mack David, renowned for his songwriting contributions to Disney, joined forces with Dixon, who was credited under the pseudonym “Barney Williams,” in the creation of this musical gem. Bacharach had previously discovered and worked with Dionne Warwick, who went on to achieve her debut hit “Don’t Make Me Over” in 1962. With Warwick now under the Scepter Records banner, the spotlight naturally shifted to her burgeoning solo career.
Meanwhile, the affair at the office between Greenberg and Dixon had begun to affect her home life. It eventually doomed her marriage. “We weren’t upset because of Luther’s color,” Greenberg’s son Stanley said. “We were upset that she was having an affair.”
“We weren’t upset because of Luther’s color. We were upset that she was having an affair.”
- Stanley Greenberg
While race may not have been a legal issue for the Greenbergs, given that New York had no anti-miscegenation laws on the books, the societal prejudice of the time still presented a substantial barrier to their relationship. In the early 1960s, the idea of a housewife transforming into a successful businesswoman and having an affair with a younger man of a different race was virtually unheard of. Such a relationship had the potential to jeopardize her career and the reputation of Scepter Records. Ultimately, Greenberg made the choice to prioritize her career over her relationship with Dixon. She recognized that the partnership between Warwick and Bacharach was a winning combination that offered a unique and groundbreaking musical sound. This decision, while undoubtedly challenging, set the stage for Warwick’s rise to stardom.
Even though a significant amount of attention was directed toward Warwick, the Shirelles managed to score another hit in 1962. Originally titled “I’ll Be True to You,” the song underwent a transformation and became known as “Soldier Boy.” As the Shirelles were in the process of wrapping up an album and required additional material, Greenberg and Dixon convened for a meeting and brought the girls in.
“They gave us the paper and said, ‘Sing this song,’” Lee said. “We did it in three takes.”
“Soldier Boy” ascended to claim the number one spot on the pop chart and securing an impressive position at number three on the R&B chart. However, its impact extended far beyond the airwaves. Lee adds, “Soldiers have told us they were down in the trenches and they played ‘Soldier Boy’ and how that brought them through, that was an anchor to them and their loved ones. It’s quite touching.”
LISTEN TO “SOLDIER BOY” BY THE SHIRELLES
A little-known British band closely observed the rapid ascent of the Shirelles. Just as the Beatles, the emerging British sensation, were making a name for themselves, they decided to pay tribute to the Shirelles by featuring a cover of their song “Boys” on their inaugural UK album, Please Please Me. “Boys” had originally served as the B-side to the Shirelles’ single “Will You Love Me Tomorrow.” Additionally, the Beatles incorporated “Baby It’s You” into their album’s tracklist.
In 1963, the Crystals unleashed their song “Da Doo Ron Ron,” which bore a striking resemblance to the Shirelles’ “I Met Him on a Sunday (Ronde-Ronde).” While the Shirelles detailed their encounter “on a Sunday,” the Crystals’ narrative shifted to “meeting him on a Monday.” Interestingly, the phrase “Da Doo Ron Ron” originally served as a placeholder, meant to separate each stanza until proper lyrics could be crafted. However, Phil Spector, who had close ties to Scepter Records, was so enamored with “Da Doo Ron Ron” that he decided to keep it and make it the title of the song.
LISTEN TO “DA DOO RON RON” BY THE CRYSTALS
That same year, Dixon departed from Scepter Records to explore new opportunities with different artists and labels. His final collaboration with the Shirelles, “Everybody Loves a Lover,” enjoyed a moderate level of success.
Their subsequent hit, “Foolish Little Girl,” opens with a monologue delivered by Coley, reflecting on breaking up with a boy and only now wanting him back when he has moved on and found a new love. “Judy’s Turn to Cry,” a follow-up to “It’s My Party” by Lesley Gore, released a few months later, is very similar in theme to “Foolish Little Girl.” Both songs delve into themes of jealousy, lost love, and the consequences of regaining it, as seen in Gore’s case, often at the expense of someone else. These songs resonated with the real-life experiences of young listeners.
“Foolish Little Girl” climbed to the fourth position on the pop chart, while Gore’s hit “Judy’s Turn to Cry,” produced by Quincy Jones, who also produced “It’s My Party,” reached the fifth spot on the pop chart and the tenth spot on the R&B chart.
LISTEN TO “FOOLISH LITTLE GIRL” BY THE SHIRELLES
In early August, the Salute to Freedom benefit concert took place in Birmingham, Alabama, with the aim of raising funds for transportation to support the upcoming March on Washington later that month. According to Lee, “There was a picture of us on stage and performing, and Dr. King is sitting to my left.” This unpublished photograph she refers to was capture by LIFE photographer Grey Villet. The event, orchestrated by the American Guild of Variety Artists and held at Miles College, boasted a star-studded lineup including Nina Simone, Ray Charles and his band featuring the Raelettes, Johnny Mathis, and various other entertainers and celebrities.
The Shirelles also had a cameo in the comedy film It’s a Mad, Mad, Mad, Mad World directed by Stanley Kramer and starring Spencer Tracy, Milton Berle, and an all-star cast. With Dixon no longer with the label and producing for the Shirelles, Lee said, “Ed Townsend was producing us at that point. And we would have a few days, when we would learn the song phonetically, that’s how we learned to sing it in different languages.
“When they went to the premier, we went to the one in Hollywood and I never got over Uncle Miltie [Berle] introducing us. I was standing back there ‘Oh! Uncle Miltie’s going to introduce us. And not knowing until everything was over, and we went to the after-party, then back to the hotel, I had a hair roller under my hair and I didn’t even know it.”
“We taught Dionne how to move on stage, because Dionne would go out and stand and just sing her song. And we taught her how to just do a little of this, do a little of that.”
- Beverly Lee
During the periods when Owens and Coley took temporary leave to get married, Dionne Warwick stepped in as their replacement for concerts. “Oh, Dionne was wonderful. She was on one of those shows with us at the Brooklyn Fox,” Lee said. “And she came out as a Shirelle and she did a great job, for a stand-in. We taught Dionne how to move on stage, because Dionne would go out and stand and just sing her song. And we taught her how to just do a little of this, do a little of that. But the lady’s so classy. Now all she has to do is just stand there and open her mouth and belt them out. I love her.”
As they neared their twenty-first birthdays, the girls received devastating news. The trust that was supposed to hold their royalties from Scepter, which they were set to receive upon turning twenty-one, simply did not exist. “It was heartbreaking,” Lee said. “As young kids, you’re being told constantly, ‘You’re going to be rich.’ And then there’s nothing there when you turn twenty-one.”
Feeling deceived, the Shirelles decided to part way with the label and subsequently filed a breach of contract lawsuit against Scepter. In response, the company countersued for their departure. However, in 1965, both parties opted to drop their respective lawsuits after reaching a mutual agreement.
The Shirelles’ success was in a freefall. Dixon’s departure, coupled with formidable competitions posed by British groups, resulted in their singles either plummeting down the charts or failing to chart altogether. They remained contractually tied to Scepter, preventing them from recording for any other company until 1966. Their last single to make any chart impact was “Last Minute Miracle,” which reached a modest position at 99. Unfortunately, it became evident that the Shirelles wouldn’t get the last-minute miracle they had hoped for. In 1968, Coley made the decision to leave the group to attend to family matters, leaving the three remaining Shirelles to record for various labels until 1971.
Undoubtedly, the Shirelles stood as an unequivocal powerhouse, forging an indelible path for the girl groups that followed and shaping the very essence of the girl group era. Their influence was nothing short of passionate and enduring, igniting a passionate legacy that continues to inspire generations of artists and fans alike. “That was all God’s doing,” Lee said. “I believe God put us together and he have us the sound that we had.”
On creating the girl group phenomenon, Lee said “We had no idea. But you know what? Women always help each other. I’m just grateful that God allowed us to help other women.”
In 1994, the Shirelles earned a well-deserved place in the Rhythm and Blues Hall of Fame, recognizing their profound impact on the genre. Just two years later, in 1996, they cemented their legacy by being inducted into the prestigious Rock & Roll Hall of Fame.
The very heart of Passaic High School, where the Poquellos once left the audience awestruck with their music, now bears a name that resonates with deep emotion and reverence: Shirelles Auditiorium. Moreover, the nearby Shirelles Boulevard, weaving through the soul of the community, stands as a lasting tribute to the unforgettable impact of these remarkable artists on the city and its people.
“I never in my wildest dreams thought anything like that would happen,” Lee said. “But I say, ‘To God, be the glory, for everything that’s been done.”
“I never in my wildest dreams thought anything like that would happen. But I say, ‘To God, be the glory, for everything that’s been done.”
- Beverly Lee