The Shirelles

The Shirelles were the first major female vocal group of the rock era, defining the so-called girl group sound with their soft, sweet harmonies and yearning innocence. Their music was a blend of pop/rock and R&B -- especially doo wop and smooth uptown soul -- that appealed to listeners across the board, before Motown ever became a crossover phenomenon with white audiences. Even if the Shirelles were not technically the first of their kind, their success was unprecedented, paving the way for legions of imitators; their inviting musical blueprint had an enduring influence not just on their immediate followers, but on future generations of female pop singers, who often updated the style with a more modern sensibility. What was more, they provided some of the earliest hits for important Brill Building songwriters like Gerry Goffin & Carole King, Burt Bacharach & Hal David, and Van McCoy.

The Shirelles were originally formed in 1958 in Passaic, NJ, by four high school friends: Doris Coley (later Doris Kenner-Jackson), Addie "Micki" Harris, Shirley Owens (later Shirley Alston), and Beverly Lee. Christening themselves the Poquellos, the girls wrote a song called "I Met Him on a Sunday" and entered their school talent show with it. A school friend had them audition for her mother, Florence Greenberg, who ran a small record label; she was impressed enough to become the group's manager, and changed their name to the Shirelles by combining frequent lead singer Owens' first name with doo woppers the Chantels. The Shirelles' recording of "I Met Him on a Sunday" was licensed by Decca and climbed into the national Top 50 in 1958. Two more singles flopped, however, and Decca passed on further releases. Greenberg instead signed them to her new label, Scepter Records, and brought in producer Luther Dixon, whose imaginative, sometimes string-heavy arrangements would help shape the group's signature sound.

"Dedicated to the One I Love" (1959) and "Tonight's the Night" (1960) both failed to make much of an impact on the pop charts, although the latter was a Top 20 R&B hit. However, they broke big time with the Goffin-King composition "Will You Love Me Tomorrow"; released in late 1960, it went all the way to number one pop, making them the first all-female group of the rock era to accomplish that feat; it also peaked at number two R&B. Its success helped send a re-release of "Dedicated to the One I Love" into the Top Five on both the pop and R&B charts in 1961, and "Mama Said" did the same; a more R&B-flavored outing, "Big John," also went to number two that year. 1962 continued their run of success, most notably with "Soldier Boy," a Luther Dixon/Florence Greenberg tune that became their second pop number one; they also had a Top Ten pop and R&B hit with "Baby It's You." Unfortunately, Dixon subsequently left the label; the Shirelles managed to score one more pop/R&B Top Ten with 1963's "Foolish Little Girl," but found it difficult to maintain their previous level of success.

The group went on to record material for the film It's a Mad, Mad, Mad, Mad World, headlined the first integrated concert show in Alabama, and helped a young Dionne Warwick get some of her first exposure (subbing for Owens and Coley when each took a leave of absence to get married). A money dispute with Scepter tied up their recording schedule for a while in 1964, and although it was eventually settled, the Shirelles were still bound to a label where their run was essentially over. Of course, this was also because of the British Invasion, whose bands were among the first to cover their songs; not only their hits, but lesser-known items like "Boys" (the Beatles) and "Sha La La" (a hit for Manfred Mann). The Shirelles scraped the lower reaches of the charts a few more times, making their last appearance, ironically, with 1967's "Last Minute Miracle." Doris Kenner left the group the following year to concentrate on raising her family, and the remaining Shirelles continued as a trio, cutting singles for Bell, United Artists, and RCA through 1971. The group continued to tour the oldies circuit, however, and appeared in the 1973 documentary Let the Good Times Roll. Shirley Alston left for a solo career in 1975, upon which point Doris Kenner-Jackson returned. Micki Harris died of a heart attack during a performance in Atlanta on June 10, 1982, upon which point the group went into what turned out to be a temporary retirement; the three remaining charter members recorded together for the last time on a 1983 Dionne Warwick record. Different Shirelles lineups toured the oldies circuit in the '90s, though Beverly Lee eventually secured the official trademark. They were officially inducted into the Rock and Roll Hall of Fame in 1996. Doris Kenner-Jackson passed away after a bout with breast cancer in Sacramento on February 4, 2000.

from Wikipedia:

The Shirelles were an African-American girl group that achieved popularity in the early 1960s. They consisted of schoolmates Shirley Owens (later Shirley Alston-Reeves), Doris Coley (later Doris Kenner-Jackson), Addie "Micki" Harris (later Addie Harris McPherson), and Beverly Lee. They have been described as either the first African-American girl group to top the Billboard Hot 100, or the first girl group overall, with the song "Will You Love Me Tomorrow".

Founded in 1957 for a talent show at their high school, they were signed by Florence Greenberg of Tiara Records. Their first single, "I Met Him on a Sunday", was released by Tiara and licensed by Decca Records in 1958. After a brief and unsuccessful period with Decca, they went with Greenberg to her newly formed company, Scepter Records. Working with Luther Dixon, the group rose to fame with "Tonight's the Night". After a successful period of collaboration with Dixon and promotion by Scepter, with seven Hot 20 hits, The Shirelles left Scepter in 1966. Afterwards, they were unable to maintain their previous popularity.

The Shirelles have been described as having a "naive schoolgirl sound" that contrasted with the sexual themes of many of their songs. Several of their hits used strings and baião-style music. They have been credited with launching the girl group genre, with much of their music reflecting the genre's essence. Their acceptance by both white and black audiences, predating that of the Motown acts, has been noted as reflecting the early success of the African-American Civil Rights Movement. They have received numerous honors, including the Pioneer Award from the Rhythm and Blues Foundation, as well as being accepted in the Rock and Roll Hall of Fame in 1996, and named one of the 100 best acts of all time by Rolling Stone in 2004. Two of their songs, "Will You Love Me Tomorrow" and "Tonight's the Night", were selected by Rolling Stone on its list of the greatest songs of all time.

History

Initial career and success

The group that later became The Shirelles was formed in 1957 by four teenage friends from Passaic, New Jersey, under the name The Poquellos (or The Pequellos). The founding members, Shirley Owens, Doris Coley, Addie "Micki" Harris, and Beverly Lee, entered a talent show at Passaic High School at the suggestion of a teacher. After hearing them sing "I Met Him on a Sunday", a song they had written for the show, their classmate Mary Jane Greenberg convinced the reluctant Poquellos to meet with her mother, Florence, the owner of Tiara Records; After several months of avoiding Greenberg and telling her that they were not interested in singing professionally, they were booked to Tiara. By the end of the year they had changed their name to The Shirelles, a combination of the first syllable of Owens' given name and -el, reminiscent of then-popular group The Chantels, after briefly using the name The Honeytunes. That year, they released their first song, "I Met Him on a Sunday"; after local success, it was licensed to Decca Records for national broadcast and charted at #50. The song was influenced by doo-wop, but infused with pop melodies.

Tiara Records, along with The Shirelles' contract, was sold to Decca Records in 1959 for $4000; Greenberg stayed as the manager, securing performances for the group, including one at the Howard Theatre in Washington D.C. After two singles did poorly, including their first release — with Coley as lead vocalist — of "Dedicated to the One I Love", a cover of The "5" Royales song of the same name, Decca returned them to Greenberg and gave up on them, considering them a one-hit act; On Greenberg's new label, Scepter Records, they re-released "Dedicated to the One I Love" as a single, which peaked at #89; Wayne Wadhams, David Nathan, and Susan Lindsay in Inside the Hits attribute the low rating to poor distribution. In order to better promote the group, Greenberg asked songwriter Luther Dixon, who had previously worked with Perry Como, Nat King Cole, and Pat Boone and co-written the 1959 hit "16 Candles", to write for and produce songs for them. Dixon accepted.

Their first single produced with Dixon, "Tonight's the Night", was released in 1960 and peaked at #39. The success of "Tonight's the Night" led to the girls being booked to perform with several major artists, such as Etta James and Little Richard, and facilitated Scepter's move to a larger office. It was followed by "Will You Love Me Tomorrow", written by husband-wife songwriting team Gerry Goffin and Carole King; the song went on to become either the first Billboard Number One Hit by an African-American girl group or the first Number One Hit by any girl group. "Tonight's the Night" was later used as the title song for the 1961 album Tonight's the Night, which also included "Will You Love Me Tomorrow" and "Dedicated to the One I Love".

After the success of their singles, The Shirelles became frequent guests of Murray the K, who hosted them on his "All Star Rock Shows" on the New York radio station WINS. During this same period they reissued "Dedicated to the One I Love", which peaked at #3. This was followed by "Mama Said", written by Burt Bacharach and Hal David, followed by "Baby It's You", "Soldier Boy" and "Boys", with saxophonist King Curtis.

In 1963 Dixon left Scepter, which preceded a large decrease in the number of The Shirelles' songs to chart. However, they carried on performing and recording. Dionne Warwick replaced Owens and Coley, who took leave to marry their fiancés, in concerts and the group continued to record material. That year, they had a cameo in the film It's a Mad, Mad, Mad, Mad World and their song "Foolish Little Girl" reached the pop/R&B Top 10. However, later in 1963 they learned that the trust  — holding their royalties  — that they were supposed to receive from Scepter on their 21st birthday did not exist. In response, they left the label, and later filed a breach of contract suit against the company. Scepter met this with a countersuit for quiting; both suits were withdrawn in 1965, after an agreement was reached. Knowing that Scepter had lied about the trust disappointed The Shirelles, who felt deceived. In a 1981 interview with Bruce Pollock, Owens said that Greenberg has put on a "mother routine", which the girls had "fall[en] for ... completely".

Later career

In later years, The Shirelles declined in popularity due to pressure from the British Invasion and the heavy competition from other girl groups, including The Chiffons, The Dixie Cups, The Ronettes, The Supremes, and The Crystals. During this period, Warwick often replaced Coley due to the latter's family commitments. The Shirelles were still bound to Scepter and thus unable to record for another company until the end of their contract in 1966. Their last single to chart was 1967's "Last Minute Miracle", which peaked at #99.

After the commercial failure of their most recent releases, in 1968 Coley left the group to attend to her family. The remaining three Shirelles recorded songs for several labels, including Bell Records, RCA, and United Artists until 1971. Afterwards, they toured singing their older songs, and participated in the filming of the 1973 documentary Let the Good Times Roll, recording two songs for it. Coley returned as lead singer in 1975, replacing Owens, who left that year to pursue a solo career. In 1982 Harris died of a heart attack in the Hyatt Regency after two performances in Atlanta, Georgia with the group. The following year, the remaining three original members performed "Will You Love Me Tomorrow" with Warwick on her album How Many Times Can We Say Goodbye.

Afterwards, the original members toured in different, separate, groups, although the trademark to The Shirelles name was eventually acquired by Lee. Coley died in Sacramento, California on February 4, 2000, of breast cancer.

Style

Wadhams, Nathan, and Lindsay describe the style of The Shirelles early work as "tight, almost doo-wop harmony". Owens' vocals, described by rock n' roll writer Alwyn W. Turner as being "wonderfully expressive", were capable of sounding "almost, but not quite" out of tune, which in his opinion led to Owens' sounding innocent in her songs; music critic Albin Zak describes her vocals as being able to intone desire and vulnerability. The other members, singing backup, also convey what Michael Campbell, a professor of music at Western Illinois University, calls a "naive schoolgirl sound". The lyrics sung by The Shirelles tended to be fairly simple and "barely" concealed the subtexts of the songs. The songs were implicitly directed at female listeners, with the male subjects of songs being referred to as "he" instead of "you"; this was a change from previous female-written songs, which tended to be more gender neutral, and helped pave the way for the "confessional" songs of 70s singers like Joni Mitchell and Carole King.

Musically, their works with Dixon were influenced by Brazilian baião and featured numerous instances of syncopation.

Influences

Steve Huey of Allmusic notes that The Shirelles defined "the so-called girl group sound with their soft, sweet harmonies and yearning innocence", with their songs predating Motown in their widespread crossing of racial demographics, both in the US and in Britain. He also notes that they spawned "legions of imitators", and laid a blueprint for future female pop stars to follow. Alwyn Turner writes that The Shirelles "launched [the girl group] genre", noting that their early work already included "the essence" of the genre; Alwyn Zak expands on the statement, noting that the influx of female groups started after the success of "Will You Love Me Tomorrow".

Michael Campbell notes that The Shirelles' success reflected the African-American Civil Rights Movement. He indicates that works such as "Will You Love Me Tomorrow", written by a white couple, produced by an African-American man, with vocals by young African-American women and strings sounding like they were targeted at a white audience, conveyed a "color-blind" message on top of its more obvious sexual one.

Accolades

In 1994, The Shirelles were honored by the Rhythm and Blues Foundation with the Pioneer Award for their contributions to music. The award was accepted by Owens, Lee, and Kenner. As Coley was accepting her award, she said "This is dedicated to the one I love", and sang an impromptu rendition of "Soldier Boy" together with Owens and Lee. Two years later they were inducted into the Rock and Roll Hall of Fame, together with Gladys Knight and The Pips. At the ceremony in the Waldorf-Astoria Hotel in New York, the three surviving members sang a medley of songs after being presented the awards by Merry Clayton, Marianne Faithfull, and Darlene Love. In 2002, they were inducted into the Vocal Group Hall of Fame. Lee and Owens accepted the award.

In 2004, Rolling Stone ranked them #76 on their list of the 100 Greatest Artists of All Time. Paul Shaffer, who did the write-up, wrote that the girl-group sound, originated by them, was "everything to [him]"; he also described their impromptu performance of "Soldier Boy" as inspiring. They also included two of The Shirelles' songs, "Will You Love Me Tomorrow" and "Tonight's the Night", on their list of the 500 Greatest Songs of All Time. In the 2010 edition, "Will You Still Love Me Tomorrow" was ranked 126th, while "Tonight's the Night" was ranked 409th.

In September 2008, the Shirelles' hometown of Passaic honored the group by renaming a section of Paulison Avenue between Passaic and Pennington Avenues (the section where Passaic High School is located) "Shirelles Boulevard". The dedication ceremony was attended by both surviving Shirelles. Owens said that it was different than when they were inducted into the Hall of Fame, as it was their home town. She noted that "the people who loves [sic] us and we loved are right here."

Stage musical

The Shirelles' story was shown in Baby It's You!, a musical revue written by Floyd Mutrux and Colin Escott, which follows the story of Greenberg and Scepter Records. The show opened on Broadway at the Broadhurst Theatre and was directed by Sheldon Epps and starring Beth Leavel as Florence. Christina Sajous played Owens, Erica Ash played Harris, Kyra DaCosta played Lee, and Crystal Starr Knighton played Coley. The use of their likenesses without permission led to Lee, as well as the estates of Coley and Harris, to sue Warner Bros. The revue had a run of 148 performances, opening at the Broadhurst Theatre on April 27, 2011 and closing on September 4 of the same year.

The show received mixed to negative reviews. Entertainment Weekly's Clark Collis gave the musical a "B-" rating. Charles Isherwood of The New York Times called it "dismal" and Steven Suskin of Variety wrote that it had "a tunestack only one quarter as imperishable" as Jersey Boys. The musical received some positive recognition; Leavel was nominated for a both a Tony and Drama Desk Award for best leading actress.