Dusty Springfield
Dusty Springfield OBE | |
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Born | Mary Isobel Catherine Bernadette O'Brien 16 April 1939 London, England |
Died | 2 March 1999 , England | (aged 59)
Occupations |
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Years active | 1958–1995 |
Musical career | |
Genres | |
Discography | Dusty Springfield discography |
Labels |
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Signature | |
Mary Isobel Catherine Bernadette O'Brien
Born in West Hampstead in London into a family that enjoyed music, Springfield learned to sing at home. In 1958, she joined her first professional group, the Lana Sisters. Two years later, with her brother Dion O'Brien ("Tom Springfield") and Tim Feild, Springfield formed the folk-pop vocal trio the Springfields. Two of their five 1961–63 top 40 UK hits – "Island of Dreams" and "Say I Won't Be There" – reached No. 5 on the charts, both in the spring of 1963. In 1962, they also hit big in the United States with their cover of "Silver Threads and Golden Needles".
Dusty Springfield's solo career began in late 1963 with the upbeat pop record "I Only Want to Be with You" — a UK No. 4 hit, and the first of her six transatlantic top 40 hits in the 1960s, along with "Stay Awhile" (1964), "All I See Is You" (1966), "I'll Try Anything" (1967) and the two releases now considered her signature songs: "You Don't Have to Say You Love Me" (1966 UK No. 1/US No. 4) and "Son of a Preacher Man" (1968/69 UK No. 9/US No. 10). The latter features on the 1968 pop and soul album Dusty in Memphis, one of Springfield's defining works. In March 2020, the US Library of Congress added it to the National Recording Registry, which preserves audio recordings considered to be "culturally, historically or aesthetically significant".
Between 1964 and 1969, Springfield hit big in her native Britain with several singles which in America either failed to chart or were not released, among them "
From 1971 to 1986, Springfield failed to register a hit from five album releases (aside from a minor 1979 UK chart appearance), but her 1987 collaboration with UK
A fixture on British television, Springfield presented many episodes of the hip 1963–66 British TV music series
Early life
Springfield was born Mary Isobel Catherine Bernadette O'Brien on 16 April 1939 in West Hampstead,[5] the second child of Gerard Anthony 'OB' O'Brien (1904–1979) and Catherine Anne 'Kay' O'Brien (née Ryle; 1900–1974), both Irish immigrants.[6] Springfield's elder brother, Dionysius Patrick O'Brien (2 July 1934 – 27 July 2022), was later known as Tom Springfield.[7] Her father, who had been raised in British India, worked as a tax accountant and consultant.[8] Her mother came from an Irish family originally from Tralee, County Kerry, that included a number of journalists.[9]
Springfield was brought up in High Wycombe, Buckinghamshire, until the early 1950s and later lived in Ealing in west London.[8] She attended St Anne's Convent School, Northfields, a traditional all-girl school. The comfortable middle-class upbringing was disturbed by dysfunctional tendencies in the family: her father's perfectionism and her mother's frustrations sometimes resulted in food-throwing incidents.[10] Springfield and her brother were both prone to food-throwing as adults.[8] She was given the nickname "Dusty" for playing football with boys in the street and was described as a tomboy.[11]
Springfield was raised in a music-loving family. Her father tapped out rhythms on the back of her hand and encouraged her to guess the musical piece.[12] She listened to a wide range of music, including George Gershwin, Rodgers and Hart, Rodgers and Hammerstein, Cole Porter, Count Basie, Duke Ellington and Glenn Miller.[12][13][14] A fan of American jazz and the vocalists Peggy Lee and Jo Stafford, she wished to sound like them. At age 12 she recorded herself performing the Irving Berlin song "When the Midnight Choo-Choo Leaves for Alabam" at a record shop in Ealing.[12][13][14]
Career
1958–1963: Career beginnings
After leaving school, Springfield sang with Tom in local folk clubs.[15] In 1957, the pair worked together at holiday camps.[15] The next year, Springfield responded to an advertisement in The Stage to join The Lana Sisters, an "established sister act", with Iris 'Riss' Long (also known as Riss Lana, Riss Chantelle) and Lynne Abrams (a.k.a. Lynne Lana), who were not actually sisters.[16] Springfield adopted the stage name "Shann Lana" and "cut her hair, lost the glasses, experimented with makeup, fashion" to become one of the 'sisters'.[17] As a member of the pop vocal trio, Springfield developed skills in harmonizing and microphone technique and recorded, performed on TV, and played at live shows in the United Kingdom and at United States Air Force bases in continental Europe.[14][16]
In 1960, Springfield left the Lana Sisters and formed a folk-pop trio,
Springfield left the band after their final concert in October 1963.
1963–1966: Early solo career
Dusty released her first solo single, "
Springfield's debut solo album
In 1965, Springfield reached the UK Top 40 with three hit singles: "Your Hurtin' Kinda Love" (no. 37), "In the Middle of Nowhere" (no. 8) and the Gerry Goffin/Carole King-penned "Some of Your Lovin'" (no. 8),[26] though none was included on her next UK album recorded with The Echoes, Ev'rything's Coming Up Dusty. Released in October 1965, the LP featured songs by Leslie Bricusse, Anthony Newley, Rod Argent and Randy Newman, and a cover of the traditional Mexican song "La Bamba".[39] In November 1965, the album peaked at no. 6 on the UK chart.[26] Springfield's one appearance on Billboard's Hot 100 in 1965 was "Losing You", which stalled at 91.
From 28 to 30 January 1965, Springfield took part in the
There, standing on the staircase at Philips studio, singing into the stairwell, Dusty gave her greatest ever performance – perfection from first breath to last, as great as anything by Aretha Franklin or Sinatra or Pavarotti. Great singers can take mundane lyrics and fill them with their own meaning. This can help a listener's own ill-defined feelings come clearly into focus. Vicki [Wickham] and I had thought our lyric was about avoiding emotional commitment. Dusty stood it on its head and made it a passionate lament of loneliness and love.
In 1966, Springfield scored with three other UK hits, all varying in style: the snappy "Little By Little" (no. 17), a cover of
During this period, Springfield was also known for her love of
1967–68
As with Springfield's chart success in the previous three years, there was minimal agreement in 1967 and 1968 between UK and US releases. The closest Springfield got to a transatlantic hit during this period was the spirited "I'll Try Anything", which charted in the spring of 1967 (UK no. 13/US no. 40). The follow-up single, "Give Me Time" – the singer's last traditional-sounding sweeping ballad – peaked outside the UK Top 20 (no. 24) and stalled at 76 in the United States. However, the single's B-side – the smokey-sultry Bacharach-David song "The Look of Love", recorded for the James Bond parody film Casino Royale – emerged as one of Springfield's five defining US 1960s hits.[51][53]
For "one of the slowest-tempo hits" of the sixties, Bacharach created the "sultry" feel by the use of "minor-seventh and major-seventh chord changes", while Hal David's lyrics "epitomised longing and, yes, lust."
In August and September 1967, Springfield headlined the second season of her BBC TV series Dusty (also known as The Dusty Springfield Show), in which she welcomed guests and performed songs, among them a rendition of "
1968–69: Dusty in Memphis
By the late 1960s, Carole King – who with Gerry Goffin co-wrote "Some of Your Lovin'", "Goin' Back" and four songs on the Dusty in Memphis album – had embarked on a solo singing career. At the same time, Springfield's relationship with the high-charting Bacharach-David partnership was floundering. Her status in the music industry was further complicated by a "progressive" music revolution which dictated an uncomfortable dichotomy: underground/"fashionable" vs. pop/"unfashionable".[33] Her performing career was limited to the UK touring circuit of working men's clubs, hotels and cabarets.[33] Hoping to reinvigorate her career and boost her credibility, she signed with Atlantic Records,[33] the label of her idol Aretha Franklin. (She signed with the label only in the United States; in her native United Kingdom she remained under contract with Philips.)
The Memphis sessions at the
In November 1968, during the Memphis sessions, Springfield suggested to Wexler (one of the heads of Atlantic Records) that he should sign the newly formed UK band Led Zeppelin. She knew their bass guitarist, John Paul Jones, from his session work on her earlier albums.[66] Without ever having seen them and partly on her advice,[66] Wexler signed Led Zeppelin to a $200,000 deal with Atlantic – the biggest such contract for a new band until then.[66][67]
The album Dusty in Memphis received excellent reviews on its initial releases both in the UK and US.[68] Greil Marcus of Rolling Stone magazine wrote: "most of the songs ... have a great deal of depth while presenting extremely direct and simple statements about love ... Dusty sings around her material, creating music that's evocative rather than overwhelming ... Dusty is not searching – she just shows up, and she, and we, are better for it."[69]
Commercial and chart success did not follow.[68] The album failed to chart in the UK, and in April 1969 it stalled at no. 99 on Billboard's Top LP's chart,[26][27] with sales of 100,000 copies.[18][70] However, by 2001, the album had received the Grammy Hall of Fame award and was listed among the greatest albums of all time by US music magazine Rolling Stone[65] and in polls conducted by VH1, New Musical Express and UK TV network Channel 4.[71]
In November 1968, the album's lead single, "Son of a Preacher Man", was issued. It was written by John Hurley and
During September and October 1969, Springfield hosted her third and final BBC musical variety series (her fourth variety series overall), Decidedly Dusty (co-hosted by Valentine Dyall).[45] All eight episodes were later wiped from the BBC archives, and to date the only surviving footage consists of domestic audio recordings.
Until her 1987 comeback with Pet Shop Boys, 1969 marked the last year in which Springfield achieved any notable singles chart presence. In Britain, following "Son of a Preacher Man", she charted with only "Am I the Same Girl" (no. 43), while on the US Hot 100 she charted with the double A-side "Don't Forget About Me" (no. 64)/"Breakfast in Bed" (no. 91), a cover of "The Windmills of Your Mind" (no. 31), "Willie & Laura Mae Jones" (no. 78) and A Brand New Me (no. 24).
Springfield's 1960s repertoire also is noted for interpretations of songs associated primarily with other artists. Those which have appeared on Springfield EPs and compilations include "Twenty Four Hours from Tulsa", "You Don't Own Me", "La Bamba", "If You Go Away" (released on the 1968 Philips EP If You Go Away, which also featured tracks such as "Magic Garden" and "Sunny"), "Piece of My Heart" (released as "Take Another Little Piece of My Heart"), "I Think It's Gonna Rain Today", "Spooky" and "Yesterday When I Was Young".
Springfield was one of the best-selling UK singers of the 1960s.[79] She was voted the Top Female Singer (UK) by the readers of the New Musical Express in 1964 to 1966 and Top Female Singer in 1965 to 1967 and 1969.[19]
1970s
By the beginning of the 1970s, Springfield was a major star, though her record sales were declining. Her partner, Norma Tanega, had returned to the US after their relationship had become stressful,
In 1973, Springfield recorded the theme song for the TV series The Six Million Dollar Man, which was used for two of its film-length episodes: "Wine, Women & War" and "The Solid Gold Kidnapping".[87] Her second ABC Dunhill album was given the working title Elements and was then scheduled for release in late 1974 as Longing. However, the recording sessions were abandoned, although part of the material, including tentative and incomplete vocals, was issued on the 2001 posthumous compilation Beautiful Soul. In the mid-1970s she sang background vocals on Elton John's album Caribou (June 1974), including his single "The Bitch Is Back"; and on Anne Murray's album Together (November 1975).[79]
By 1974, Springfield had put her solo musical career on hold to live as a recluse in the US and avoid scrutiny by UK tabloids. In the 1960s and early 1970s, gay or bisexual performers "knew that being 'out' would lead to prurient media attention, loss of record contracts ... the tabloids became obsessively interested in the contents of celebrity closets".[30][88] Springfield would not record again until the Summer of 1977, when she began recording It Begins Again.
In the late 1970s, Springfield released two albums on
1980s
In 1980, Springfield sang "Bits and Pieces", the theme song from the movie
In 1987, she accepted an invitation from
In 1988, a new compilation, The Silver Collection, was issued. Springfield returned to the studio with Pet Shop Boys, who produced her recording of their song "Nothing Has Been Proved", commissioned for the soundtrack of the 1989 drama film Scandal. Released as a single in February 1989, it gave Springfield her fifteenth UK Top 20 hit.[26] In November its follow-up, the upbeat "In Private", also written and produced by Pet Shop Boys, peaked at no. 14.[26]
1990s
Springfield's 1990 album, Reputation, was her third UK Top 20 studio album.[26] The writing and production credits for half the album, which included the two recent hit singles, went to Pet Shop Boys, while the album's other producers included Dan Hartman. By 1988 Springfield had left California and, other than when recording tracks for Reputation, she returned to the UK to live. In 1993, she recorded a duet with her former 1960s professional rival and friend, Cilla Black. In October, "Heart and Soul" was released as a single and, in September it had appeared on Black's album, Through the Years.[95] Springfield's next album, provisionally titled Dusty in Nashville, was started in 1993 with producer, Tom Shapiro, but was issued as A Very Fine Love in June 1995. Though originally intended by Shapiro as a country music album, the track selection by Springfield pushed the album into pop music with an occasional country feel.[96]
The last studio track Springfield recorded was
Musical style
Influenced by US pop music,[79] Dusty Springfield created a distinctive blue-eyed soul sound.[44][69] BBC News noted "[h]er soulful voice, at once strident and vulnerable, set her apart from her contemporaries ... She was equally at home singing Broadway standards, blues, country or even techno-pop".[98] Allmusic's Jason Ankeny described her as:
[T]he finest white soul singer of her era, a performer of remarkable emotional resonance whose body of work spans the decades and their attendant musical transformations with a consistency and purity unmatched by any of her contemporaries; though a camp icon of glamorous excess in her towering beehive hairdo and panda-eye black mascara, the sultry intimacy and heartbreaking urgency of [her] voice transcended image and fashion, embracing everything from lushly orchestrated pop to gritty R&B to disco with unparalleled sophistication and depth.[99]
Most responses to her voice emphasise her breathy sensuality.[100][101] Another powerful feature was the sense of longing, in songs such as "I Just Don't Know What to Do with Myself" and "Goin' Back".[101][102] The uniqueness of Springfield's voice[102] was described by Bacharach: "You could hear just three notes and you knew it was Dusty".[103] Wexler declared, "[h]er particular hallmark was a haunting sexual vulnerability in her voice, and she may have had the most impeccable intonation of any singer I ever heard".[104] Greil Marcus of Rolling Stone captured Springfield's technique as "a soft, sensual box (voice) that allowed her to combine syllables until they turned into pure cream."[69] She had a finely tuned musical ear and extraordinary control of tone.[102] She sang in a variety of styles, mostly pop, soul, folk, Latin, and rock'n'roll.[30] Being able to wrap her voice around difficult material,[102] her repertoire included songs that their writers ordinarily would have offered to black vocalists.[69] In the 1960s, on several occasions, she performed as the only white singer on all-black bills.[30] Her soul orientation was so convincing that early in her solo career, US listeners who had only heard her music on radio or records sometimes assumed that she was black.[48][101] Later, a considerable number of critics observed that she sounded black and American or made a point of saying she did not.[105]
Springfield consistently used her voice to upend commonly held beliefs on the expression of
The Philips Record company's studio was slated as "an extremely dead studio", where it felt as though it had turned the treble down: "There was no ambience and it was like singing in a padded cell. I had to get out of there".[67][110] Springfield would end up recording in the ladies' toilets for the superior acoustics.[110] Another example of refusal to use the studio is "I Close My Eyes and Count to Ten" – recorded at the end of a corridor.[110]
Personal life
Springfield's parents, Catherine and Gerard, lived in Hove, East Sussex from 1962. Catherine died in a nursing home there in 1974 of lung cancer.[111] In 1979, Gerard died of a heart attack in Rottingdean, East Sussex.[111]
A recurring theme among journalists and Springfield's biographers [who?] is that she had two personalities: shy, quiet Mary O'Brien and the public face she had created as Dusty Springfield. An editorial review at Publishers Weekly of Valentine and Wickham's 2001 biography, Dancing with Demons, finds that "the confidence [Springfield] exuded on vinyl was a façade masking severe insecurities, addictions to drink and drugs, bouts of self-harm and fear of losing her career if exposed as a lesbian".[112] Simon Bell, one of Springfield's session singers, disputed the twin personality description: "It's very easy to decide there are two people, Mary and Dusty, but they were the one person. Dusty was most definitely Dusty right to the end."[113]
In her early career, much of her odd behaviour was seen as more or less in fun, described as a "wicked" sense of humour, including her food fights and hurling crockery down stairs. Springfield had a great love for animals, particularly cats, and became an advocate for animal protection groups. She enjoyed reading maps and would intentionally get lost to navigate her way out.[12] In the 1970s and early 1980s, Springfield's alcoholism and drug addiction affected her musical career.[98] She was hospitalised several times for self-harm and was diagnosed with bipolar disorder.[18][114]
Springfield was never reported to be in a heterosexual relationship and this meant the issue of her sexual orientation was raised frequently during her life.[115] From mid-1966 to the early 1970s, Springfield lived in a domestic partnership with fellow singer Norma Tanega. In September 1970, Springfield told Ray Connolly of the Evening Standard:
Many other people say I'm bent and I've heard it so many times that I've almost learned to accept it ... I know I'm perfectly as capable of being swayed by a girl as by a boy. More and more people feel that way and I don't see why I shouldn't.[115][116]
By the standards of 1970, that was a bold statement.[115] Three years later, she told Chris Van Ness of the Los Angeles Free Press:
People are people ... I basically want to be straight ... I go from men to women, I don't give a shit. The catchphrase is: I can't love a man. Now, that's my hang-up. To love, to go to bed, fantastic but to love a man is my prime ambition ... They frighten me.[12]
In the 1970s and 1980s, Springfield became involved in several romantic relationships with women in Canada and the United States that were not kept secret from the gay and lesbian community. From 1972 to 1978, she had an "off and on" domestic relationship with Faye Harris, an American photojournalist.[117] In 1981, she had a six-month relationship with singer-musician Carole Pope of the rock band Rough Trade.[18]
During periods of psychological and professional instability, Springfield's involvement in some intimate relationships, influenced by addiction, resulted in episodes of personal injury. She met an American actress, Teda Bracci, at an Alcoholics Anonymous meeting in 1982 and they moved in together in April 1983 and seven months later exchanged vows at a wedding ceremony, which was not recognised under California law.[118] The pair had a "tempestuous" relationship that led to an altercation with both hospitalised. Bracci had hit Springfield in the mouth with a saucepan and knocked out her teeth, necessitating plastic surgery.[90] The pair separated within two years.[118]
Death
In January 1994, while recording her album, A Very Fine Love, in Nashville, Tennessee, Springfield began feeling ill. When she returned to England a few months later, her physicians diagnosed her with breast cancer.[103] She received months of chemotherapy and radiation treatment, and the cancer was found to be in remission.[99] In 1995, in apparent good health, Springfield set about promoting the album, which was released that year.[119] By mid-1996, the cancer had returned, and despite vigorous treatments, Springfield died on 2 March 1999, aged 59, in Henley-on-Thames, Oxfordshire.[120][121]
Springfield's funeral service was attended by hundreds of fans and people from the music business, including Elvis Costello, Lulu and the Pet Shop Boys. It took place at the Anglican St Mary the Virgin church in Henley-on-Thames.[122][123][124] A marker dedicated to her memory was placed in the church graveyard.[125] In accordance with Springfield's wishes, she was cremated and some of her ashes were buried at Henley, while the rest were scattered by her brother, Tom Springfield, at the Cliffs of Moher in Ireland.
Legacy
She was inducted into the Rock and Roll Hall of Fame two weeks after her death. Her friend Elton John helped induct her into the Hall of Fame, declaring: "I'm biased but I just think she was the greatest white singer there ever has been ... every song she sang, she claimed as her own."[126][127]
Of the female singers of the British Invasion, Springfield made one of the biggest impressions on the US market,[128] scoring 18 singles in the Billboard Hot 100 from 1964 to 1970 including six in the top 20.[27][106] Quentin Tarantino caused a revival of interest in her music in 1994 by including "Son of a Preacher Man" on the Pulp Fiction soundtrack, which sold over three million copies.[129][130] In that same year, in the documentary Dusty Springfield: Full Circle, guests of her 1965 Sound of Motown show credited Springfield's efforts with popularising US soul music in the UK.[131][132]
In 2008, country/blues singer-songwriter Shelby Lynne recorded a tribute album featuring ten of Springfield's songs as well as one original. The album, titled Just a Little Lovin', featured two tracks selected from Springfield's debut, four from Dusty in Memphis and four from throughout her back catalogue. Lynne's album received critical acclaim, charted at number 41 on the US Billboard Charts and was nominated for a Grammy Award for Best Engineered Album (Non-Classical).
Springfield was popular in Europe and performed at the Sanremo Music Festival. Recordings were released in French, German, and Italian: her French works include a 1964 four-track extended play with "Demain tu peux changer" (also known as "Will You Still Love Me Tomorrow"), "Je ne peux pas t'en vouloir" ("Losing You"), "L'été est fini" ("Summer is Over") and "Reste encore un instant" ("Stay Awhile");[133] German recordings include the July 1964 single, "Warten und hoffen" ("Wishin' and Hopin'") backed with "Auf dich nur wart' ich immerzu" ("I Only Want to Be with You");[134] Italian recordings include "Tanto so che poi mi passa" ("Every Day I Have to Cry") issued as a single.[40] Her entries at the Sanremo festival were "Tu che ne sai" and "Di fronte all'amore" ("I Will Always Want You").[40]
Springfield is known to have brought many little-known
Springfield is a cultural icon of the Swinging Sixties, where she "was an instantly recognisable celebrity".[15][98] In public and on stage, Springfield developed a joyful image supported by her peroxide-blonde bouffant hairstyle, evening gowns and heavy make-up that included her much-copied "panda eye" mascara. Springfield borrowed elements of her look from blonde glamour queens such as Brigitte Bardot and Catherine Deneuve and pasted them together according to her own taste.[136][137]
By the 1990s, she had also become a
Awards and tributes
Springfield is an inductee of the US Rock and Roll Hall of Fame (1999) and the UK Music Hall of Fame (2006) and the National Rhythm & Blues Hall of Fame (2023). She has been placed among the top 25 female artists of all time by readers of Mojo magazine (May 1999),[140] editors of Q magazine (January 2002),[141] and a panel of artists on VH1 TV channel (August 2007).[142] In 2008, Dusty appeared at No. 35 on the Rolling Stone's "100 Greatest Singers of All Time".[143] In the 1960s she topped a number of popularity polls, including Melody Maker's Best International Vocalist for 1966; in 1965 she was the first British singer to top the New Musical Express readers' polls for Female Singer, and topped that poll again in 1966, 1967, and 1969 as well as gaining the most votes in the British Singer category from 1964 to 1966.[135][19] Her album Dusty in Memphis has been listed among the greatest albums of all time by Rolling Stone and in polls by VH1 artists, New Musical Express readers, and the Channel 4 viewers,[71] and in 2001, received the Grammy Hall of Fame award.[144]
In March 1999, Springfield was scheduled to go to
Various films and stage musicals have been created or proposed to commemorate her life. On 12 January 2006 an Australian stage musical,
In 1970, US jazz singer-pianist
In 2015, Springfield was named by Equality Forum as one of their 31 Icons of the 2015 LGBT History Month.[153]
On 8 November 2022, Springfield was honoured with a Google Doodle to celebrate her life and career.[154]
Discography
- A Girl Called Dusty (1964)
- Ev'rything's Coming Up Dusty (1965)
- Where Am I Going? (1967)
- Dusty... Definitely (1968)
- Dusty in Memphis (1969)
- A Brand New Me (1970)
- See All Her Faces (1972)
- Cameo (1973)
- It Begins Again (1978)
- Living Without Your Love (1979)
- White Heat (1982)
- Reputation (1990)
- A Very Fine Love (1995)
- Faithful (2015, recorded in 1971)
Filmography
Springfield was the presenter or host of several TV musical series:
Television | ||
---|---|---|
Year | Title | Notes |
1965 | The Sound of Motown | Special episode of Ready Steady Go![3] |
1966–67 | Dusty | Two seasons each of six weekly parts[45][155] |
1968 | It Must Be Dusty | Eight regular weekly episodes and followed by a Christmas special, All Kinds of Music[45] |
1969 | Decidedly Dusty | Eight weekly episodes[45] |
UK TV Series
Dusty – Series 1 (1966)
Produced by
Total # |
Series # |
Special guests | Backing vocals | First broadcast |
---|---|---|---|---|
1 | 1 | The Dudley Moore Trio with Chris Karan on drums and Pete McGurk on bass | Madeline Bell, Lesley Duncan and Maggie Stredder | 18 August 1966[156] |
2 | 2 | Milt Kamen | Madeline Bell, Lesley Duncan and Maggie Stredder | 25 August 1966[157] |
3 | 3 | Woody Allen | Madeline Bell, Lesley Duncan and Maggie Stredder | 1 September 1966[158] |
4 | 4 | The Four Freshmen | Madeline Bell, Lesley Duncan and Barbara Moore | 8 September 1966[159][160] |
5 | 5 | Peter Cook | Madeline Bell, Lesley Duncan and Barbara Moore | 15 September 1966[161][160] |
6 | 6 | Señor Wences | Madeline Bell, Lesley Duncan and Maggie Stredder | 22 September 1966[162] |
Dusty – Series 2 (1967)
Produced by Stanley Dorfman. Backing vocals: Madeline Bell, Lesley Duncan and Maggie Stredder. Musical director: Johnny Pearson. Broadcast Tuesdays on BBC1 at 9:05 pm
Total # |
Series # |
Special guests | Original airdate |
---|---|---|---|
7 | 1 | Warren Mitchell and Ken Campbell | 15 August 1967[163] |
8 | 2 | Mel Tormé | 22 August 1967[164] |
9 | 3 | Jose Feliciano | 29 August 1967[165] |
10 | 4 | Tom Jones | 5 September 1967[166] |
11 | 5 | Los Machucambos | 12 September 1967[167] |
12 | 6 | Scott Walker | 19 September 1967[168] |
It Must Be Dusty – Series 1 (1968)
Produced by ATV. Broadcast on ITV. Producer Colin Clews.
Total # |
Series # |
Guest | Original airdate | |
---|---|---|---|---|
1 | 1 | Scott Walker | 10 May 1968 | |
2 | 2 | Mark Murphy. Esther & Abi Ofarim were billed to appear, but were not in the broadcast. | 17 May 1968 | |
3 | 3 | Donovan | 24 May 1968 | |
4 | 4 | Georgie Fame | 31 May 1968 | |
Postponed until Monday 24 June by London ITV station Rediffusion. | ||||
5 | 5 | Tom Springfield & Julie Felix | 7 June 1968 | |
6 | 6 | The Jimi Hendrix Experience | 14 June 1968 | |
7 | 7 | Manfred Mann | 21 June 1968 |
Show of the Week: Dusty at The Talk of the Town
Total # |
Series # |
Title | Director | Writer(s) | Original airdate | |
---|---|---|---|---|---|---|
-- | 1 | "Dusty at the Talk of the Town BBC2 | ||||
Dusty Springfield returns to the scene of her recent cabaret triumph. Orchestra directed by Johnny Pearson. Vocal backing: Lesley Duncan, Kay Garner & Sue Weetman. Choreography by Tommy Tucker. |
Christmas Special
Total # |
Series # |
Title | Director | Original airdate | |
---|---|---|---|---|---|
-- | 1 | "All Kinds Of Music" | Unknown | 25 December 1968 | ITV|
Dusty's Christmas Special with guests Trio Athénée, The Tremeloes, Malcolm Roberts, Kiki Dee, The Spinners, David Snell and Des Ryan. Produced by ATV for ITV. Broadcast 2:00 - 3:00 pm |
Decidedly Dusty – Series 1 (1969)
Produced by Mel Cornish. Introduced by Valentine Dyall. Dancers: Cassandra Mahon & Peter Newton. Choreographer: Ruth Pearson. Vocal backing: Kay Garner, Lesley Duncan & Madeline Bell. Musical associate: Larry Ashmore. Musical Director: Johnny Pearson. Broadcast Tuesdays on BBC1 at 7:30 pm
Total # |
Series # |
Special guests | Writer(s) | Original airdate |
---|---|---|---|---|
13 | 1 | Spike Milligan | Joe Steeples & Spike Mullins | 9 September 1969[170] |
14 | 2 | Jimmy Ruffin | Joe Steeples & Spike Mullins | 16 September 1969[171] |
15 | 3 | Danny La Rue | Joe Steeples & Spike Mullins | 23 September 1969[172] |
16 | 4 | The Bee Gees | Joe Steeples & Spike Mullins | 30 September 1969[173] |
17 | 5 | Dr. Murray Banks | Joe Steeples & Spike Mullins | 7 October 1969[174] |
18 | 6 | Frida Boccara & Percy Edwards | Joe Steeples & Spike Mullins | 14 October 1969[175] |
19 | 7 | Shari Lewis | Joe Steeples & Spike Mullins | 21 October 1969[176] |
TV Specials
Total # |
Series # |
Title | Director | Original airdate | |
---|---|---|---|---|---|
-- | 1 | "Music My Way" | Colin Charman | 18 July 1973 | BBC1|
The first in a series of eight shows starring singers from Britain and the Continent. Tonight Dusty Springfield gives a concert performance featuring some of her biggest hits. Musical direction Johnny Pearson.[177] | |||||
-- | 1 | "Dusty" | Roger Pomphrey | 2 May 1994 | BBC1|
In this film biography of Dusty Springfield, she is interviewed – and frequently interrupted – by Dawn French and Jennifer Saunders, but she still manages to talk about her life and her music.[178] | |||||
-- | 1 | "Definitely Dusty" | Serena Cross | 26 December 1999 | BBC2|
Documentary charting the career of diva Dusty Springfield, who died in March, from Catholic schoolgirl to superstar.[179] | |||||
-- | 1 | "Dusty Springfield's Rock Shrine" | Unknown | 15 October 2000 | BBC Choice|
Repeated multiple times on BBC Choice and BBC Three.[180] | |||||
-- | 1 | "Celebrity Relics: Dusty Springfield's Dresses" | Unknown | 7 June 2001 | BBC Choice|
Repeated multiple times on BBC Choice and BBC Three.[180] |
References
Notes
- ^ Different sources use either Isobel or Isabel as the spelling of her second name. For Isobel see Gulla, here.[181] For Isabel see Britannica Online Encyclopedia.[100]
- ^
- For blonde beehive hair-dos and "Panda" eye make-up, see Welch.[15]
- For peroxide hair and heavy make-up, see Silverton.[100]
- For public and on-stage image, see Cole.[105]
- For hairstyle and eye make-up described as "blonde bouffant and thick black Cleopatra eyeliner", see Taylor.[109]
- For image, hairstyle and make-up, see Smith.[138]
Specific
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{{cite journal}}
: Cite journal requires|journal=
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Bibliography
- Gulla, Bob (2008). "Dusty Springfield". Icons of R&B and Soul: An Encyclopedia of the Artists Who Revolutionized Rhythm. ISBN 978-0-313-34044-4. Archived from the originalon 21 October 2014.
- Leeson, Edward (1 May 2001). Dusty Springfield: A Life in Music. Michigan: ISBN 978-1-86105-343-5.
- O'Brien, Lucy (2000). Dusty: A Biography of Dusty Springfield. ISBN 978-0-330-39343-0.
- Randall, Annie Janeiro (Fall 2005). "Dusty Springfield and the Motown Invasion". Institute for Studies in American Music Newsletter. 35. Conservatory of Music, Brooklyn College, City University of New York (CUNY). Archived from the original on 25 June 2012. Retrieved 27 June 2012.
Springfield acquired the title 'White Queen of Soul' as a result of her many hit cover versions of songs by African American artists such as the Shirelles, Inez and Charlie Foxx, and Baby Washington
. - Randall, Annie Janeiro (2009). Dusty! Queen of the Postmods. New York: ISBN 978-0-19-532943-8.
- ISBN 0-340-76673-5.
- Cole, Laurence (2008). Dusty Springfield in the middle of nowhere. Middlesex University Press. ISBN 978-1- 904750413
External links
- Dusty Springfield Fan Website
- Dusty Springfield TV biography
- Dusty Springfield at Curlie
- Dusty Springfield discography at Discogs
- Dusty Springfield at IMDb
- The legacy of Dusty Springfield By Bob Stanley for The Times 3 April 2009
- Dusty Springfield at Find a Grave