Dusty Springfield
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Dusty Springfield OBE (April 16, 1939 - March 2, 1999) was a British popular singer whose career achieved the most success in the 1960s. She is regarded by many as one of the finest soul singers of all time, and it is notable that she was held in high esteem by the many black American singers (such as Martha Reeves) whom she emulated and idolised.
Early life and group career
She was born in West Hampstead, London as Mary Isabel Catherine Bernadette O'Brien, and was a fan of American jazz and pop singer Peggy Lee from an early age.
Her first professional musical experience was with the group Lana Sisters, a British vocal group she joined in 1958 and recorded several singles with over the next two years. In 1960, she and her brother, Dion, and Tim Feild formed The Springfields, a folk trio. Mary took the name Dusty Springfield after forming the group, and her brother Dion took the name Tom Springfield. They soon became a popular act in Britain with singles such as "Breakaway", "Bambino" and their biggest hit "Island of Dreams". By 1962, the Springfields had some success in the United States with "Silver Threads and Golden Needles".
During a tour of the United States, The Springfields travelled to Nashville, Tennessee. Dusty became enamoured of the Motown sound she heard in the States, particularly girl groups like Martha & The Vandellas. Dusty was keen to escape the controlling influence of her older brother and gain full command over her music, so in late 1963 she left The Springfields to establish herself as a soul singer. Tom, meanwhile, moved into songwriting and production, scoring major hits in the UK, USA and Australia as producer and primary songwriter for the UK-based Australian folk-pop band The Seekers.
Solo success
Her first single was "I Only Want to Be With You", which was a success in both Britain and the United States. This was followed by a series of classic and successful singles, including "Wishin' and Hopin'", "Anyone Who Had a Heart"', "I Just Don't Know What to Do With Myself", "Stay Awhile" and "All Cried Out". Springfield recorded a number of Bacharach-David compositions, including "The Look of Love" (from the 1967 movie Casino Royale, which was nominated for the Academy Award for Best Song in 1967.) She also released such classic singles as "Losing You", "Your Hurtin' Kinda Love" and "In the Middle of Nowhere", culminating in her biggest hit, and her first UK #1 single, "You Don't Have to Say You Love Me" -- which was in fact an English-language adaptation of an Italian song Dusty had discovered, with new lyrics hastily co-written by Vicki Wickham.
By 1964, Springfield was one of the biggest solo artists of her day. She created a controversy when she refused to play in front of a segregated crowd in South Africa. She was often a featured artist on the British music show Ready Steady Go, produced by Vicki Wickham, who would later become her manager. Dusty's huge UK success led to her starring in her own musical variety series, Dusty ([1967]), which also featured many leading stars of the day as guests. One of the most memorable was Jimi Hendrix, who duetted with Dusty on "Mockingbird". Regrettably, the videotape of this memorable appearance was later erased, although a brief fragment of Hendrix's performance on the show, filmed directly off the TV screen by a fan, has survived.
Because of her interest in Motown music, Springfield was selected in 1965 to host The Sound of Motown, a special which introduced Motown and American soul music to British audiences. (In the 1997 video biography, Dusty - Full Circle, several of the musicians that participated, most notably Martha Reeves, credited the media exposure, and Springfield's advocacy of the music, with helping them to break into the British pop charts.)
Like so many other solo singers who did not write their own material (such as Tom Jones), Dusty's recording career was dependent on the quality of the material she could obtain, and by the end of the decade top-notch material was becoming harder to find -- Carole King, who had written "Going Back" for her, was embarking on a solo career, and the chart-busting Bacharach-David partnership was foundering.
Dusty's status in the music industry was further complicated by the gradual fracturing of the formerly homogeneous "pop" market into many distinct musical genres in the late 1960s. She found herself becoming "unhip" at a time when hipness was crucial for musical success, and in addition her performing career was becoming hopelessly bogged down on the mudane UK touring circuit, which at that time largely consisted of down-market working men's clubs.
Hoping to revive her career and credibility and wishing to return to her soul roots, she signed with Atlantic Records, home label of her idol Aretha Franklin, and she began recording an album in Memphis, Tennessee with producers Jerry Wexler, Arif Mardin and Tom Dowd. The Memphis sessions were marred by Dusty's infamous perfectionism, which masked her deep insecurity and her very real anxiety about being compared to the soul greats who had recorded there. In the end, the Memphis tracking sessions were completed without any major work being done on the vocals -- in fact almost all her vocals were cut some weeks later in New York with Tom Dowd -- who later revealed that he had to dodge "a flying ashtray" hurled at him by an angry Dusty.
Despite the problems with its production, the album, Dusty in Memphis became her magnum opus and is still regarded as one of the best soul albums of all time; it has landed on several "best of all time" lists, including lists complied by Rolling Stone magazine in the United States, and Q music magazine in Britain. The album is best known for "Son of a Preacher Man", which was a hit in both the United Kingdom and the United States, though the album itself was a commercial disappointment. The song enjoyed a significant revival in the 1990s thanks to its inclusion on the best-selling soundtrack for the film Pulp Fiction.
"Son of a Preacher Man" also encapsulates some of the ironies of Dusty's career. It had initially been offered to Aretha Franklin, but she turned it down, so Dusty recorded it for her own LP. Yet although it became one of her signature songs, Dusty later repudiated her own version after hearing Aretha's later version. Disappointed with a small part of her own phrasing of the chorus, Dusty thereafter always performed the song with the phrasing Aretha had used.
Career and personal struggles
Dusty had been raised as a strict Catholic and she kept to her faith to the end of her life, although she reportedly never went to confession as an adult. The conflict between her conservative religious faith and her lesbian sexual orientation was one that affected her deeply. Dusty engaged in self-injury, cutting herself to relieve emotional pain and stress.
In all aspects of her career, but especially in the studio, Dusty was a notorious perfectionist. Some labelled her as "difficult". In hindsight, much of this can now be seen as a sexist reaction from hidebound male colleagues who, in a very male-dominated industry, were wholly unused to women taking control in the studio. As many of her colleagues have attested, Dusty's musical ear was very finely tuned and she was totally intolerant of anything less than perfection. She was notorious for her agonisingly painstaking vocal sessions, during which she would often record short phrases or even single words or syllables, over and over again, to get the precise feeling and musical quality that she wanted.
However, as noted in her biography, much of her "difficult" behaviour stemmed from her dysfunctional family background and her deep insecurity, which manifested itself from childhood. Her mother, although bright and outgoing, was prone to violent rages and when in this state she would typically throw whatever came to hand -- a trait which young Mary soon adopted. Her accountant father, conversely, was quiet and withdrawn, and it is evident that, at least in part, her mother's violent "acting out" was an attempt to gain her husband's attention. Dusty's growing insecurity was heightened by her parents' blatant favouring of her older brother Dion (Tom).
In her early career much of Dusty's odd behaviour was carried out more or less in fun -- like her famous food fights -- and it was at the time dismissed as merely "eccentric". One story related in her biography tells how, when Dusty first performed in America, she was too nervous to meet the other performers on the bill, so she found a box full of crockery and hurled it down a flight of stairs in order to bring the other performers out of their dressing rooms.
But as Dusty the Star became more and more famous, the more demanding and intolerant she became. She was indulged, pampered and spoiled, and with nothing to check her descent into chronic drug and alcohol abuse, her behaviour become commensurately worse. Later in life, with her career in the doldrums, she began to internalise her violent behaviour, resulting in many serious incidents of self-harm.
The Seventies and Eighties: "The Lost Years"
Unafraid of controversy, Springfield began speaking openly of her attraction to women in press interviews as early as 1970, demonstrating a level of integrity and independence years ahead of her time.
In the same year, A Brand New Me (1970) was just as unsuccessful commercially as Dusty in Memphis, although also a critical darling. It was one of the first works produced by the Gamble and Huff production team, who would go on to great success in the R&B genre. A third album for the Atlantic label, produced by Jeff Barry, was abandoned due to unsuccessful single releases. Similarly, her next album, See All Her Faces (1972), released in Britain, followed the same pattern. In 1973 Springfield signed to the ABC Dunhill Records label which resulted in the album Cameo in (1973).
The following year she began to record another album for the label titled Longing, to be produced by Brooks Arthur, who had produced several hit records by singer-songwriters like Janis Ian. During these sessions, Dusty cut a rendtition of Ian's "In the Winter" that is among her most highly-regarded interpretive recordings. In fact Janis Ian is on record as saying she (Ian) "could no longer do the song justice". Unfortunately, the project had to be abandoned due to the vocalist's failing mental health. (Much of the material from Longing was later released on the compilation Beautiful Soul.) Springfield put her career on hold during the mid-1970s, though she did sporadic work with fellow artists like her friend Anne Murray and (after a typical false start) she also performed backing vocals on the Elton John hit "The Bitch is Back".
For much of the Seventies, living in Hollywood, Dusty alternately partied and battled with her mental health and substance abuse issues. Riven by insecurity, insulated from reality by her money and fame, and torn by the conflict between her Catholic faith and her sexuality, Dusty's drinking and drug use escalated, as did the seriousness of her increasingly frequent acts of self-harm. During this dark period she was hospitalised on numerous occasions and she reportedly attempted suicide several times.
She continued to release critically lauded but commercially unsuccessful albums and singles throughout the late 1970s for the United Artists Records label, resulting in the albums It Begins Again (1978) and Living Without Your Love (1979). During this time Springfield rarely charted and soon drifted from popular view. She ended this period by releasing two final singles for her British label Mercury Records. She was virtually forced to do so due to the lack of success of her previous albums. The singles were "Baby Blue", a disco number that charted in the top 70, and "Your Love Still Brings Me to My Knees", the singer's swan song for a company she had been with in various forms for 20 years.
In the 1980s, Springfield wanted to forget the 1970s and start afresh. She signed a deal with 20th Century Records, which resulted in a flop of a single, a cover of "It Goes Like It Goes" from Norma Rae. She then began to record an album for Casablanca entitled White Heat (1982). The album was a departure from Springfield's sound, and featured music and lyrics that were similar in style and substance to the New Wave genre. The album was critically acclaimed; however, the LP was put on limited release in the USA and Canada only. (Not long after its release, the Casablanca label also folded.) Springfield tried again in 1985 by signing to Peter Stringfellow's Hippodrome Records label, which resulted in a single called "Sometimes Like Butterflies" and a disastrous appearance on Stringfellow's live TV show. The song was released against Springfield's wishes with a practice vocal recorded while she had laryngitis. The singer left the label in response.
A return to popularity
Springfield's fortunes finally changed in 1987, when she switched management to famed talent manager Vicki Wickham (also a long-time friend), and she collaborated with the Pet Shop Boys, who were fans of hers, and asked her to add a vocal to a song they were recording. The resulting track, a duet called "What Have I Done to Deserve This?", was a smash hit (in America, it reached #2 and was the highest-charting song of Springfield's entire career). The song charted all over the world and renewed interest in her music. Another smash from that album was the huge club hit "In Private." She capitalised on this success by releasing a new album, Reputation, which was a best seller. The album was partially written and produced by the Pet Shop Boys as well as other contributors like Dan Hartman. She was also asked, in conjunction with the Pet Shop Boys, to contribute a track to the soundtrack of the film Scandal, about the British political scandal known as the Profumo Affair. That track, "Nothing Has Been Proved", was also a modest hit.
Also in 1987, Springfield provided vocals on Richard Carpenter's single "Something In Your Eyes," which was a #12 Adult Contemporary hit in the U.S.
She was diagnosed with breast cancer shortly after releasing A Very Fine Love in 1994. The cancer was in remission for a time, but reappeared a few years later, and Springfield lost her battle with the disease in March 1999 at the age of 59, just ten days before she was inducted into the Rock and Roll Hall of Fame. Shortly before her death, she was awarded an Order of the British Empire for her contributions to music, although she was by then too ill to attend the award ceremony. Her funeral was held at St. Marys in Henley on Thames, where she resided for the last few years of her life. A plaque dedicated to her memory can be found outside the church. It is surrounded by flowers and loving messages, proving that she will be long remembered by her fans and friends.
Trivia
* In Australia a hit musical based on Dusty's life - Dusty The Original Pop Diva premiered January 2006. The stage musical Dusty had previously toured the U.K.
http://en.wikipedia.org/wiki/Dusty_Springfield
Written by John Hurley and Ronnie Wilkins
Recorded by Dusty Springfield in 1969
Also recorded by Aretha Franklin in 1970
Billy Ray was a preacher's son
And when his daddy would visit he'd come along
When they gathered around and started talkin'
That's when Billy would take me walkin'
Out through the back yard we'd go walkin'
Then he'd look into my eyes
Lord knows, to my surprise
The only one who could ever reach me
Was the son of a preacher man
The only boy who could ever teach me
Was the son of a preacher man
Yes he was, he was, ooh, yes he was
[brief instrumental interlude]
Bein' good isn't always easy
No matter how hard I try
When he started sweet-talkin' to me
He'd come'n tell me "Everything is all right"
He'd kiss and tell me "Everything is all right"
Can I get away again tonight?
The only one who could ever reach me
Was the son of a preacher man
The only boy who could ever teach me
Was the son of a preacher man
Yes he was, he was, ooh, yes he was (yes he was)
How well I remember
The look that was in his eyes
Stealin' kisses from me on the sly
Takin' time to make time
Tellin' me that he's all mine
Learnin' from each other's knowin'
Lookin' to see how much we've grown and
The only one who could ever reach me
Was the son of a preacher man
The only boy who could ever teach me
Was the son of a preacher man
Yes he was, he was, oh yes he was
(The only one who could ever reach me)
He was the sweet-talkin' son of a preacher man
(The only boy who could ever teach me)
Was the son of a preacher man
(The only one who could ever reach me)
Was the sweet-talkin' son of a preacher man
)
