Category Archives: female vocalists

“DREAM A LITTLE DREAM OF ME – Doris Day … includes Rosemary Clooney, Joni James and Mama Cass Elliot versions”


“Dream a Little Dream of Me” was recorded by Ozzie Nelson and his Orchestra, with vocal by Nelson, on February 16, 1931 for Brunswick Records. Two days later, Wayne King and His Orchestra, with vocal by Ernie Birchill, recorded the song for Victor Records. “Dream a Little Dream of Me” was also an early signature tune of Kate Smith. In the summer of 1950, seven recordings of “Dream a Little Dream of Me” were in release, with the versions by Frankie Laine and Jack Owens reaching the US Top 20 at respectively #18 and #14: the other versions were by Cathy Mastice, Ella Fitzgerald, Louis Jordan, Vaughn Monroe, Dinah Shore and a duet version by Bing Crosby and Georgia Gibbs. Other traditional pop acts to record “Dream a Little Dream of Me” include Louis Armstrong, Barbara Carroll, Nat King Cole, Doris Day, Joni James, and Dean Martin.

The song was again recorded in 1968 by Mama Cass Elliot with The Mamas & the Papas, and then by Anita Harris. More than 40 other versions followed, including by the Mills Brothers, Sylvie Vartan, Henry Mancini, The Beautiful South, Anne Murray, Erasure, Michael Bublé, and Italian vocal group Blue Penguin (see below: List of recorded versions).



“The Superbs-Baby, Baby All The Time”


The Superbs, from California, USA, were one of the best mid-60s sweet-soul groups to meld doo-wop harmonies into the sound of soul. The members were Eleanor ‘Punkin’ Green’ (lead), Walter White, Bobby Swain, Gordy Harmon and Ronny Cook. Green possessed a soprano lead that sounded much like a male falsetto and it was an era when falsetto-led groups were regularly on the charts. After their first record in 1964 on Lew Bedell’s Dore label, ‘Storybook Of Love’, flopped, Harmon left to form the Whispers (the Whispers were the Superbs’ labelmates and were likewise outstanding in merging doo-wop with soul). The next record, ‘

Baby Baby All The Time’,

with its relaxed lope, proved a success in 1964. Similar-sounding and equally appealing follow-ups were ‘Sad Sad Day’ (1964) and ‘Baby’s Gone Away’ (1965). Around this time Swain left the group to form the Entertainers Four, who also recorded for Dore. He was replaced by Lawrence Randall. Green left in 1966 to get married and the group regrouped, but the magic was gone and by the 70s the group had broken up. Lawrence Randall formed a new Superbs group in the mid-80s to play on the southern California revival circuit.

Source: The Encyclopedia of Popular Music by Colin Larkin. Licensed from Muze.



“Barbara George – I Know”

“Barbara George – I Know”

At least when you’re crying your heart out over a broken romance, some songstress reaches out in music to help you sort it all out… It is

Barbara George

singing about her brokenness in love,



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“Come And Get These Memories” Martha and the Vandellas (1963)

“Come And Get These Memories” Martha and the Vandellas (1963)

“Lover you’ve gone from me and left behind so many memories … Here’s your old friendship ring …I can’t wear it no more…”

LOOKING FOR LOVERS’ LANE? This is the way:


“Come And Get These. Memories”


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The Jewels ~ Opportunity” (60’s Girl Group)


The Jewels

(initially The Impalas, later The Four Jewels) were a girl group from Washington, D.C..

The group began singing as The Impalas in 1961;[1] its members had attended Roosevelt High School and sang in Trinity AME Zion Church.[2] Early on the group began performing in Bo Diddley’s basement, and Diddley recorded their debut single “I Need You So Much”, which was released on Checker Records. The record never caught on, and in 1962 producer Bob Lee changed the group’s name to The Four Jewels. The single “Loaded with Goodies” next appeared on Start Records, a local D.C. label, followed by Chess single “That’s What They Put Erasers on Pencils For”. They also sang backup vocals for member Grace Ruffin’s cousin, Billy Stewart. Carrie Mingo left the group around 1963 and was replaced by Martha Harvin; at this time the group became simply The Jewels. The group went on to record for Dynamite, Federal, Tec, and King over the next few years.

In 1964 the group signed to Dimension Records and released the single “


“. Late in 1964 the tune peaked at #64 on the US Billboard Hot 100[3] but climbed all the way to #2 on KRLA 1110. This was followed by the single “But I Do” b/w “Smokey Joe”, which missed the national charts and marked the end of their association with Dimension. Beginning in 1965, the group toured across the U.S. as backing vocalists with James Brown. They intended to record at Motown Records when the tour stopped in Detroit, but the studios were closed the day they were in town. Brown produced two more singles for the group, but they did not sell, and the group disbanded in 1968.

Martha Harvin changed her stage name to Martha High and went on to tour with Brown for some thirty years, in addition to releasing a solo disco album in 1979.The original four members reunited in 1985 and released an album of their singles re-recorded, entitled Loaded with Goodies.


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Justine Washington (born November 13, 1940), usually credited as Baby Washington, but credited on some early records as Jeanette (Baby) Washington, is an American soul music vocalist, who had 16 rhythm and blues chart entries in 15 years, most of them during the 1960s. Her biggest hit, “That’s How Heartaches Are Made” in 1963, also entered the US Top 40.

Life And Career

Washington was born in Bamberg, South Carolina, and raised in Harlem, New York. In 1956, she joined the vocal group the Hearts, and also recorded for J & S Records as a member of the Jaynetts (“I Wanted To Be Free”/”Where Are You Tonight”, J&S 1765/6). She first recorded solo, as Baby Washington, in 1957, on “Everyday” (J&S 1665).[1]

In 1958 she signed to Donald Shaw’s Neptune Records as a solo performer, and established herself as a soul singer with two hits in 1959: “The Time” (U.S. R&B #22) and “The Bells” (U.S. R&B # 20). She followed up with the hit “Nobody Cares” (U.S. R&B # 17) in 1961. Several of her singles on the Neptune and ABC labels were credited to Jeanette (Baby) Washington, which later led to confusion with an entirely different singer known as Jeanette Washington.[2]

She signed with ABC Paramount in 1961, but her two releases for the label were not hits, although the self-written “Let Love Go By” later became a notable Northern Soul single. Washington then moved to Juggy Murray’s Sue Records in 1962, scoring her only entry on the U.S. Billboard Top 40 with “That’s How Heartaches Are Made” in 1963. Two years later, she hit again on the U.S. R&B Top 10 with “Only Those In Love”. Among her other Sue recordings were “I Can’t Wait Until I See My Baby’s Face”, co-written by Chip Taylor and Jerry Ragovoy, and “Careless Hands”, penned by Billy



“Patsy Cline Sweet Dreams”


Virginia Patterson Hensley
(September 8, 1932 – March 5, 1963),
known professionally as …

Patsy Cline

was an American singer. Part of the early 1960s Nashville sound, Cline successfully “crossed over” to pop music and was one of the most influential, successful and acclaimed vocalists of the 20th century.[1][2] She died at the age of 30 in a multiple-fatality crash in the private plane of her manager, Randy Hughes.

Cline was best known for her rich tone, emotionally expressive and bold contralto voice[3] and her role as a country music industry pioneer. Along with Kitty Wells,[4] she helped pave the way for women as headline performers in the genre. Cline was cited as an inspiration by singers in several styles.[5] Books, movies, documentaries, articles and stage plays document her life and career.

Her hits began in 1957 with Donn Hecht’s and Alan Block’s “Walkin’ After Midnight”, Hank Cochran’s and Harlan Howard’s “I Fall to Pieces”, Hank Cochran’s “She’s Got You”, Willie Nelson’s “Crazy” and ended in 1963 with Don Gibson’s “

Sweet Dreams.”

Millions of her records have sold since her death. She won awards and accolades, causing many to view her as an icon at the level of Jim Reeves, Johnny Cash and Elvis Presley. Ten years after her death, in 1973, she became the first female solo artist inducted to the Country Music Hall of Fame. In 1999, she was voted number 11 on VH1’s special, The 100 Greatest Women in Rock and Roll, by members and artists of the rock industry.[6] In 2002, country music artists and industry members voted her Number One on CMT’s The 40 Greatest Women of Country Music and ranked 46th in the “100 Greatest Singers of All Time” issue of Rolling Stone magazine. According to her 1973 Country Music Hall of Fame plaque, “Her heritage of timeless recordings is testimony to her artistic capacity.”

“Patsy Cline – Sweet dreams (of you) – 1963” on YouTube



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