Author: Jim Feliciano

From the MCRFB archived files: 1963

Female Artists Making Moves Takes Over HOT 100 Chart

 

 

 

 

 

NEW YORK — Female artists are making their strongest impression of the Hot 100 single chart in may months, with four of the top seven records involving female performers. Particularly interesting is the fact that nine of this current crop of acts present on the chart are there for the first time.

It is true, of course, that the girls have been making a strong comeback for several years, but that area of the pop scene seems now to have taken more vitality. In the late 1950s era of  early-rock, girls artists virtually disappeared from any kind of contention, with the exception of a very few, including Connie Francis, who seem to be able to buck the trend consistently.

Girl artists than began making a renewed dent on the charts as supporting background singers, a practice which is very much still in effect. But the backgrounding led to feature efforts by girl groups. The Cookies on Dimension Records, and the Crystals on the Philles label, are examples of groups who started their careers in supporting roles, onlt to become lead attractions themselves, today.

Strongest In Years

Eventually, with the emergence of the so-called Philadelphia and Detroit sounds, as evidence by such groups as the Marvelettes and the Orlons (composed of a basically female sound of three girls and one male), the femme contingent assumed its strongest position in many years.

One strong indication of this is the fact that of 20 records that have hit the No. 1 Hot 100 spot so far this year, 11 — more than half — involve girls either as part of a mixed vocal group or by themselves, without male vocal companions. In several of these, namely Ruby and the Romantics and the Essex, a female is the main vocalist  with the males limited to a supporting backup group role.

Soeur Sourire, the Singing Nun from Belgium, is just the latest example of the current trend. The Sister’s record of “Dominique” has been a smash. Immediately prior to her arrival at the top, with a simple, sweet performance far removed, incidentally, from the Philadelphia-Detroit sound, two mixed duos, April Stevens and Nino Tempo, and Dale and Grace made the top spot.

Hot Entries

Currently in the top seven are the same Dale and Grace, “I’m Leaving It Up To You” as runner-up of the week; Lesley Gore’s “She’s A Fool” at No. 5; and a new British duo in their first excursion on the charts, the Caravelles, with “You Don’t Have To Be A Baby To Cry,” in the seventh spot. The brother-sister act of Nino Tempo and April Stevens, after a week at the top position, held on this week at No. 11.

Another act new to the charts is the Dixiebelles on the Nashville-based Sound Stage 7 label, with “Down At Papa Joe‘s.” Among the other new femme acts showing well, and all but one of which are moving upward, are the Mermaids with “Popsicles And Icicles,” on Chatahoochie; Shirley Ellis with the “Nitty Gritty” on Congress; the Secrets on Philips with “The Boy Next Door”; Betty Everett on Vee Jay with “You’re No Good”; “Dumb Head,” by Ginny Arnold on MGM, and “Hey Lover” by Debbie Dovale on Roulette.

Gals Make It

And the girls are making the hits today, and not with a single type of styling. The range is broad and includes a raft of materials ranging from “Dominique,” to Joan Baez’ “We Shall Overcome,” To Lena Horne’s biting “Now,” to the frank statement of teenage fact, “I Have A Boyfriend,” by the Chiffons on Laurie.

(Information and news source: Billboard; December 7, 1963)