Grace Jones

Grace Beverly Jones OJ (born 19 May 1948) is a Jamaican-American model, singer, songwriter, record producer, and actress. Born in Jamaica, she moved when she was 13, along with her siblings, to live with her parents in Syracuse, New York. Jones began her modelling career in New York state, then in Paris, working for fashion houses such as Yves St. Laurent and Kenzo, and appearing on the covers of Elle and Vogue. She worked with photographers such as Jean-Paul Goude, Helmut Newton, Guy Bourdin, and Hans Feurer, and became known for her distinctive androgynous appearance and bold features. 

Beginning in 1977, Jones embarked on a music career, securing a record deal with Island Records, who put her in the studio with disco record producer, Tom Moulton. Moulton worked at Sigma Sound Studios in Philadelphia, and Portfolio, was released in 1977. The album featured three songs from Broadway musicals, "Send in the Clowns" by Stephen Sondheim from A Little Night Music, "What I Did for Love" from A Chorus Line and "Tomorrow" from Annie. The second side of the album opens up with a seven-minute reinterpretation of Édith Piaf's "La Vie en rose" followed by three new recordings, two of which were co-written by Jones, "Sorry", and "That's the Trouble". The album finished with "I Need a Man", Jones's first club hit. The artwork to the album was designed by Richard Bernstein. 

In 1978, Jones and Moulton made Fame, an immediate follow-up to Portfolio, also recorded at Sigma Sound Studios. The album featured another reinterpretation of a French classic, "Autumn Leaves" by Jacques Prévert. In the North American club scene, Fame was a hit album and the "Do or Die"/"Pride"/"Fame" side reached top 10 on both the US Hot Dance Club Play and Canadian Dance/Urban charts. Jones's live shows were highly sexualized and flamboyant, leading her to be called "Queen of the Gay Discos." Muse was the last of Jones's disco albums. The album features a re-recorded version "I'll Find My Way to You", which Jones released three years prior to Muse.

With anti-disco sentiment spreading, and with the aid of the Compass Point All Stars, Jones transitioned into new wave music with the 1980 release of Warm Leatherette. The album included covers of songs by The Normal ("Warm Leatherette"), The Pretenders ("Private Life"), Roxy Music ("Love Is the Drug"), Smokey Robinson ("The Hunter Gets Captured by the Game"), Tom Petty and the Heartbreakers ("Breakdown") and Jacques Higelin ("Pars"). An extended version of "Private Life" was released as a single, with a cover of the Joy Division song "She's Lost Control", a non-album track, as the B-side.

The 1981 release of Nightclubbing included Jones's covers of songs by Flash and the Pan ("Walking in the Rain"), Bill Withers ("Use Me"), Iggy Pop/David Bowie ("Nightclubbing") and Ástor Piazzolla ("I've Seen That Face Before"). Three songs were co-written by Jones: "Feel Up", "Art Groupie" and "Pull Up to the Bumper". Sting wrote "Demolition Man"; he later recorded it with The Police on the album Ghost in the Machine. "I've Done It Again" was written by Marianne Faithfull. The strong rhythm featured on Nightclubbing was produced by Compass Point All Stars, including Sly and Robbie, Wally Badarou, Mikey Chung, Uziah "Sticky" Thompson and Barry Reynolds. The album entered in the Top 5 in four countries, and became Jones's highest-ranking record on the US Billboard mainstream albums and R&B charts. Nightclubbing claimed the number 1 slot on NME's Album of the Year list. Slant Magazine listed the album at No. 40 on its list of Best Albums of the 1980s. Nightclubbing is now widely considered Jones's best studio album. The album's cover art is a painting of Jones by Jean-Paul Goude. Jones is presented as a man wearing an Armani suit jacket, with a cigarette in her mouth and a flattop haircut. While promoting the album, Jones slapped chat-show host Russell Harty live on air after he had turned to interview other guests, making Jones feel she was being ignored.

Having already recorded two reggae-oriented albums under the production of Compass Point All Stars, Jones went to Nassau, Bahamas in 1982 and recorded Living My Life; the album resulted in Jones's final contribution to the Compass Point trilogy, with only one cover, Melvin Van Peebles's "The Apple Stretching". The rest were original songs; "Nipple to the Bottle" was co-written with Sly Dunbar, and, apart from "My Jamaican Guy", the other tracks were collaborations with Barry Reynolds. Despite receiving a limited single release, the title track was left off the album. Further session outtakes included "Man Around the House" (Jones, Reynolds) and a cover of "Ring of Fire", written by June Carter Cash and Merle Kilgore and popularized by Johnny Cash, both of which were included on the 1998 compilation Private Life: The Compass Point Sessions. The album's cover art resulted from another Jones/Goude collaboration.

After Jones's success as a mainstream actress, as Zula in Conan de Barbarian, she returned to the studio to work on Slave to the Rhythm, the last of her recordings for Island. Bruce Woolley, Simon Darlow, Stephen Lipson and Trevor Horn wrote the material, and it was produced by Horn and Lipson. It was a concept album that featured several interpretations of the title track. The project was originally intended for Frankie Goes to Hollywood as a follow-up to "Relax", but was given to Jones. All eight tracks on the album featured excerpts from a conversation with Jones, speaking about many aspects of her life. The interview was conducted by journalist Paul Morley. The album features voice-overs from actor Ian McShane reciting passages from Jean-Paul Goude's biography Jungle Fever. Slave to the Rhythm was successful in German-speaking countries and in the Netherlands, where it secured Top 10 placings. It reached number 12 on the UK Albums Chart in November 1985 and became the second-highest-ranking album released by Jones. Jones earned an MTV Video Music Award nomination for the title track's music video.  

In 1986 Jones started to record again under a new contract with Manhattan Records, which resulted in Inside Story, Jones teamed up with music producer Nile Rodgers of Chic, whom Jones had previously tried to work with during the disco era. The album was recorded at Skyline Studios in New York and post-produced at Atlantic Studios and Sterling Sound. Inside Story was the first album Jones produced, which resulted in heated disputes with Rodgers. Musically, the album was more accessible than her previous albums with the Compass Point All Stars, and explored different styles of pop music, with undertones of jazz, gospel, and Caribbean sounds. All songs on the album were written by Jones and Bruce Woolley. Richard Bernstein teamed up with Jones again to provide the album's artwork. Inside Story made the top 40 in several European countries. The album was Jones's last entry to date on US Billboard 200 albums chart.

In 1999, Jones ranked 82nd on VH1's 100 Greatest Women of Rock and Roll, and in 2008, she was honored with a Q Idol Award. Jones influenced the cross-dressing movement of the 1980s and in 2016, Billboard magazine ranked her as the 40th greatest dance club artist of all time.

Edith Massey

Edith "Edie" Massey (May 28, 1918 – October 24, 1984) was an American actress and singer. Massey was best known for her appearances in a series of movies by director John Waters. In the late 1970s and early 1980s, Massey capitalized on the infamy of Waters's films by touring as the lead singer of a punk band, Edie and the Eggs.

Massey was born in New York, but raised in Denver, Colorado. She worked in several odd jobs through the years, and she eventually relocated to Baltimore, Maryland where she worked as a barmaid at Pete's Hotel. Filmmaker John Waters met Massey while she was working at Pete's Hotel in 1969 and offered her a role as herself in the film Multiple Maniacs. In the early 1970s, she quit her job at Pete's and opened a thrift store called Edith's Shopping Bag in the Fell's Point area of Baltimore. Massey gained a cult following from her appearances in five films directed by John Waters: Multiple Maniacs (1970), in which she appeared as herself and, in a dream sequence, as the Virgin Mary; Pink Flamingos (1972), playing Divine's egg-loving mother, Edie; Female Trouble (1974), as Aunt Ida; Desperate Living (1977), as the evil Queen Carlotta of Mortville; and in her final role in a Waters film, Polyester (1981), as Cuddles Kovinsky.

In the late 1970s and early 1980s, Massey was the lead singer of a punk band, Edie and the Eggs. The band's name referred to Massey's character in Pink Flamingos, who had an obsession with eating eggs and romanced an egg delivery man. Massey sometimes wore her leather costume from the film Female Trouble during gigs.  Edie and the Eggs included future Go-Go's drummer Gina Schock and Ann Collier, guitar player of Rhumboogie, a well-known all-female Rock and Roll band during 1974-78 from Baltimore. Ann Collier is the person who put the group Edie and the Eggs together after being asked to do so by John Waters.

They performed at CBGB and Max's Kansas City in New York City along with a few other engagements. Ann was asked by the Nuart Theatre in Los Angeles to bring the act out there for a number of shows. At that time Ann asked Edith, Gina Schock and Suzan Wirth (bass player) if they would like to go to California. The shows were mostly sold out and a hit; however, none of the members ever received any money for their efforts, with NetArt management saying they (the company) had overspent on the engagement. All the members of the group returned to Baltimore. In 1982, Edie and the Eggs recorded a cover of The Four Seasons's "Big Girls Don't Cry", backed with "Punks, Get off the Grass," both of which were performed in The Eggs' punk stylings. The "Big Girls Don't Cry" cover was featured on the compilation album The Rhino Brothers Present the World's Worst Records shortly after the single's release. The song was later featured on the John Waters compilation, A Date with John Waters.

Massey died of complications of lymphoma and diabetes on October 24, 1984 in Los Angeles. Her body was cremated, and her ashes were scattered in the Garden of Roses at Westwood Village Memorial Park Cemetery in Los Angeles.

The Supremes

The Supremes were an American group and a premier act of Motown Records during the 1960s. Founded as The Primettes in Detroit, Michigan, in 1959, the Supremes were the most commercially successful of Motown's acts and are, to date, America's most successful vocal group with 12 number one singles on the Billboard Hot 100. Most of these hits were written and produced by Motown's main songwriting and production team, Holland–Dozier–Holland. At their peak in the mid-1960s, the Supremes rivaled the Beatles in worldwide popularity, and it is said that their success made it possible for future African American R&B and soul musicians to find mainstream success. Florence Ballard, Mary Wilson, Diana Ross, and Betty McGlown, the original group, are all from Detroit.

In Detroit in 1958, Florence Ballard recruited her best friend Mary Wilson, who recruited classmate Diana Ross and they began by performing hit songs of artists such as Ray Charles and the Drifters at sock hops, social clubs and talent shows around the Detroit area. After winning a prestigious local talent contest, the Primettes' sights were set on making a record. In hopes of getting the group signed to the local upstart Motown label, in 1960 Ross asked an old neighbor, Miracles lead singer Smokey Robinson, to help the group land an audition for Motown executive Berry Gordy, who had already proven himself a capable songwriter. Robinson liked them and arranged for the Primettes to audition a cappella for Gordy -but Gordy, feeling the girls too young and inexperienced to be recording artists, encouraged them to return when they had graduated from high school. Undaunted, later that year the Primettes recorded a single for Lu Pine Records, a label created just for them, titled "Tears of Sorrow", which was backed with "Pretty Baby". The single failed to find an audience, however. Shortly thereafter, McGlown became engaged and left the group. Local girl Barbara Martin was McGlown's prompt replacement.

Determined to leave an impression on Gordy and join the stable of rising Motown stars, the Primettes frequented his Hitsville U.S.A. recording studio every day after school. Eventually, they convinced Gordy to allow them to contribute hand claps and background vocals for the songs of other Motown artists including Marvin Gaye and Mary Wells. In January 1961, Gordy finally relented and agreed to sign the girls to his label – but under the condition that they change the name of their group. The Primes had by this time combined with Otis Williams & the Distants and would soon sign to Motown as the Temptations. Gordy gave Ballard a list of names to choose from and he chose "the Supremes". On January 15 the group signed with Motown as the Supremes. In the spring of 1962, Martin left the group and the group continued as a trio. 

In the spring of 1964, the Supremes recorded the single "Where Did Our Love Go". The song was originally intended by Holland-Dozier-Holland for the Marvelettes, who rejected it. Although the Supremes disliked the song, the producers coerced them into recording it. In August 1964, while the Supremes toured as part of Dick Clark's Caravan of Stars, "Where Did Our Love Go" reached number one on the US pop charts, much to the surprise and delight of the group. It was also their first song to appear on the UK pop charts, where it reached number three. "Where Did Our Love Go" was followed by four consecutive US number-one hits: "Baby Love" (which was also a number-one hit in the UK), "Come See About Me", "Stop! In the Name of Love" and "Back in My Arms Again". "Baby Love" was nominated for the 1965 Grammy Award for Best R&B Song.

 

By 1965, the Supremes were international stars. They toured the world, becoming almost as popular abroad as they were in the US. Almost immediately after their initial number-one hits, they recorded songs for motion picture soundtracks, appeared in the 1965 film Beach Ball, and endorsed dozens of products, at one point having their own brand of bread. By the end of 1966, their number-one hits included "I Hear a Symphony", "You Can't Hurry Love" and "You Keep Me Hangin' On". That year the group also released The Supremes A' Go-Go, which on October 22 became the first album by an all-female group to reach number one on the US Billboard 200, knocking the Beatles' Revolver out of the top spot. Because the Supremes were popular with white audiences as well as with black ones, Gordy had the group cater to its middle American audience with performances at renowned supper clubs such as the Copacabana in New York. Broadway and pop standards were incorporated into their repertoire alongside their own hit songs. As a result, the Supremes became one of the first black musical acts to achieve complete and sustained crossover success. Black rock and roll musicians of the 1950s had seen many of their original hit tunes covered by white musicians, with these covers usually achieving more fame and sales success than the originals. The Supremes' success, however, counteracted this trend. Featuring three group members who were marketed for their individual personalities (a move unprecedented at the time) and Diana Ross's pop-friendly voice, the Supremes broke down racial barriers with rock and roll songs underpinned by R&B stylings. The group became extremely popular both domestically and abroad, becoming one of the first black musical acts to appear regularly on television programs such as Hullabaloo, The Hollywood Palace, The Della Reese Show, and, most notably, The Ed Sullivan Show, on which they made 17 appearances. The Supremes' cross-cultural success effectively paved the way for the mainstream success of contemporaneous label mates such as the Temptations, the Four Tops and the Jackson 5.  

In 1967, Motown president Berry Gordy renamed the group Diana Ross & the Supremes, and replaced Ballard with Cindy Birdsong. In 1970, Ross left to pursue a solo career and was replaced by Jean Terrell and the group reverted to being The Supremes again. During the mid-1970s, the lineup changed with Lynda Laurence, Scherrie Payne and Susaye Greene joining until, after 18 years, the group disbanded in 1977. 

Nina Simone

Eunice Kathleen Waymon (February 21, 1933 – April 21, 2003), known professionally as Nina Simone, was an American singer, songwriter, musician, arranger, and civil rights activist. Her music spanned a broad range of musical styles including classical, jazz, blues, folk, R&B, gospel, and pop. 

Simone was born Eunice Kathleen Waymon on February 21, 1933, in Tryon, North Carolina. The sixth of eight children in a poor family, she began playing piano at the age of three or four; the first song she learned was "God Be With You, Till We Meet Again". Demonstrating a talent with the instrument, she performed at her local church. Her concert debut, a classical recital, was given when she was 12. After her graduation, Simone spent the summer of 1950 at the Juilliard School as a student of Carl Friedberg, preparing for an audition at the Curtis Institute of Music in Philadelphia. Her application, however, was denied. Only 3 of 72 applicants were accepted that year, but as her family had relocated to Philadelphia in the expectation of her entry to Curtis, the blow to her aspirations was particularly heavy. For the rest of her life, she suspected that her application had been denied because of racial prejudice. Discouraged, she took private piano lessons with Vladimir Sokoloff, a professor at Curtis, but never could re-apply due to the fact that at the time Curtis institute did not accept students over 21. She took a job as a photographer's assistant, but also found work as an accompanist at Arlene Smith's vocal studio and taught piano from her home in Philadelphia.

In order to fund her private lessons, Simone performed at the Midtown Bar & Grill on Pacific Avenue in Atlantic City, whose owner insisted that she sing as well as play the piano, which increased her income to $90 a week. In 1954, she adopted the stage name "Nina Simone". "Nina", derived from niña, was a nickname given to her by a boyfriend and "Simone" was taken from the French actress Simone Signoret, whom she had seen in the 1952 movie Casque d'Or. Knowing her mother would not approve of playing the "Devil's Music", she used her new stage name to remain undetected. Simone's mixture of jazz, blues, and classical music in her performances at the bar earned her a small but loyal fan base.

Playing in small clubs in 1958, she recorded George Gershwin's "I Loves You, Porgy" (from Porgy and Bess), which she learned from a Billie Holiday album and performed as a favor to a friend. It became her only Billboard top 20 success in the United States, and her debut album Little Girl Blue followed in February 1959 on Bethlehem Records. In 1959 Simone signed a contract with Colpix Records and recorded a multitude of studio and live albums. Colpix relinquished all creative control to her, including the choice of material that would be recorded, in exchange for her signing the contract with them. After the release of her live album Nina Simone at Town Hall, Simone became a favorite performer in Greenwich Village.

In 1964, Simone changed record distributors from Colpix, an American company, to the Dutch Philips Records, which meant a change in the content of her recordings. She had always included songs in her repertoire that drew on her African-American heritage, such as "Brown Baby" by Oscar Brown and "Zungo" by Michael Olatunji on her album Nina at the Village Gate in 1962. On her debut album for Philips, Nina Simone in Concert (1964), for the first time she addressed racial inequality in the United States in the song "Mississippi Goddam". This was her response to the June 12, 1963, murder of Medgar Evers and the September 15, 1963, bombing of the 16th Street Baptist Church in Birmingham, Alabama that killed four young black girls and partially blinded a fifth. She said that the song was "like throwing ten bullets back at them", becoming one of many other protest songs written by Simone. The song was released as a single, and it was boycotted in some southern states. Promotional copies were smashed by a Carolina radio station and returned to Philips. She later recalled how "Mississippi Goddam" was her "first civil rights song" and that the song came to her "in a rush of fury, hatred and determination". The song challenged the belief that race relations could change gradually and called for more immediate developments: "me and my people are just about due". It was a key moment in her political radicalization. "Old Jim Crow", on the same album, addressed the Jim Crow laws. After "Mississippi Goddam", a civil rights message was the norm in Simone's recordings and became part of her concerts. Simone performed and spoke at civil rights meetings, such as at the Selma to Montgomery marches. Like Malcolm X, her neighbor in Mount Vernon, New York, she supported black nationalism and advocated violent revolution rather than Martin Luther King's non-violent approach. She hoped that African Americans could use armed combat to form a separate state, though she wrote in her autobiography that she and her family regarded all races as equal. 

In 1967, Simone moved from Philips to RCA Victor. She sang "Backlash Blues" written by her friend, Harlem Renaissance leader Langston Hughes, on her first RCA album, Nina Simone Sings the Blues (1967). On Silk & Soul (1967), she recorded Billy Taylor's "I Wish I Knew How It Would Feel to Be Free" and "Turning Point". The album 'Nuff Said! (1968) contained live recordings from the Westbury Music Fair of April 7, 1968, three days after the assassination of Martin Luther King Jr. She dedicated the performance to him and sang "Why? (The King of Love Is Dead)", a song written by her bass player, Gene Taylor. In 1969, she performed at the Harlem Cultural Festival in Harlem's Mount Morris Park.



Simone and Weldon Irvine turned the unfinished play To Be Young, Gifted and Black by Lorraine Hansberry into a civil rights song of the same name. She credited her friend Hansberry with cultivating her social and political consciousness. She performed the song live on the album Black Gold (1970). A studio recording was released as a single, and renditions of the song have been recorded by Aretha Franklin (on her 1972 album Young, Gifted and Black) and Donny Hathaway.

In an interview for Jet magazine, Simone stated that her controversial song "Mississippi Goddam" harmed her career. She claimed that the music industry punished her by boycotting her records. Hurt and disappointed, Simone left the US in September 1970.  During the 1980s, Simone performed regularly at Ronnie Scott's Jazz Club in London, where she recorded the album Live at Ronnie Scott's in 1984. Although her early on-stage style could be somewhat haughty and aloof, in later years, Simone particularly seemed to enjoy engaging with her audiences sometimes, by recounting humorous anecdotes related to her career and music and by soliciting requests. In 1987, the original 1958 recording of "My Baby Just Cares for Me" was used in a commercial for Chanel No. 5 perfume in Britain. This led to a re-release of the recording, which stormed to number 4 on the UK's NME singles chart, giving her a brief surge in popularity in the UK. Later, Simone moved to Europe, first living in Nyon, Switzerland, and in 1988 moved to Nijmegen and later Amsterdam in the Netherlands. Simone published her autobiography, I Put a Spell on You, in 1992. She continued to tour through the 1990s, but rarely traveled without an entourage. During the last decade of her life, Simone had sold more than one million records, making her a global catalog best-seller.




In 1993, she settled near Aix-en-Provence in Southern France. In the same year, her final album, A Single Woman, was released. During a 1998 performance in Newark, she announced, "If you're going to come see me again, you've got to come to France, because I am not coming back." She suffered from breast cancer for several years before she died in her sleep at her home in Carry-le-Rouet, Bouches-du-Rhône, on April 21, 2003.

Mariska Veres

Maria Elisabeth Ender, better known as Mariska Veres (1 October 1947 – 2 December 2006), was a Dutch singer who was best known as the lead singer of the rock group Shocking Blue. 

Veres began her career as a singer in 1963 with the guitar band Les Mysteres. In 1964 the band recorded an EP (GTB-label, 10 copies only) with Veres singing on side 1: Summertime (solo) and Someone (a duet). In 2010 the EP was re-released by record club Platenclub Utrecht (PLUT 009). In 1965, she sang with the Bumble Bees, and then with the Blue Fighters, Danny and his Favourites and General Four. Later in 1966 she sang with the Motowns with whom she also played organ.

Shocking Blue was founded in 1967 by Robbie van Leeuwen. Other members of the group at this time were Fred de Wilde, Klaasje van der Wal and Cor van der Beek. The group had a minor hit in 1968 with "Lucy Brown is Back in Town". De Wilde left in 1968 after joining the Dutch army and van Leeuwen was introduced to Mariska Veres, singing at that time with a club band. He persuaded her to take over the vocals and the group charted a worldwide hit with the song "Venus", which peaked at No. 3 in the Netherlands in autumn 1969. The song was released in America and Great Britain at the end of the year and reached No. 1 on the US Billboard Hot 100 in February 1970. It subsequently sold 350,000 copies in Germany and topped the U.S. chart for three weeks, the first song from the Netherlands to do so. It sold over one million copies there by January 1970 and received a gold record awarded by the Recording Industry Association of America. Global sales exceeded five million copies.

Other hits include "Send Me a Postcard" in 1968/69 and "Long and Lonesome Road"  in 1969. "Venus" was followed by "Mighty Joe" (flip-side "Wild Wind") in 1969 and "Never Marry a Railroad Man" (flip-side "Roll Engine Roll") in 1970, both of which sold over a million records. The latter became a top-ten hit in several countries around the world. Later songs – including "Hello Darkness", "Demon Lover" (1970), "Shocking You", "Blossom Lady" and "Out of Sight, Out of Mind" (1971), "Inkpot", "Rock in the Sea" and "Eve and the Apple" (1972) and "Oh Lord" (1973).


Klaasje van der Wal left towards the end of 1971, following their first trip to Japan (which spawned a live album). In 1974 Robbie Van Leeuwen quit and, later that year, Mariska Veres left, leading to the band's split.

 Veres enjoyed a solo career until 1982. Her singles "Take Me High" (1975) and "Lovin' You" (1976) were popular mainly in the Netherlands, Belgium and Germany. She also released the singles "Tell It Like It Is" (1975), a cover version of Dusty Springfield's "Little By Little" (1976), and "Too Young" (1978).

Shocking Blue reformed with its most famous line-up in 1979 and recorded "Louise" as their first single since their break-up in 1974. The song was never released, for reasons unknown. They did, however, perform live in 1980 with earlier songs such as "Venus" and "Never Marry a Railroad Man". They attempted another comeback in 1984 and recorded "The Jury and the Judge" with "I Am Hanging on to Love" as the B-side in 1986. That same year, they recorded another unreleased song, "Time Is a Jetplane".

Veres started the jazz group The Shocking Jazz Quintet in 1993, and recorded an album (Shocking You) with pop songs from the 1960s and 1970s, now in a jazz version. From 1993 to 2006 she performed in yet another reincarnation of Shocking Blue (recorded the songs "Body and Soul" and "Angel", both produced by former member Robbie van Leeuwen), and also recorded an album with Andrei Serban in 2003, named Gipsy Heart, going back to her Romani roots.  

She died of gallbladder cancer on 2 December 2006, aged 59.

Tina Weymouth

Martina Michèle Weymouth (born November 22, 1950) is an American musician, singer, songwriter, and author, best known as a founding member and bassist of the new wave group Talking Heads and its side project Tom Tom Club, which she co-founded with Talking Heads drummer, Chris Frantz.

At the age of 12, she joined The Potomac English Hand Bell Ringers, an amateur music group directed by Nancy Tufts, and toured with them. At 14, she started to teach herself the guitar. As a student at the Rhode Island School of Design, she met Chris Frantz and David Byrne who later formed a band and were searching for a bass guitar player. She joined them at Frantz's request, and began learning and playing bass.

Talking Heads released their debut album, Talking Heads: 77, to positive reviews in 1977. They collaborated with producer Brian Eno on a trio of experimental and critically acclaimed releases: More Songs About Buildings and Food (1978), Fear of Music (1979), and Remain in Light (1980). After a hiatus, Talking Heads hit their commercial peak in 1983 with the U.S. Top 10 hit "Burning Down the House" and released the concert film Stop Making Sense, directed by Jonathan Demme. They released several more albums, including their best-selling LP Little Creatures (1985), before disbanding in 1991.




As a bass player Weymouth combined the minimalist art-punk bass lines of groups such as Wire and Pere Ubu with danceable, funk-inflected riffs to provide the bedrock of Talking Heads signature sound. Her sound is often very syncopated (e.g., reggae/funk) in feel, combining low fundamental notes with higher flourishes in clipped, staccato rhythms.

Full members of the Compass Point All Stars, Weymouth and Frantz formed the Tom Tom Club in 1980, which kept them busy during a fairly long hiatus in Talking Heads activity. When it became obvious that Talking Heads frontman David Byrne had no interest in another Talking Heads album, Weymouth, Frantz, and Jerry Harrison reunited without him for a single album called No Talking, Just Head under the name "The Heads" in 1996, featuring a rotating cast of vocalists. 

She co-produced the Happy Mondays' 1992 album Yes Please! and has contributed backing vocals and percussion for the alternative rock virtual band Gorillaz on their track "19-2000." 

The Chicago Women’s Liberation Rock Band

The Chicago Women’s Liberation Rock Band was the self- described “agit-rock” arm of the Chicago Women’s Liberation Union. Founded in 1969, the union was an umbrella organization, rooted in principles that came to be identified as socialist feminism, focusing on projects in education, service, and direct-action, by and for women. Naomi Weisstein organized the band in March of 1970. Though later in the decade punk rock would affirm that indeed “anyone can play”, feminism spread that plain truth to women early on. “Our early women’s movement said that any woman could do anything”.

Many lent their efforts during the initial months, and the band debuted in Grant Park that summer with 12 singers and 4 guitarists: by all accounts it was a musical disaster, proving the open membership policy untenable. Soon after, the band’s core lineup solidified: Susan Abod (bass, vocals), Sherry Jenkins (guitar, vocals), Patricia Miller (guitar, vocals), Linda Mitchell (manager), Fania Mantalvo (drums), Suzanne Prescott (drums). and Weisstein (keyboards). Like the union itself, the band was about action, but steeped in ideology, born of it. The band theorized its purpose, debated its role, and even documented the course of its thoughts. In a “Work Group Analysis,” written late in 1972, the band saw itself expanding the union’s scope in a vital way. 

The band’s assault on male rock hegemony, simultaneously straightforward and tricky, used both music and humor. The latter came out primarily during the raps and theater. Abod recalls one particular crowd-phasing routine. “We did the Kinks ‘ You Really Got Me’ but with a whole new set of lyrics that started with ‘Man,’ instead of ‘Girl,’ and we pranced holding our ‘cocks’ like Mick Jagger. Or whatever rock star we found really annoying, and it would just look ridiculous. And the audience was totally into the guerrilla theater of it—they’d shriek and grab at our legs like groupies. It was so much fun, laughing at a culture that had kept us down.”  

All through 1971 and ‘72, the band racked up more gigs, traveling to Colorado Springs, Indianapolis, Ithaca, Lewisburg, Pittsburgh, Toronto and elsewhere, and playing locally at universities (U of C, UIC) Wobbly Hall on Lincoln, and the People’s Church on Lawrence.  They got better as they played. And though clearly making history all along, the band was eventually able to freeze its moment in vinyl for posterity. In the spring of ‘72 they journeyed to Massachusetts, where, along with their counterparts in the New Haven Women’s Liberation Rack Band, they recorded on album for Rounder Records. “Mountain Moving Day” was released that fall, with each band contributing one side. 

The band broke up in mid-1973, after Weisstein moved to the East Coast. The union continued until 1977. The others wrote to the union, upon dissolution, that “expanding a feminist vision through titanic will continue by the formation of new bands,” This, then, is the legacy of these women who played hard and thought rigorously—the very idea, so very empowering, of women rocking, echoed today in the riot grrl call for."all girls to be in bands." 

Marianne Faithfull

English singer, songwriter, and actress. She achieved popularity in the 1960s with the release of her hit single "As Tears Go By" and became one of the lead female artists during the British Invasion in the United States. 

Born in Hampstead, London, Faithfull began her singing career in 1964, landing her first gigs as a folk music performer in coffeehouses. She soon began taking part in London's exploding social scene. In early 1964 she attended a Rolling Stones launch party with artist John Dunbar and met Andrew Loog Oldham, who discovered her.

Her first major release, "As Tears Go By", was written and composed by Jagger, Keith Richards, and Oldham, and became a chart success.  She then released a series of successful singles, including "This Little Bird", "Summer Nights", and "Come and Stay With Me".

Faithfull's involvement in Jagger's life would be reflected in some of the Rolling Stones's best known songs. "Sympathy for the Devil", featured on the 1968 album Beggars Banquet, was partially inspired by The Master and Margarita, written by Mikhail Bulgakov, a book to which Faithfull introduced Jagger. The song "You Can't Always Get What You Want," on the 1969 album Let It Bleed, was supposedly written and composed about Faithfull; the songs "Wild Horses" and "I Got the Blues" on the 1971 album Sticky Fingers were also allegedly influenced by Faithfull, and she co-wrote "Sister Morphine". Faithfull appeared in The Rolling Stones Rock and Roll Circus concert, giving a solo performance of "Something Better".

After a long commercial absence, Faithfull made a comeback with the 1979 release of her critically acclaimed album Broken English. The album was a commercial success and marked a resurgence of her musical career. Broken English earned Faithfull a nomination for Grammy Award for Best Female Rock Vocal Performance and is often regarded as her "definitive recording." She followed with a series of albums, including Dangerous Acquaintances (1981), A Child's Adventure (1983), and Strange Weather (1987). 

When Roger Waters assembled an all-star cast of musicians to perform the rock opera The Wall live in Berlin in July 1990, Faithfull played the part of Pink's overprotective mother. Her musical career rebounded for the third time during the early 1990s with the live album Blazing Away, which featured Faithfull revisiting songs she had performed over the course of her career. Blazing Away was recorded at St. Ann's Cathedral in Brooklyn. The 13 selections include "Sister Morphine", a cover of Edith Piaf's "Les Prisons du Roy", and "Why D'Ya Do It?" from Broken English. Alanna Nash of Stereo Review commended the musicians whom Faithfull had chosen to back her—longtime guitarist Reynolds was joined by former Band member Garth Hudson and pianist Dr. John.

As her fascination with the music of Weimar-era Germany continued, Faithfull performed in The Threepenny Opera at the Gate Theatre, Dublin, playing Pirate Jenny. Her interpretation of the music led to a new album, Twentieth Century Blues (1996), which focused on the music of Kurt Weill and Bertolt Brecht as well as Noël Coward, followed in 1998 by a recording of The Seven Deadly Sins, with the Vienna Radio Symphony Orchestra, conducted by Dennis Russell Davies.

Faithfull released several albums in the 2000s that received positive critical response, beginning with Vagabond Ways (1999), which was produced and recorded by Mark Howard. It included collaborations with Daniel Lanois, Emmylou Harris, Pink Floyd's Roger Waters, and writer (and friend) Frank McGuinness. Later that year she sang "Love Got Lost" on Joe Jackson's Night and Day II. Her renaissance continued with Kissin Time, released in 2002. The album contained songs written with Blur, Beck, Billy Corgan, Jarvis Cocker, Dave Stewart, David Courts and the French pop singer Étienne Daho. On this record, she paid tribute to Nico (with "Song for Nico"), whose work she admired. In 2005, she released Before the Poison. The album was primarily a collaboration with PJ Harvey and Nick Cave, though Damon Albarn and Jon Brion also contributed.

Kirsty MacColl

Kirsty Anna MacColl (10 October 1959 – 18 December 2000) was a British singer and songwriter. She recorded several pop hits in the 1980s and 1990s, including "There's a Guy Works Down the Chip Shop Swears He's Elvis" and cover versions of Billy Bragg's "A New England" and The Kinks' "Days". Her song "They Don't Know" was covered with great success by Tracey Ullman. MacColl also sang on recordings produced by her husband Steve Lillywhite, most notably "Fairytale of New York" by The Pogues.

She came to notice when Chiswick Records released an EP by local punk rock band the Drug Addix with MacColl on backing vocals (The Drug Addix Make A Record) under the pseudonym Mandy Doubt (1978). Stiff Records executives were not impressed with the band, but liked her and subsequently signed her to a solo deal.

Her debut solo single "They Don't Know", released in 1979, peaked at number two on the Music Week airplay chart. However, a distributors' strike prevented copies of the single getting into record stores, and the single consequently failed to appear on the UK Singles Chart. MacColl recorded a follow-up single, "You Caught Me Out", but felt she lacked Stiff's full backing, and left the label shortly before the song was to be released. 

MacColl moved to Polydor Records in 1981. She had a UK number 14 hit with "There's a Guy Works Down the Chip Shop Swears He's Elvis", taken from her critically acclaimed debut album Desperate Character. In 1983, Polydor dropped her just as she had completed recording the songs for a planned second album (to be called Real) which used more synthesizers and had new wave-styled tracks. She returned to Stiff, where pop singles such as "Terry" and "He's On the Beach" were unsuccessful but a cover of Billy Bragg's "A New England" in 1985 got to number 7 in the UK charts. This included two extra verses specially written for her by Bragg. Also around this time, MacColl wrote and performed the theme song "London Girls" for Channel 4's short-lived sitcom Dream Stuffing (1984).

MacColl re-emerged in the British charts in December 1987, reaching Number 2 with The Pogues on "Fairytale of New York", a duet with Shane MacGowan. This led to her accompanying The Pogues on their British and European tour in 1988, an experience which she said helped her temporarily overcome her stage fright. In March 1989, MacColl sang backing vocals on the Happy Mondays' Hallelujah EP.

MacColl returned to recording as a solo artist and received critical acclaim upon the release of Kite (LP) in 1989. The album was widely praised by critics, and featured collaborations with David Gilmour and Johnny Marr. MacColl's lyrics addressed life in Margaret Thatcher's Britain on "Free World", ridiculed the vapidity of fame in "Fifteen Minutes", and addressed the vagaries of love in "Don't Come the Cowboy with Me Sonny Jim!" Although Kite contained many original compositions, MacColl's biggest chart success from the album was the cover of The Kinks' song "Days", which gave her a UK Top 20 hit in July 1989. A bonus track on the CD version of Kite was a cover of the Smiths song "You Just Haven't Earned It Yet, Baby".

In 2000, following her participation in the presentation of a radio programme for the BBC in Cuba, MacColl took a holiday in Cozumel, Mexico, with her sons and her partner, musician James Knight. On 18 December 2000, she and her sons went diving at the Chankanaab reef, part of the National Marine Park of Cozumel, in a designated diving area that watercraft were restricted from entering. As the group were surfacing from a dive, a powerboat moving at high speed entered the restricted area. MacColl saw the boat coming before her sons did; Louis (then 13) was not in its path, but Jamie (then 15) was. She was able to push him out of the way (he sustained minor head and rib injuries), but she was struck by the boat which ran over her. MacColl suffered severe chest injuries and died instantly.