Dusty Springfield

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Dusty Springfield
Background information
Birth name	Mary Isabel Catherine Bernadette O'Brien
Born	April 16, 1939(1939-04-16)
Origin	Ealing, London, United Kingdom
Died	March 2, 1999 (aged 59) Henley-on-Thames, Oxfordshire, England
Genre(s)	Traditional pop, blue-eyed soul
Occupation(s)	Singer
Years active	1958—1995
Label(s)	Philips Records, Atlantic Records

Mary Isabel Catherine Bernadette O'Brien^[1] OBE (16 April 1939 – 2 March 1999), professionally known as Dusty Springfield, was an English singer born to Irish parents. Of the female artists of the British invasion, Springfield made the biggest impression on the U.S. market.^[2] From 1963 to 1970, she scored 18 singles in the Billboard Hot 100.^[3] She was voted the Top British Female Artist by the readers of the New Musical Express in 1964, 1965,^[4] and 1968.^[5] Springfield is an inductee of the Rock and Roll Hall of Fame and the UK Music Hall of Fame.^[6] She was placed among the 25 female rock artists of all time, by the readers of Mojo magazine (1999),^[7] editors of Q magazine (2002),^[8] and the panel of artists by the VH1 TV channel (2007).^[9]

A fan of American soul music,^[10] Dusty Springfield created a distinctive blue-eyed soul sound.^[11][12] This earned her the nicknames "White Negress" and "White Queen of Soul".^[13]

She campaigned to bring little-known soul singers to a wider U.K. audience by devising and hosting the first British performances of top-selling Motown Records artists on The Sound of Motown, a special edition of the Ready Steady Go! TV series in 1965.^[13][14] In 1966, 1967, and 1969, she hosted three seasons of television variety shows ^[15] that included the introduction of Woody Allen and Jimi Hendrix to the British audience.^[16]

Her dashing, glamourous image was supported by a peroxided blonde beehive hairstyle,^[1] heavy use of eyeliner,^[6] and luscious evening gowns.^[17] The fact that Springfield was never in a publicly known relationship meant that the issue of her being bisexual continued to be raised throughout her life.^[18]

Springfield began her solo career in 1963 with the Phil Spector-influenced pop/rock song "I Only Want To Be With You".^[11] Her following chart hits included "I Just Don't Know What to Do with Myself" and "You Don't Have to Say You Love Me". "The Look of Love", written for Springfield by Burt Bacharach and Hal David, was featured in the scene of Ursula Andress seducing Peter Sellers in the film Casino Royale;^[19] the song was nominated for an Academy Award for Best Song. The sudden changes of world pop music towards the experimentation of Sgt. Pepper's Lonely Hearts Club Band, Summer of Love themes, and psychedelia left Springfield out of fashion.^[20][3] To boost her credibility,^[20] she went to Memphis, Tennessee to record an album of pop and soul music with Atlantic Records' production team of Jerry Wexler, Arif Mardin, and Tom Dowd. The LP Dusty in Memphis^[21] received the Grammy Hall of Fame award in 2001 and was listed among the 100 Greatest Albums of All Time by the Rolling Stone and the VH1, the readers of the New Musical Express, and the viewers of Channel 4. The standout track of the album, "Son of a Preacher Man", was an international Top 10 chart hit in 1969. The song was revived in 1994 by Quentin Tarantino^[22] including it in the Pulp Fiction soundtrack,^[23] which sold over three million copies.^[24] Springfield's low period after Dusty in Memphis ended in 1987, when a collaboration with the Pet Shop Boys returned her to the top 20 of U.K. and U.S. charts with the singles "What Have I Done to Deserve This?", "Nothing Has Been Proved" and "In Private".^[10] Dusty Springfield kept recording until she was diagnosed with breast cancer in 1995 and died in 1999.

[edit] Biography

Mary Isabel Catherine Bernadette O'Brien^[1] was born in West Hampstead to an Irish Catholic family^[12], and was brought up in the West London borough of Ealing. The name "Dusty" was given to her when she was a child, as she had been a tomboy in her early years. Dusty's mother told her a lot about movies. Her tax consultant father^[1] used to tap out rhythms on the back of her hand, encouraging the young Dusty to guess the musical piece. Dusty was brought up listening to a wide range of music, Gershwin, Rogers and Hart, Rogers and Hammerstein, Cole Porter, Count Basie, Duke Ellington and Glenn Miller, among others. She was a fan of American Jazz and the music of Peggy Lee, with a desire to sound like her. At age 11, she went into a local record shop in Ealing and made her first record, the Judy Garland Irving Berlin song "When The Midnight Choo Choo Leaves For Alabam".^[25]

[edit] First bands (1958–63)

Main articles: The Lana Sisters and The Springfields

After finishing school in 1958, Dusty responded to the advertisement to join an "established sister act" Lana Sisters. With the vocal group, she developed the art of harmonising, learned microphone technique, recorded, did some television and played live both in the UK and at American Air Bases.^[26]

In 1960 she left the band and formed the pop-folk trio the Springfields with her brother Dion O'Brien and Tim Feild. The new trio chose the Springfields as their name during a rehearsal in a field in Somerset in spring. Dusty reflected on her time in the Springfields as a time of jolly and loud singing that wasn't always in tune.^[26] Intending to make an authentic American album, the Springfields travelled to Nashville to record the album Folk Songs from the Hills. During a stopover in New York City Dusty Springfield, already a fan of black vocal groups such as the Shirelles, heard "Tell Him" by the Exciters and was inspired by its sound.^[26] This helped to turn Dusty's career from the folk and country sounds of the Springfields towards pop music rooted in rhythm and blues. In the spring of 1963 they recorded their last UK Top 5 hit "Say I Won't Be There". After that they agreed to go separate ways. They played their last date in October 1963.

[edit] A Girl Called Dusty (1963–64)

Dusty Springfield's first single, the soul-tinged "I Only Want to Be with You", was released in November 1963. That song was Dusty’s first flirtation with American soul,^[10] She chose it as a tribute to Phil Spector's "Wall of Sound" style.^[27] The single rose to #4 in the British charts^[28] and #12 on Billboard Hot 100^[3]. It was #48 of the year 1964 of the Musicradio WABC Top.^[29] The song was the first record played in BBC's Top of the Pops.^[4]

As an apparently rushed work,^[20] her debut album A Girl Called Dusty included mostly covers of her favorite songs by other performers.^[20] On the album, the orchestral arrangements by Ivor Raymond and Johnny Franz drowned Dusty Springfield's voice, making it sound thin.^[20] Among the songs were "Mama Said", "When the Lovelight Starts Shining Through His Eyes", "You Don't Own Me," and "Twenty-Four Hours from Tulsa."^[4] The album reached #6 in UK in May 1964.^[30] The chart hits "Stay Awhile", "All Cried Out" and "Losing You" followed in the same year.^[28] In 1964, Springfield recorded two of Burt Bacharach's songs: "Wishin' and Hopin'", a Top 10 hit in the States,^[3] and "I Just Don't Know What to Do with Myself", which reached #3 in Britain.^[28]

Dusty Springfield's tour of South Africa was interrupted in December of 1964, after she performed in front of an integrated audience at a theater near Cape Town. Her flouting of government segregation policy resulted in her deportation from the country.^[4] In the same year, she was voted Top Female British Artist in the New Musical Express poll, beating off the opposition from Lulu, Sandie Shaw and Cilla Black.^[20] Dusty received the award again in the following year.^[4]

[edit] 1965 releases

In 1965 Dusty took part in the Italian Song Festival in Sanremo, failing to qualify to the final with two songs. In the competition, she heard the song "Io che no vivo (senza te)".^[31] The English version of the song "You Don't Have to Say You Love Me" featured lyrics written by Dusty's friend and future manager Vicki Wickham and Simon Napier-Bell.^[32] It reached #1 in UK^[28] and #4 on weekly Billboard Hot 100^[3], being #35 of the Billboard Top for the year 1966.^[33] Later the artist called it "good old schmaltz." ^[32] The song was voted among the All Time Top 100 Songs by the listeners of BBC Radio 2 in 1999.

In 1965, she released three more U.K. Top 40 hits: "Your Hurtin' Kinda Love", "In the Middle of Nowhere" and Carole King's "Some of Your Lovin'".^[28] These were not included in the album Ev'rything's Coming Up Dusty making it a more mature soulful LP. The album featured songs by Leslie Bricusse, Anthony Newley, Rod Argent, Randy Newman and a version of the traditional Latin number "La Bamba". The LP peaked at #6 in the U.K.^[34]

Dusty Springfield campaigned on TV to get American soul singers a better audience in Britain: Singing "Can't Hear You No More" in the set of The Sound Of Motown, a Ready Steady Go! TV edition hosted by Dusty on April 28, 1965

[edit] The Sound of Motown (1965–66)

Because of her enthusiasm for Motown music, Dusty campaigned to get the little known American soul singers a better audience in the UK.^[6] She hosted The Sound Of Motown, a Ready Steady Go! special edition on April 28, 1965. The show was broadcasted by Rediffusion TV from their Wembley Studios. Dusty Springfield opened the two parts of the show, performing "Wishin' and Hopin'" and "Can't Hear You No More", accompanied by Martha Reeves and the Vandellas and an Afro-American instrumental band. More guest performers followed: the Temptations, the Supremes, the Miracles, Stevie Wonder and Marvin Gaye.^[14] In 1994, the guests of the 1965 show credited Dusty's advocacy of the music in the documentary Dusty Springfield. Full Circle.^[35] Dusty released three additional UK Top 20 hits in 1966: "Little By Little", Carole King's "Going Back" and "All I See Is You".^[28] The Autumn 1966 featured Dusty hosting a series of 6 BBC TV music and talk shows Dusty.^[15] In November 1966 the compilation of her singles Golden Hits was released. The album reached #2 in UK.^[36]

 Music sample:

"The Look of Love"

Sample from "The Look of Love".

Problems listening to the file? See media help.

[edit] The Look of Love (1967)

The Bacharach-David composition "The Look of Love" was designed for the spoof Bond movie Casino Royale. The track was recorded in two versions at the Philips Studios of London. The soundtrack version was recorded on January, 29, and the single release version on April 14.^[37] The song is featured in the scene of Ursula Andress as Vesper Lynd persuading Peter Sellers as Evelyn Tremble,^[19] seen through a man-size aquarium.^[38] "The Look of Love" was nominated for the Academy Award for Best Song of 1967. The song was a Top 10 radio hit at the KGB and KHJ radio stations. As in 1967 Dusty had trouble with charting hits in the US,^[6] the song earned her highest place in the year's charts, #22.

[edit] Where Am I Going? (1967–68)

By the end of the year 1967, Dusty was becoming disillusioned with the showbusiness carousel, on which she found herself trapped.^[20] She appeared out of step with the Summer of Love and its attendant psychedelic music.^[20] The second season of the BBC Dusty TV shows,^[15] featuring the performances of "Get Ready" and "I'll Try Anything", attracted healthy viewing figures, but was an anathema of the sudden change in the pop scene.^[20] The comparatively progressive and prophetically titled Where Am I Going? attempted to redress this. Containing a jazzy, orchestrated version of "Sunny", and Jacques Brel's "If You Go Away", it was an artistic success, but flopped commercially.^[20] In 1968 a similar fate awaited Dusty... Definitely.^[20] On this her choice of material ranged from the rolling "Ain't No Sunshine" to the aching emotion of "I Think It's Gonna Rain Today".^[20] In the same year Dusty had a UK Top 5 hit "I Close My Eyes and Count to Ten".^[28] Her personal TV shows continued with the ITV series of It Must Be Dusty,^[15] including a duet with Jimi Hendrix on the song "Mockingbird". In the same year, Roger Moore presented her third Top British Female Artist award, voted by the readers of New Musical Express.

[edit] Memphis sessions (1968–69)

Cover of the album Dusty in Memphis

Main article: Dusty in Memphis

Main article: Son of a Preacher Man

In 1968, Carole King, one of Dusty's songwriters, embarked on a singing career of her own, while the chart-busting Bacharach-David partnership was foundering. Dusty Springfield's status in the music industry was further complicated by the progressive music revolution and the uncomfortable split between what was underground and fashionable, and what was pop and unfashionable.^[20] In addition, her performing career was becoming bogged down on the UK touring circuit, which at that time largely consisted of working men's clubs and the hotel and cabaret circuit.^[20] Hoping to reinvigorate her career and boost her credibility, Dusty Springfield signed with Atlantic Records,^[20] home label of an idol of hers, Aretha Franklin. The Memphis sessions at the American Sound Studios^[1] were recorded by the A team of Atlantic Records: producers Jerry Wexler, Tom Dowd, Arif Mardin,^[21] the back-up vocal band Sweet Inspirations and the instrumental band Memphis Cats,^[39] led by guitarist Reggie Young and bass player Tommy Coghill.^[21] The producers were the first people to recognize that Dusty's natural soul voice should be placed at the fore, rather than competing with full string arrangements. Due to Dusty Springfield's pursuit of perfection and what Jerry Wexler called, a 'gigantic inferiority complex', her vocals were recorded later in New York.^[4][40]

The LP Dusty in Memphis was a real drifting, cool, smart soul album.^[21] It was reviewed by the Rolling Stone magazine as a piece of^[40]:

The sales numbers of the LP rested short of making it to the UK Top 40. The peak of the album sales was weekly #99 of the Billboard Top 200. Dusty in Memphis received the Grammy Hall of Fame award in 2001. The album was listed among the 100 Greatest Albums of All Time by the panels of artists by Rolling Stone and VH1, the readers of the New Musical Express and viewers of Channel 4. The standout track of the album, "Son of a Preacher Man", reached #10 in UK, in US and international charts. The song was the 96th most popular song in US in 1969.^[41] The song was revived by Quentin Tarantino in 1994,^[22] which sold over three million copies.^[42]

 Music sample:

"Son of a Preacher Man"

Sample from "Son of a Preacher Man".

Problems listening to the file? See media help.

[edit] Decline (1969–86)

In September and October 1969 Dusty Springfield hosted the 8 sequences of the BBC TV show "Decidedly Dusty".^[15] Her second album for Atlantic Records, A Brand New Me, was issued in 1970. The songs were written and produced by Gamble and Huff. In 2007, the LP was listed among the 1000 Albums to Hear Before You Die by the Guardian newspaper. The album yielded a Billboard Top 25 single, "A Brand New Me". The third album for the Atlantic label, including the intended title track "(I'll Be) Faithful" and produced by Jeff Barry, was abandoned because of the sales figures of the initial single releases. Most of the material was released on the 1999 reissue of Dusty in Memphis on Rhino Records. Her next album, See All Her Faces, was released only in Britain, having none of the cohesion of her previous two albums. In 1972, Dusty Springfield signed a contract with ABC Dunhill Records, and the resulting album, Cameo, was released in 1973 with a minimum of publicity.

In 1974, Dusty recorded the theme song for the TV series The Six Million Dollar Man. Her second ABC Dunhill album was given the working title Elements and scheduled for release as Longing. The sessions were abandoned due to Dusty Springfield's personal problems. A part of the material, including tentative and incomplete vocals, was released on the 2001 compilation Beautiful Soul. Dusty put her career on hold in 1974, living reclusively in USA to avoid the scrutiny by British tabloids.^[4] She recorded nothing until 1978. Haunted by drinking and drug problems, she tried to live off the earnings of her 1960s success. In the period she only provided the background vocals for Anne Murray's LP Together^[10] and Elton John's LP Caribou, including the single "The Bitch is Back". In 1978 she continued to work for the United Artists Records label. This resulted in the albums It Begins Again produced by Roy Thomas Baker. The LP charted on either side of the Atlantic and was well received by critics but was not a commercial success. The album Living Without Your Love did slightly better.^[10] In London, she recorded two singles for her British label Mercury Records. The first was the disco-influenced "Baby Blue", which reached #61 in Britain. The second, "Your Love Still Brings Me to My Knees", was Dusty Springfield's final single for Philips Records. In Autumn, 1979, Dusty Springfield played her first club dates in eight years in New York.^[10] On December 3, 1979, she performed a charity concert for a full house at The Royal Albert Hall, in the presence of Princess Margaret. She signed a deal in USA with the 20th Century Fox Records, which resulted in the single "It Goes Like It Goes". In 1980, Dusty Springfield recorded the song "Bits and Pieces", written by Dominic Frontiere and Norman Gimbel. Sections of the song are used twice in the film The Stunt Man. Dusty Springfield was uncharacteristically proud of her 1982 album White Heat, influenced by the New Wave genre. After the commercial failure of the album, Dusty Springfield stopped drinking and tried to get her life back together.^[4] She gave an effort to revive her career again in 1985 by returning to the UK and signing to Peter Stringfellow's Hippodrome Records label. This resulted in the single "Sometimes Like Butterflies" and an appearance on Stringfellow's live television 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. None of Dusty Sprinfield's recordings in 1971—1986 made it to the Top 40 of neither UK nor USA.

[edit] Comeback (1987–95)

Comeback: In 1987, Dusty Springfield returned to the global scene on the promotional video of the song "What Have I Done to Deserve This?"

In 1987, Dusty accepted an invitation from the British pop duo Pet Shop Boys to sing with the duo's Neil Tennant on their single "What Have I Done to Deserve This?" and appear on the promotional video. The record rose to #2 at both the British and the American charts. The song subsequently appeared on the Pet Shop Boys' album Actually, as well as on both of their greatest-hits collections. Dusty Springfield sang lead vocals on the Richard Carpenter track "Something in Your Eyes". The song was recorded for Carpenter's album Time. Released as a single it became a #12 Adult Contemporary hit in the US. For use over the main credits of the US sitcom Growing Pains, Dusty with singer BJ Thomas recorded the show's theme song "As Long as We Got Each Other".

In 1988 a new compilation of her greatest hits, The Silver Collection, was issued. Dusty was soon back in the studio with the Pet Shop Boys, who produced her recording of their song "Nothing Has Been Proved". This was commissioned for the soundtrack of the film Scandal. Released as a single in early 1989 the song gave Dusty Springfield a Top 20 hit in the UK. So did its follow-up, the upbeat "In Private", written and produced by the Pet Shop Boys. Dusty Springfield capitalised on this by recording the 1990 album Reputation. This was another Top 20 success in UK. The writing and production credits for half the album, which included the two recent hit singles, went to the Pet Shop Boys, while the album's other producers included Dan Hartman. Prior to recording the Reputation album, Dusty Springfield decided to leave California for good. By 1988, she had relocated to Britain. In 1993, Dusty Springfield was invited to record a duet with her former 1960s professional rival and friend Cilla Black. This was "Heart and Soul", from Black's Through the Years album. In 1994, Dusty started recording the album A Very Fine Love for Sony Records. Some of the songs were written by well-known Nashville songwriters and produced with a typical country feel. The last song Dusty Springfield recorded was the George and Ira Gershwin standard "Someone to Watch over Me". The recording was made in London in 1995 for an insurance company's television advertisement. It was made available commercially in 2000 on Simply Dusty, the extensive anthology the singer had helped plan but did not live to see released.

[edit] Illness and death (1995–99)

While recording her final album, A Very Fine Love, in 1995 in Nashville, Dusty felt unwell. In England, she was diagnosed with breast cancer. She received months of radiation treatment and, for a time, the cancer was in remission.^[3] In apparent good health again, Springfield set about promoting the album and gave a live performance of "Where Is a Woman to Go?", on the television music show Later With Jools Holland (BBC). On the show she was backed by singers Alison Moyet and Sinéad O'Connor. Cancer was detected again in the summer of 1996. After a fight, Dusty was defeated by the illness in 1999. She died in Henley-on-Thames, on the day she had been due to go to Buckingham Palace to receive her Order of the British Empire insignia. Before her death the officials of St James's Palace gave permission for the medal to be collected by the manager Vicki Wickham. She duly presented it to the singer in hospital, where they had been joined by a small party of friends and relatives. Her induction into the Rock and Roll Hall of Fame had been scheduled for 10 days after her death. Elton John helped induct Dusty Springfield into the Rock and Roll Hall of Fame, stating:^[43]

The singer'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 in Oxfordshire, at the ancient parish church of St Mary the Virgin, in Henley-on-Thames where Springfield had lived for the last years. A marker dedicated to her memory is in the church graveyard. Some of Springfield's ashes were buried at Henley, while the rest were scattered by her brother Tom Springfield, at the Cliffs of Moher, County Clare, Ireland. In what was considered a very rare departure from royal protocol, Queen Elizabeth said she was 'saddened' to learn of Springfield's death. Dusty's will provided care for her cat Nicholas, including a marriage to the five-year-old female cat of a friend in a private ceremony later that spring.^[44]

[edit] Personality

Main article: Dusty Springfield's personality

The conflict between Dusty Springfield's Catholic faith and her life affected her deeply.^[45] Springfield's biographers and journalists have suggested she had two personas: shy, quiet, Mary O'Brien, and the persona she created in Dusty Springfield. ^[22]

In all aspects of her career, but especially in the studio, Springfield was a perfectionist.^[46] Male colleagues, who were unused to women taking control in the studio, labelled her 'difficult'.^[45] She often produced her songs, but could not take credit for doing so, as it was seen as bad form.^[47] Springfield's musical ear was finely tuned, but she could neither read nor write music.^[48] This made it even harder for her to communicate with the session musicians. During her extensive vocal sessions, she repeatedly recorded short phrases and single words.^[13][49]

In her early career, much of her odd behaviour was carried out more or less in fun — like her famous food fights and hurling a box of crockery down the stairs. As the Springfield persona became more famous, she was indulged, pampered and spoiled, and plummeted into chronic drug and alcohol abuse. For much of the 1970s, living in Hollywood, Springfield alternately battled mental health and substance abuse issues. The seriousness of her increasingly frequent acts of self-harm resulted in her being hospitalized on numerous occasions.^[49]

Dusty Springfield had great love for animals, particularly cats. She was an advocate for several humane groups.^[49] She also enjoyed maps, getting lost and navigating her way out.^[25]

[edit] Sexuality

Main article: Dusty Springfield's sexuality

The fact that Dusty Springfield was never in a publicly known relationship meant that the issue of her being bisexual continued to be raised throughout her life.^[18] In 1970, Dusty told the Evening Standard:^[18]

In the standards of year 1970, that was a very bold statement.^[18] Three years later, she explained to the Los Angeles Free Press:^[25]

Later she stated that she had enjoyed relationships with both men and women and "liked it".^[50] Later she avoided the issue, apart from the occasional comment in the presence of her drag queen fans and Princess Margaret at the performance at the Royal Albert Hall in 1979:^[51]

Dusty's 1981 live-in relationship with Canadian rock icon Carole Pope, burdened with drug and alcohol abuse and self-injury, was described in a chapter of Pope's 2000 autobiography Anti-Diva.^[52]

[edit] Artistry

Dusty Springfield had an oddly erotic^[6] husky voice,^[10] any moment liable to launch into heartbreaking urgency.^[3] As Burt Bacharach said:^[53]

Dusty Springfield's voice communicated a sense of longing that demanded the listener's attention.^[54] Influenced by American soul,^[10] Dusty Springfield created a distinctive white soul sound.^[11][12] While recording new songs, Springfield implored musicians to capture the passion of American songs she had heard.^[4] Her soul inclinations resulted in Dusty Springfield often performing as the only white singer on all-black bills in the 1960s.^[4] She insisted that her white British session musicians copy precisely the instrumental playing styles of black American musicians. Dusty Springfield’s covers of songs by African American singers ranged from close copies of the original versions to clever reworkings.^[13] Unlike Aretha Franklin, who took possession of all of her songs, Dusty sang around her material.^[11] Depending on the requirements of the song, she could be pop diva, soul siren or rock n' roll queen.^[4] She created music that was evocative rather than overwhelming.^[11] Rather she sang songs that ordinarily would have been offered by their writers to black vocalists.^[11] She had her own way with lyrics, described by journalist Greil Marcus^[11] on the example of the lyrics of "Wishin' and Hopin'" as:

Her songs had depth, while presenting direct and simple statements about love.^[11] Dusty's performances were intimate moments with her audience, who used to sing along. In her own words her special relationship with the listeners lifted her performance.^[26] Dusty Springfield's joyful, dashing image^[13] was supported by trademark peroxided blonde beehive hairstyle,^[1] heavy use of eye makeup^[6] and luscious evening gowns.^[17]

[edit] Legacy

Dusty Springfield was one of the best selling British singers in the 1960s.^[10] She was voted the Top British Female Artist by the readers of the New Musical Express in 1964, 1965,^[4] and 1968.^[5] Of the female singers of the British invasion of pop music in the sixties, Dusty Springfield made the biggest impression on the US market.^[55] From 1963 to 1970 she scored 26 singles in either the Billboard Hot 100 or the UK Top 40. Dusty Springfield is an inductee of the Rock and Roll Hall of Fame and the UK Music Hall of Fame.^[6] She was placed among the 25 female rock artists of all time, by the readers of the Mojo magazine (1999),^[56] editors of the Q magazine (2002),^[8] and the panel of artists by the VH1 TV channel (2007).^[9]

[edit] Discography

For more details on this topic, see Dusty Springfield discography.

For more details on this topic, see Dusty Springfield singles.

[edit] Bibliography

Selected sources by musicianguide.com site^[4]

• McAleer, The Fab British Rock 'N' Roll Invasion of 1964, St. Martin's Press, 1994, pp. 90, 95, 96.
• Clifford, Mike, consultant, The Harmony Illustrated Encyclopedia of Rock, Sixth Edition, Harmony Books, 1988, p. 162.
• Rees, Dafydd, and Luke Crampton, Encyclopedia of Rock Stars, Dorling-Kindersley, 1996, pp. 810-812.
• New Musical Express, October 2, 1993, p. 29.
• New York Times, January 13, 1997, p. C16.
• New York Times Magazine, October 29, 1995, p. 34.

[edit] References

[edit] External links

• Dusty Springfield at the Open Directory Project