Patti Labelle & The Bluebelles

Patti LaBelle & the Bluebelles had a minor 20 R&B/pop hit with "I Sold My Heart to the Junkman" in 1962 and, after signing with <a href="spotify:search:label%3A%22Atlantic%22">Atlantic</a>, continued to score hits in a variety of sounds, ranging from girl group pop and '70s funk ("Lady Marmalade") to disco, lush pop, and R&B ballads while going through a visually stimulating metamorphosis from the Bluebelles to <a href="spotify:artist:3DznKagEU8yMQZR9z33Da5">Labelle</a>. Soul diva <a href="spotify:artist:0ty0xha1dbprYIUAQufkFn">Patti LaBelle</a> -- the group's longtime leader -- enjoyed one of the most successful solo careers in contemporary R&B.

<a href="spotify:artist:0ty0xha1dbprYIUAQufkFn">LaBelle</a> grew up singing in a local Baptist choir and teamed up with friend Cindy Birdsong to form the Ordettes in Philadelphia in 1960. A year later, they added vocalists <a href="spotify:artist:5pTDagkiVMJC5DJtSAdbXg">Nona Hendryx</a> and <a href="spotify:artist:40GzTuEPg9xjzGeXJESEMH">Sarah Dash</a>, and the group was re-christened the Bluebelles. They were influenced considerably by the early-'60s girl group sound, especially <a href="spotify:artist:0x83OBqixqdCHnStP5VMcn">the Shirelles</a>.

In 1962, the Bluebelles scored a Top 20 pop and R&B hit with "I Sold My Heart to the Junkman" (which was really <a href="spotify:artist:3DznKagEU8yMQZR9z33Da5">Labelle</a> backed by the Starlets), and they subsequently hit the charts in 1964 with renditions of "Danny Boy" and "You'll Never Walk Alone." In 1965, they signed to <a href="spotify:search:label%3A%22Atlantic%22">Atlantic</a>.

With producer Bobby Martin at helm, the quartet -- now known as Patti LaBelle & the Bluebelles -- earned a minor hit with their version of the <a href="spotify:artist:7MOUyX1yT017l1Zt0mExIA">Harold Arlen</a>-penned standard "Somewhere Over the Rainbow." They had only a handful of minor R&B hits and near misses with <a href="spotify:search:label%3A%22Atlantic%22">Atlantic</a>, including "I'm Still Waiting," "Take Me for a Little While," and "Down the Aisle (The Wedding Song)," which made full use of <a href="spotify:artist:0ty0xha1dbprYIUAQufkFn">Patti LaBelle</a>'s powerful gospel-derived lead vocals and harmonies. Other highlights from this period include the original version of "Groovy Kind of Love" (a big hit for <a href="spotify:artist:2VkASgJ3IjpMHG5aYXx4t2">Wayne Fontana & the Mindbenders</a>), the <a href="spotify:artist:57bUPid8xztkieZfS7OlEV">Supremes</a>-like "Tender Words," the dramatic "All or Nothing," and the moody <a href="spotify:artist:6GwM53df9UWtthcHHBiPpS">Spooner Oldham</a>/<a href="spotify:artist:4Z8f0RlC4uuFPi8KD5JbvB">Dan Penn</a> ballad "Dreamer."

They were fortunate to have the talents of some of the top songwriters of the day; in addition to <a href="spotify:artist:6GwM53df9UWtthcHHBiPpS">Oldham</a> and <a href="spotify:artist:4Z8f0RlC4uuFPi8KD5JbvB">Penn</a>, the Bluebelles performed material written by <a href="spotify:artist:6yjU0SoX3vxPV7KoopXlWe">Carole Bayer</a>, Pam Sawyer, Lori Burton, <a href="spotify:artist:6OlM1c9K0fDPA0CfZ122eF">Bert Berns</a>, <a href="spotify:artist:4h4nyO6EOTwCGe7LwwHR4I">Jeff Barry</a>, <a href="spotify:artist:35y7CZMg7jbG8Q96JY7dyC">Bacharach</a>-<a href="spotify:artist:4SneDShROaEhPgKm12KZ3W">David</a>, <a href="spotify:artist:7h38QSSoFKgb7WgNC7cZp0">Lorraine Ellison</a>, and <a href="spotify:artist:2AV6XDIs32ofIJhkkDevjm">Curtis Mayfield</a> (who produced some of the act's later sides), as well as songs written by both <a href="spotify:artist:5pTDagkiVMJC5DJtSAdbXg">Nona Hendryx</a> and <a href="spotify:artist:40GzTuEPg9xjzGeXJESEMH">Sarah Dash</a> -- but nevertheless, the group preferred more aggressive and assertive material and were never quite comfortable with most of these songs.

Halfway through their <a href="spotify:search:label%3A%22Atlantic%22">Atlantic</a> period (1965 to 1969), Birdsong left to join <a href="spotify:artist:57bUPid8xztkieZfS7OlEV">the Supremes</a> (as <a href="spotify:artist:0zMARa1HaHhAB7NGnK3Q7s">Florence Ballard</a>'s replacement). The remaining trio toured the so-called "chitlin circuit" for the remainder of the decade before signing on with British manager Vicki Wickham in 1970. Wickham renamed the trio "LaBelle" and helped the women reconfigure their sound for the '70s, pushing them in a sexy, sweaty, gospel-drenched soul direction. The demure gowns they wore during their girl group phase were soon replaced by wild, flamboyant costumes, and the group's self-titled 1971 <a href="spotify:search:label%3A%22Warner+Bros.%22">Warner Bros.</a> debut was filled with robust harmonies and funky, rock-oriented R&B. To support the album, they toured with British rock band <a href="spotify:artist:67ea9eGLXYMsO2eYQRui3w">the Who</a> and also collaborated with New York songwriter <a href="spotify:artist:6QDWC6QeGhvCWCv3nUJwoV">Laura Nyro</a> on her superb R&B-influenced album Gonna Take a Miracle.

After recording a few decent albums (including Moon Shadow), <a href="spotify:artist:3DznKagEU8yMQZR9z33Da5">Labelle</a> exploded on the charts in 1974 with their superb Nightbirds album and its raunchy hit, "Lady Marmalade." Follow-up hits came with 1975's Phoenix and 1976's Chameleon albums. Founding member <a href="spotify:artist:40GzTuEPg9xjzGeXJESEMH">Sarah Dash</a> died on September 20, 2021 at the age of 76. ~ Bryan Thomas, Rovi