How Dusty Springfield defined the 1960s
The swinging sixties was a period of significant cultural change and revolution, defining a post-war enthusiasm for modernity and innovation amongst British youth. Sexual liberation and political activism were central to the era, reflected by new music, art, film and fashion. London was at the heart of the movement, home to stylish boutiques where young people would buy trendy pieces such as promiscuous mini skirts and shift dresses.
Many British bands and musical artists succeeded during this period, such as The Beatles, The Kinks, The Rolling Stones, Cilla Black, Sandie Shaw and Petula Clark. Dubbed by the United States as the ‘British Invasion’, these artists spread their youthful and pleasure-seeking ethos across the pond, speaking to a widespread desire to move away from post-war malaise and indulge in new and innovative art forms.
Of course, The Beatles were Britain’s biggest export, attracting legions of fans with their boyish charms and matching suits and moptops. Yet, when it comes to solo singers from the ’60s, Dusty Springfield remains the most iconic, her music enduring due to its innately timeless quality. Born Mary Isabel Catherine Bernadette O’Brien, the singer adopted the stage name Dusty Springfield in 1960, following her departure from The Lana Sisters. After forming the folk-pop trio, The Springfields, the group travelled to Tennessee to record an album, introducing the young singer to rhythm and blues music, which greatly inspired her own creative vision.
In 1963, the singer began a solo career, releasing her debut single, ‘I Only Want to Be with You’. Her performance was inspired by black girl groups such as The Shirelles and The Exciters, although Springfield never sought to rip these artists off. Instead, she paid homage to their music, acknowledging the paramount importance of black artists to the music industry. In 1965, the singer helped to create and host the Ready Steady Go! Motown Special, spotlighting performers such as The Supremes, Martha and the Vandellas, Stevie Wonder and The Miracles. The show became many of these American artists’ first national television appearances, subsequently bringing them further international success.
Over the decade, Springfield found acclaim both at home and across the waters with hits such as ‘Stay Awhile’ and ‘You Don’t Have To Say You Love Me’. She became an icon of the period, recognisable for her swinging sixties style. She took inspiration from Motown artists, replicating their short bouffants and heavy eye makeup, which stood out when photographed in black-and-white. In the late 1960s, many Motown groups, such as The Supremes, began favouring long, elegant dresses, which Springfield also became known for wearing.
In 1964, the musician was asked to perform in South Africa. Although Springfield was against apartheid, she agreed to go if the audience was integrated. Yet, when the South African government caught wind of Springfield’s requirements, they demanded that she and her band be deported back to the United Kingdom. She told the BBC: “All I know is … anybody if they want to buy a ticket [to the show] should be allowed to do so.”
Springfield truly defined the 1960s’ revolutionary ethics by involving herself in civil rights issues and spotlighting black artists, always incorporating their influence into her work without fooling people into believing it was her own. Whereas many artists from the period were happy to appropriate the music of black artists or sing whatever was handed to them, Springfield was defiant. She was dedicated to exposing black music to wider audiences, and on her debut album, A Girl Called Dusty, seven of the tracks were initially written by African-American artists.
She closed the decade with her era-defining 1968 single ‘Son of a Preacher Man’, originally written for Aretha Franklin, who eventually recorded the song in 1970. Springfield’s version, which uses Franklin’s backing singers, the Sweet Inspirations, demonstrated the influence of R&B and Motown over the musician. The track was a testament to the power of the 60s’ pioneering black musicians, who both inspired and were spotlighted by Springfield.
