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All The Single Ladies: Anthems Of Independence. For every anthem and romantic ballad, female artists have also asserted their independence in countless ways. “You’d think that people would have had enough of silly love songs ,” sang Paul McCartney and it would seem some female musicians would agree.

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For every torch song, anthem, and romantic ballad, female artists have also asserted their independence through empowering lyrics. Whether it’s challenging the constraints of gender stereotypes, bad relationships, or the music industry itself, these empowering anthems made the personal political, and cut across all genres and eras. From the women’s liberation movement in the 60s to the first female punks in the 70s and, later, the riot grrrls of the 90s and beyond, each era brought with it a singular voice. But though the style and sound would vary, the underlying message would remain the same. Some genres opened the playing field more than others. When the singer-songwriter tradition blossomed in the 70s, it allowed a large number of women to make a name for themselves performing their own material. A decade later, punk would open the doors to all-female bands who no longer had to settle for being a pretty mouthpiece for others’ work. Now that modern pop music is taking up the feminist mantle, we look back at all trailblazing women who were ahead of their time. Lesley Gore: “You Don’t Own Me” (from Lesley Gore Sings Of Mixed-Up Hearts , 1963) In an era when female singers were often seen as interchangeable puppets charged with singing songs penned by men, and from a male point of view, Lesley Gore’s 1963 single was that rare thing: a feminist anthem – and one penned by a male duo to boot. Perfectly timed to coincide with the second wave of feminism, “You Don’t Own Me” cast Gore’s male lover aside, refusing to become one of his “many toys” on display, while also carrying an undercurrent of the sexual liberation that would soon explode across the world. Quincy Jones turned in a masterful production that enhances Gore’s haunting voice, making her sound wiser than her 17 years. ‘Norma Deloris Egstrom From Jamestown, North Dakota’: Peggy Lee’s Final Capitol Bow. ‘Summer Rain’: Great Hitmaker Johnny Rivers Namechecks ‘Sgt. Pepper’ ABBA ‘Voyage’ Residency To Be Extended To November 2023. Since then, the song has been covered by everyone from Joan Jett to Dusty Springfield , though Gore’s version remains the benchmark. Her masterful performance at the TAMI Show, filmed in 1964, more than equalled turns by The Beach Boys and The Rolling Stones , even if they were further up on the bill. Nina Simone: “Ain’t Got No, I Got Life” (from ’Nuff Said , 1968) A civil-rights activist and warrior for independence, almost every song that Nina Simone sang was politically charged with either personal or social politics. Having studied at the historic Juilliard School Of Music, Simone was shocked to have been refused a scholarship to Philadelphia’s renowned Curtis Institute Of Music, a rejection which she always believed was based on her race, rather than her talents. Whether she tackled show tunes, jazz, soul or classical music, her subsequent career can be seen as one big refutation of that decision. Simone recorded many anthems, both for her race and her gender, but “Ain’t Got No, I Got Life,” brought her to a younger audience in the late 60s and is one of her greatest expressions of independence. “Got my hair/Got my head/Got my brains/Got my ears,” she sings, adding mouth, smile, tongue, chin, neck and boobs to the list – and heart, soul, back and sex, too. But, most importantly, she had her freedom and a life that was all her own. Almost everything in this list is loaded: Simone had her own back when nobody else did, her “boobs” and her sex are part of her genetic make-up, her brains, ears and mouth make her the woman that she was: a fearless voice impossible to pigeonhole and committed to taking a stand. Helen Reddy: “I Am Woman” (from I Am Woman , 1972) Don’t be mislead by the laidback country vibe on Helen Reddy’s signature tune – “I Am Woman”’s bark is bigger than its bite. Originally recorded for her 1971 album, I Don’t Know How To Love Him , the song’s fortunes took an upswing when it was used in the opening credits for the film Stand Up And Be Counted . A re-recording (and second appearance, on the 1972 album I Am Woman ) brought the song to a new audience and the top of the charts, and made Reddy an icon for female empowerment throughout the 70s. And deservedly so. As the Australian-American Reddy late recalled to Australia’s Sunday Magazine , at the time of writing the song she “couldn’t find any songs that said what I thought being a woman was about.” Taking inspiration from female family members who had lived through the depression and two world wars, and suffered at the hands of abusive husbands, she penned the song out of necessity, rather than any desire to become a songwriter. One of the first in a chain of anthems such as “I Will Survive” and countless others after it, “I Am Woman” proudly drew a line in the sane. You think it’s lost its potency? Katy Perry ’s “Roar” directly echoed Reddy’s sentiments over four decades later, which is no small endorsement. Joni Mitchell: “Coyote” (from Hejira , 1976) Joni was a fleeting presence on Bob Dylan’s Rolling Thunder Revue of 1975, but her experience with the troupe led to one of her most lasting songs. Revisiting a fling she had with the actor and playwright Sam Shephard, who documented the tour in his Rolling Thunder Logbook , “Hejira” is both a warm memory and a declaration of independence. In a male-dominated rock world, Mitchell was a rare presence: not only the equal of – indeed, often better than – her male peers, but actually acknowledged as such by them. So when she gets involved in a tryst with Shephard, there’s no pretending on Joni’s side: she enjoys the whirlwind fling, but knows, ultimately, that she will once again strike off to follow her own path, rather than hitch herself to someone else’s. “No regrets, coyote,” she sings. “You just picked up a hitcher/A prisoner of the white lines on the freeway.” The poise, the rich sense of self, and the unwavering commitment to her own vision – all of these qualities have influenced musicians both male and female throughout the decades, though they perhaps find their finest modern-day counterpart in Laura Marling, whose “I Was An Eagle” taps into the same source as “Coyote” and draws out Marling’s own resolute sense of self. Chaka Khan: “I’m Every Woman” (from Chaka , 1978) With the songwriting talents of Ashford & Simpson, the production nous of Arif Mardin, and Chaka Khan in her pomp with Rufus, there was no way that the singer’s debut solo single could fail. Topping the US R&B charts with ease, and nestling just outside of the UK Top 10, “I’m Every Woman” was an immediate feminist anthem with a crystal-clear production and am unmistakable message custom-built for self-empowered ladies. Four decades on, the song has proven as ageless as Chaka herself. Whitney Houston covered it for The Bodyguard in 1992, helping to light the touchpaper for the Girl Power movement of the 90s (and reintroduce the empowerment theme for a generation poised to embrace Spice Girls ). Kahn was back in fine form when she performed it with the producer of Houston’s version, David Foster, in the early 2010s, along with original Rufus guitarist Tony Maiden and rising star singer Judith Hill, thereby handing the song down through the generations. (In a neat Twist, Hill’s 2015 debut album, Back In Time , was produced by Prince , whose “I Feel For You” gave Kahn her first UK UK No.1 in 1984.) The Slits: “Typical Girls” (from Cut , 1979) One of the recurring themes in all of this music is the rejection of what’s marketed as “female,” and no one’s better than giving the finger to pre-packaged ideals than a bunch of punks. After stumbling across the term in a sociology book, guitarist Viv Albertine’s query into “who invented the typical girl” helped spawn the most famous song by all-female punk outfit The Slits. The song skewers all of the clichés of female adolescence, whether it’s labelling them sensitive and emotional, or insecure consumers who blindly fall in line. Off their 1979 debut album, Cut , “Typical Girls” has been hailed as one of the defining releases of the post-punk era, yet The Slits burned bright for only a short time. Known for their wild live acts, the band’s charm lied in their combustive and spontaneous nature.

who sings all the single ladies

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