The Belle Stars: From Two-Tone Origins to 80s Chart Success
When the two-tone band The Bodysnatchers disbanded in 1980, five of its members weren't ready to abandon their musical dreams. Guitarists Stella Barker and Sarah-Jane Owen, saxophonist Miranda Joyce, keyboardist Penny Leyton, and drummer Judy Parsons joined forces with bass player Lesley Shone and lead vocalist Jennie Matthias to form The Belle Stars. Their journey began on Christmas Day 1980 with their first performance, even before they had settled on a band name.
The London music scene quickly embraced this all-female ensemble, and their rising profile caught the attention of Sounds magazine, which featured them on its front cover in early 1981. This exposure led to a recording contract with Stiff Records, the label that had achieved remarkable success with Madness. The connection proved beneficial, as The Belle Stars found themselves opening for established ska acts like The Beat and Madness, and even supporting The Clash on European tour dates.
Despite the media attention and high-profile support slots, The Belle Stars' initial original material struggled to find commercial success. Their debut single Hiawatha and follow-up Slick Trick, both produced by the acclaimed team behind Madness' sound, failed to chart. It wasn't until the band shifted their strategy to cover versions that they achieved their breakthrough.
The turning point came with Iko Iko, their interpretation of The Dixie Cups' 1965 hit, which finally brought The Belle Stars into the UK Singles Chart at number 35 in June 1982. This success opened the floodgates, leading to their first top 20 hit with The Clapping Song, originally performed by Shirley Ellis, followed by their version of Mockingbird.
However, it was Sign of the Times in January 1983 that truly established The Belle Stars as a force in popular music. The single soared to number three on the UK charts and became a European sensation. The accompanying music video, featuring the band members in sophisticated dinner jackets, became a staple on MTV in the United States. This signature song would go on to become the 30th best-selling single of 1983 in the UK, representing the absolute peak of the band's commercial success.
The momentum continued with their self-titled debut album, which reached number 15 on the UK Albums Chart. The record showcased The Belle Stars' eclectic approach, blending original compositions with carefully chosen covers, including Harlem Shuffle and The Snake. Their sound evolved beyond their ska punk roots to embrace pop rock and new wave influences, creating a distinctive musical identity that set them apart from their contemporaries.
Unfortunately, the heights achieved with Sign of the Times proved difficult to maintain. Each subsequent release performed progressively worse on the charts, with Sweet Memory reaching number 22, Indian Summer stalling at number 52, and The Entertainer failing to chart entirely. The commercial decline took its toll on band morale and cohesion, leading to the departure of key members including lead vocalist Jennie Matthias.
The remaining core of Sarah-Jane Owen, Miranda Joyce, and Lesley Shone persevered, with Owen taking over vocal duties. Under the supervision of producer Trevor Horn, they recorded new material in New York City, but only the single World Domination saw release. While it flopped in Britain, the song found unexpected success in American dance clubs, reaching number two on the Billboard Hot Dance chart.
Ironically, The Belle Stars' biggest American success came three years after their disbandment in 1986. When Iko Iko was featured on the soundtrack of the acclaimed film Rain Man starring Tom Cruise and Dustin Hoffman, it climbed to number 14 on the Billboard Hot 100 in March 1989. The song's inclusion came at Hoffman's personal request, as it had become one of his favorites.
The Belle Stars' legacy extends beyond their chart positions and commercial success. They represented a unique moment in British pop music when an all-female band could seamlessly blend ska, new wave, and pop rock influences while maintaining both critical respect and popular appeal. Their influence can be traced through subsequent generations of female musicians who drew inspiration from their bold approach to both music and image.