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Venetta Fields
Venetta Fields
Venetta Fields
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Key Information

Venetta Lee Fields (born 1941) is an American-Australian singer and musical theater actress, and vocal coach.

Fields was a backing vocalist for touring American and British rock and pop acts of the 1960s and 1970s, as well as working as a session recording vocalist, she worked with artists including Ike & Tina Turner, Pink Floyd, Humble Pie, Barbra Streisand, Elkie Brooks, Neil Diamond, Steely Dan, Boz Scaggs, Bob Seger, America and the Rolling Stones. After emigrating to Australia in 1982, she took up citizenship. She recorded or toured as a backing singer for Australian artists Richard Clapton, Australian Crawl, Cold Chisel, Jimmy Barnes, James Morrison, John Farnham, and New Zealand artists Tim Finn and Split Enz.

Life and career

[edit]

Early life

[edit]

Fields was born in Buffalo, New York in 1941, into a religious family. Her early musical training was from regular gospel performances at church.[1] Her inspiration was Aretha Franklin. Fields singing career began with the Templaires, a group she formed with members of her church, followed by the Corinthian Gospel Singers.[1]

Early career

[edit]
Main articles: The Ikettes and The Mirettes

In late 1961, the Ike & Tina Turner Revue were playing in Buffalo. Fields successfully auditioned as a new member of Ike & Tina Turner's backing vocalists, joining the Ikettes.[1] The revue toured the Chitlin' Circuit and performed at prominent theaters in major cities across the United States. In between gigs Ike Turner produced artists in the revue. Fields released her debut single "You're Still My Baby"/ "I'm Leaving You" on Turner's Sony Records label in 1963.[2] Fields was given a solo to perform during shows, such as "The Love of My Man" on the album Ike & Tina Turner Revue Live (1964), "I Know (You Don't Love Me No More)," and "Good Time Tonight" on Live! The Ike & Tina Turner Show (1965).[3][4]

In 1965, the Ikettes released the Top 40 hit "Peaches 'N' Cream" (Pop #36, R&B #28) and "I'm So Thankful" (Pop #74, R&B #12) on Modern Records.[5] By late 1965, Fields left the revue along with fellow Ikettes Jessie Smith and Robbie Montgomery.[3] Fields later recalled "I was an Ikette for five years. It was a rough job, but it was a very good experience. It's just like a school. You go from grade 1 to 2, not from 1 to 8. And when you graduate you have to leave. There is such a thing as staying too long; when you start getting stagnant and stifled by what you're doing. We almost stayed too long."[1] Fields later relocated to Los Angeles after leaving the revue.[1]

In 1966, the trio signed to Mirwood Records and became the Mirettes.[3] They left Mirwood and released their highest-charting single "In the Midnight Hour" (Pop #45, R&B #18) on Revue Records in 1968.[6] By 1970, Fields had left the group and was replaced by former Ikette Pat Powdrill.

Session vocalist

[edit]
Main article: The Blackberries

Fields worked as a session vocalist from about 1969, often with Clydie King and Sherlie Matthews, for Quincy Jones, Paul Butterfield, Tim Buckley, Steely Dan, Joe Walsh, Joe Cocker, Elkie Brooks, Neil Diamond, Leonard Cohen, Bob Seger, Burt Bacharach and Burton Cummings.[7]

Others include: Diana Ross, Bette Midler, Bob Dylan, the Supremes, and for Aretha Franklin – her mentor and inspiration. Notable performances during this time included Wish You Were Here (September 1975) with Pink Floyd, and recording the Rolling Stones' album Exile on Main St. (May 1972).[7] Fields later reflected on her sessions for the latter album, they were at midnight but she wanted money for clothing, "I was more interested in the coat than I was in the Rolling Stones".[8] With King, she sang on four tracks, "Tumbling Dice", "I Just Want to See His Face", "Let It Loose" and "Shine a Light", which she felt "were wonderful songs and they were just right for us... We knew gospel. That's what most people wanted from us, a gospel sound."[8]

Around 1971, Fields, King, and Matthews formed the Blackberries, with Matthews as producer and songwriter as well as vocalist. When backing Ray Charles, the trio worked as the Raelettes. In 1972 Steve Marriott asked them to record and tour with his band, Humble Pie, and produced an unreleased Blackberries LP with Humble Pie as the backing band – they parted company in 1973. Michael Little of Vinyl District reviewed Eat It (April 1973), which showed Humble Pie "at its most eclectic. Each of its four sides emphasized a different aspect of the band, and the concept works."[9] He described the track, "Get Down to It", which "makes maximum use of the band's backing singers" including "the immortal" Fields.[9] Fields and King acted as Barbra Streisand's backing singers (The Oreos) in the 1976 musical film, A Star Is Born (December 1976), and sang on its associated film soundtrack (November 1976).[7] Fields had previously sung on two of Streisand's albums from 1971.[7]

Career in Australia

[edit]

As a member of Boz Scaggs' backing band, Fields toured Australia in 1978 and 1980. While in the country in the latter year she contributed backing vocals to Marc Hunter's (ex-Dragon) solo album, Big City Talk.[10] Back in the US she provided backing vocals for So Lucky (December 1981), by Renée Geyer – the Australian artist was then working in California.[11] Fields decided to relocate permanently to Australia in 1982, "I had all that experience and a good reputation but I felt like I was stuck in a stereotyped box... I needed to do something else and I had to get away to somewhere where I could start again."[8]

Fields continued to work with US artists when they toured her adopted country until 2000, including George Benson, Dionne Warwick, Streisand, Thelma Houston and Randy Crawford. She also recorded or toured as a backing singer with Australian artists Richard Clapton (1983–84), Jimmy Barnes, Australian Crawl, Cold Chisel, James Morrison and Mark Gillespie and as a long-term touring and session harmony vocalist for John Farnham (1986–95).[12] Neil Lade of The Canberra Times reviewed Clapton's album, Solidarity (September 1984), and described its final track, "New World", as "slow and softly lulling. A song of peace and hope... and Clapton's voice is at its tuneful best. And the backing vocals of Vanetta [sic] Fields add a powerful and echoing dimension to what may be just the album's finest song."[13]

In the mid-1980s in Melbourne, Fields formed a new group, Venetta's Taxi, with a line-up including vocalist Sherlie Matthews, guitarist Michael den Elzen and Chong Lim on keyboards, while also performing regularly as a backing vocalist for local and touring artists. During this period Fields coached singing, including Karen Knowles and Colette Mann, at Tony Bartuccio's Dance Academy in Prahran. She took vocal workshops at the Victorian College of the Arts.

Fields and Farnham were both guest vocalists with the Incredible Penguins in late 1985, for a cover of "Happy Xmas (War Is Over)", a charity project for research on little penguins, which peaked at No. 10 on the Australian Kent Music Report in December.[14][15] Fields starting work for Farnham on his Jack's Back Tour in support of his album, Whispering Jack (October 1986).[16] Debbie Kruger of Variety magazine caught the show at the State Theatre in March 1987, "Midway through the show, Farnham left the stage, and backing singer Venetta Fields sang three songs which kept the audience warm but eager for more of their hero."[16]

Musical theatre

[edit]

In January 1989 Fields made her musical theater debut as Alice in the Australian production of Big River: The Adventures of Huckleberry Finn at Her Majesty's Theatre, Sydney.[17] She followed with other stage appearances including two plays for the Melbourne Theatre Company – Racing Demon (April 1991) and The Crucible (May 1991)[17] – Blues in the Night (August, October 1992),[17] Chess (concert version), and as Ruby in the Buddy Holly show Buddy the Musical. In 1986 she formed and toured her own show, Gospel Jubilee; the line-up of the band of the same name was Joanne Campbell, Joe Creighton, Chong Lim, Sherlie Mathews and Fellon Williams.[12]

Later years

[edit]

Fields lives in Bendigo, Victoria. She no longer tours or records with visiting artists.[8] She released her solo album At Last in 2005.[18]

Fields is active as a vocal coach with several students including 2005 Australian Idol winner Kate DeAraugo, singer-songwriter Cody Simpson and 2011 Australia's Got Talent finalist Bree De Rome.[8]

Accolades

[edit]

In 2002, Fields received the Australian Gospel Singer of the Year award.[1]

In recognition of her achievements, Fields was inducted into the Buffalo Music Hall of Fame on September 29, 2005.[1]

Selected discography

[edit]

Singles

[edit]
  • 1963: "You're Still My Baby"/ "I'm Leaving You" (Sony 112)

Albums

[edit]
  • 1976: The Dupars Featuring Venetta Fields – Love Cookin' - We Rockin (Grit Records)
  • 1999: At Last (Drumlake Pty. Ltd.)
[edit]

Backing vocal credits

[edit]

Credits at AllMusic[7]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Venetta Fields

View on Grokipedia
from Grokipedia
Venetta Lee Fields (born July 13, 1941) is an American-born Australian singer, , musical theater actress, and vocal coach, best known for her extensive career as a session and touring singer who provided soulful harmonies on landmark recordings and performances by major artists across rock, soul, and pop genres. Born in , Fields grew up in a religious household where she began singing in her local church, drawing early inspiration from . Her professional career started in the early 1960s when she co-founded the gospel group The Templaires and joined The Corinthian Gospel Singers, before auditioning successfully for Ike and Tina Turner's revue and becoming an from 1961 to 1966. During this period, she contributed to hits like "Peaches 'N' Cream" and "I'm So Thankful," and released her solo debut single "You're Still My Baby" in 1963. After leaving the Ikettes, Fields co-formed The Mirettes in 1966 with former group members and Jessie Smith, recording covers such as "" until the group's dissolution in 1970. In the 1970s, Fields achieved prominence as a , forming The Blackberries in 1971 and later joining The Oreos for the 1976 film A Star Is Born, where she appeared alongside . Her collaborations during this era included providing vocals on ' (1972), Steely Dan's (1976), Aja (1977), and the hit "Deacon Blues," as well as Frankie Valli's "Grease" (1978). She also toured with for their The Dark Side of the Moon performances in 1973 and contributed to Wish You Were Here (1975), adding gospel-infused depth to the band's sound. Other notable partnerships encompassed , , , , and the Rolling Stones on multiple projects, showcasing her versatility in blending soul and rock elements. Fields relocated to in 1982, where she continued her career by backing local icons like of , , and , as well as international acts such as . She founded the group Venetta's Taxi and released a self-titled album with them, as well as the solo album in 1999, while also performing in musical theater productions like Buddy – The Buddy Holly Story, Chess, , and Gospel Jubilee. Her contributions earned her the Australian Gospel Singer of the Year award in 2002 and induction into the Buffalo Music Hall of Fame in 2005. In addition to performing, Fields has served as a , mentoring aspiring singers and maintaining her influence in the industry into the 21st century.

Early life

Childhood and family background

Venetta Lee Fields was born in 1941 in , into a religious family. She grew up in a deeply religious household where was central to daily life, fostering a strong spiritual foundation from an early age. Her early involvement in gospel singing at local churches marked the beginning of her musical path.

Musical influences and beginnings

Venetta Fields grew up in a religious household in , where played a central role in her early exposure to singing. Beginning in her teens during the , she started performing in church settings, which provided the foundation for her musical development. Inspired by and other gospel artists, Fields honed a powerful, soulful vocal technique characterized by emotional depth and . This influence drew her to form her first informal group, the Templaires, with friends from her church, where she began experimenting with group harmonies and performances in local settings. She later joined the Corinthian Gospel Singers, further refining her skills in ensemble singing and gospel phrasing during these pre-professional years. These early experiences in church choirs and amateur groups emphasized call-and-response patterns and layered vocals, shaping Fields' ability to blend seamlessly in backing roles while maintaining a distinctive lead presence. By the late , her informal performances had solidified her passion for music, setting the stage for her transition to professional opportunities.

Career

Ikettes and Mirettes era

Venetta Fields joined the , the backing vocal trio for Ike & Tina Turner's revue, in 1961 after successfully auditioning in . As part of the group alongside and Jessie Smith, Fields contributed to the revue's high-energy performances, which featured synchronized dancing and dynamic vocals that energized audiences. The toured extensively on the , performing in segregated venues across the American South and Midwest, often facing long bus rides and multiple shows per day. During her tenure, released several singles under 's production, with "I'm Blue (The Gong Gong Song)" becoming their biggest hit in 1962, reaching number 19 on the and showcasing their tight harmonies and rhythmic style. The group's stage presence was integral to the revue's appeal, but members endured grueling schedules, limited financial compensation, and strict control from , who retained most royalties from their recordings. Fields later described the demanding environment, including constant travel and performance pressures, as a formative yet challenging period. By late 1965, Fields, Montgomery, and Smith departed the Ikettes amid frustrations with management and relocated to Los Angeles to pursue independent opportunities. The trio formed the Mirettes, signing first with Mirwood Records before moving to Revue Records, where they established a distinct R&B sound blending soulful leads with group interplay. Their debut single on Revue, a cover of "In the Midnight Hour," released in 1968, peaked at number 45 on the Billboard Hot 100 and number 18 on the R&B chart, marking modest commercial success despite ongoing industry hurdles like label instability. The Mirettes' era highlighted Fields' versatility but was tempered by internal dynamics and the exploitative practices common in 1960s R&B groups under aggressive management.

Session work in the United States

Following her time with , Venetta Fields transitioned to freelance session work in 1969, drawing on the vocal versatility honed during her years in Ike and Tina Turner's to contribute backing vocals to a range of and pop recordings. Her early freelance efforts included collaborations with producers like on soundtracks and artists such as and , establishing her as a sought-after studio presence in . Fields' profile rose significantly in 1970 when she joined the backing vocal ensemble for Joe Cocker's Mad Dogs & Englishmen tour and live album, providing powerful gospel-inflected harmonies alongside Leon Russell's orchestra during the high-energy North American performances that captured Cocker's raw soul style. This exposure led to further high-profile studio sessions, including backing vocals on Barbra Streisand's albums Stoney End (1971) and Barbra Joan Streisand (1971), where she layered rich, emotive support on tracks blending pop and contemporary sounds under producer . By 1972, Fields contributed to ' Exile on Main St., arriving at Sunset Sound Studios in for a late-night session in November 1971 to record harmonies on songs like "Tumbling Dice," "Let It Loose," and "Shine a Light," adding soulful depth to the album's gritty, multi-layered rock. Her work with British acts continued to expand in the mid-1970s, notably as a on Pink Floyd's 1973 tour, where she performed for months across and , duetting with Carlena Williams on "The Great Gig in the Sky" and enhancing the album's atmospheric tracks during live renditions. Fields also joined the band's 1974 French tour and recorded vocals for Wish You Were Here (1975), including sessions marked by the surprise visit of former member . In 1973, she formed part of the Blackberries trio with and , delivering dynamic live and recorded backing on Humble Pie's "Black Coffee" from the album , which showcased their tight, bluesy interplay during the band's U.S. tours. Amid these collaborations, Fields released her solo album Love Cookin' in under the billing The Dupars Featuring Venetta Fields, a funk-soul project that highlighted her lead vocal prowess on tracks like the title song, blending rhythms with R&B grooves. Throughout the , she built a reputation as one of the premier session singers in the U.S., often alongside and , whose combined talents elevated recordings for artists from to with their unparalleled blend of power and precision.

Relocation to Australia and local collaborations

Fields relocated to in 1982, having previously toured the country with Boz Scaggs in 1978 and 1980, experiences that fostered her appreciation for the local culture and music scene. Her extensive background in U.S. session work facilitated her rapid integration into Australia's recording and touring circuits. Shortly after arriving, Fields contributed backing vocals to Cold Chisel's farewell live album , recorded during the band's final concerts in December 1983 at the . This collaboration marked an early high-profile engagement in the Australian rock scene, where her powerful gospel-infused style complemented the band's raw energy on tracks like "Don't Let Go" and covers such as "." In the mid-1980s, Fields began working with , the frontman of Jo Jo Zep and founder of The Black Sorrows, providing backing vocals on key recordings that blended blues, rock, and soul. Notable contributions included sessions for The Black Sorrows' 1988 album Hold On to Me, where her harmonies enhanced the band's rootsy sound on songs like "Hold On to Me." These partnerships exemplified her adaptation to Australian pop and rock, emphasizing emotive, layered vocal arrangements in studio and live settings throughout the 1980s and 1990s. Fields' most enduring Australian role came as a backing vocalist for from 1987 to 1994, supporting major tours for his blockbuster albums Whispering Jack (1986) and (1990). She co-arranged vocals and performed live staples like "Amazing Grace" alongside Farnham and Lindsay Field during the 1987 Whispering Jack tour at the . On , Fields' vocal arrangements added depth to tracks, contributing to the album's commercial success as Farnham's highest-selling release. This period solidified her presence in Australia's mainstream music landscape, bridging her international pedigree with local collaborations.

Musical theatre performances

In the late 1980s, Venetta Fields transitioned from her extensive career in session and backing vocals to musical theatre, seeking a platform to step into the spotlight after feeling constrained by industry stereotypes in the United States. This pivot allowed her to utilize her renowned vocal range and gospel roots in scripted Australian productions, marking a successful adaptation where her background in harmonious ensemble work enriched stage performances. Fields made her professional musical theatre debut in January 1989 as Alice, the Wilkes' slave, in the Australian production of Big River: The Adventures of Huckleberry Finn at the Footbridge Theatre in , where she also served as a and ensemble member during its open-ended run. The role highlighted her ability to blend narrative singing with group dynamics, drawing on her prior experience to support the production's riverboat jazz and folk elements. This debut was a key success in her relocation to , enabling her to build a reputation as a versatile performer on stage. By 1992, Fields had expanded her theatre portfolio with a featured role in the jazz-blues revue at the Athenaeum Theatre in , contributing to its ensemble of vocalists portraying interconnected stories through classic standards. The production's demanding vocal arrangements tested her transition to character-driven performance, yet her powerful delivery and improvisational skills—honed from years of session work—earned praise for elevating the show's emotional depth. The following year, in 1993, she appeared in a concert version of the musical Chess at the Capitol Theatre in , further demonstrating her adaptability in high-profile, harmony-heavy stagings. Through the , Fields continued select engagements in Australian up to the early , overcoming initial challenges of shifting from anonymous backing roles to visible, dialogue-infused parts by relying on her technical precision and stage presence. These performances solidified her impact in the local scene, where her contributions to ensemble harmonies and solo showcases bridged her pop-soul expertise with theatrical storytelling.

Later career and vocal coaching

In 1999, Venetta Fields released her solo album , which featured a collection of soul and gospel-influenced tracks recorded in . This project marked a personal milestone after decades of session and backing work, allowing her to showcase her distinctive vocal style on originals and covers. In 2005, she was inducted into the Buffalo Music Hall of Fame on September 29, recognizing her contributions as a pioneering from . Following her retirement from major international touring after Barbra Streisand's 2000 Australian tour, Fields shifted her focus to vocal coaching in Australia during the 2000s and beyond. Based in Bendigo, Victoria, she mentored emerging artists, including sisters Vika and Linda Bull, teaching them professional harmony techniques and stage presence that shaped their careers as a prominent Australian vocal duo. She also guided 2005 Australian Idol winner Kate DeAraugo, providing foundational training in soul and Motown styles. Fields has remained active in legacy discussions and occasional public appearances into 2025, without pursuing major tours. In 2023, she paid tribute to her former employer from her central Victorian home following Turner's death, reflecting on their shared history in the Ike & Tina Turner Revue. Recent media, such as a 2025 ABC feature on Australian backing singers, highlighted her enduring influence on the industry, while her collaborations were referenced in coverage of Joe Camilleri's career retrospective, noting her role in recordings with his band The Black Sorrows.

Recognition

Awards and honors

In 2002, Venetta Fields was honored with the Australian Gospel Singer of the Year award, recognizing her contributions to gospel-influenced music following her relocation to Australia and involvement in local gospel performances. Fields was inducted into the Buffalo Music Hall of Fame on September 29, 2005, acknowledging her roots in Buffalo, New York, and her extensive career as a backing vocalist and performer originating from the city.

Legacy and influence

Venetta Fields' influence on subsequent generations of backing vocalists is particularly evident in her mentorship of Australian singers Vika and Linda Bull, with whom she recorded and collaborated during the 1990s, imparting professional techniques that shaped their careers as a prominent vocal duo. Fields' guidance helped the Bull sisters refine their harmonies and stage presence, drawing from her own extensive experience in high-profile session work. In 2023, following Tina Turner's death, Fields received renewed recognition through media tributes that highlighted her role as a former Ikette and her contributions to Turner's iconic sound, positioning her as a key architect of rock's vocal landscape. Fields' career exemplifies genre-blending from roots to rock, as her church-honed vocals infused soulful depth into rock recordings, bridging African American musical traditions with mainstream pop and influencing the integration of elements in 1970s rock production. Often described as an unsung hero of , her behind-the-scenes contributions to landmark albums have been increasingly acknowledged in post-2020 scholarship on in rock, addressing previous oversights in narratives that marginalized backup singers' roles. Through ongoing vocal coaching in , Fields continues to impact emerging artists, ensuring her legacy endures beyond her performing years.

Discography

Solo albums and singles

Fields released her solo debut single "You're Still My Baby" in 1963 on Sue Records. Venetta Fields released her first major solo project, the album Love Cookin' - We Rockin', in 1976 under the billing The Dupars Featuring Venetta Fields on Grit Records. The LP blended funk and soul, with Fields taking lead vocals on tracks such as the title song "Love Cookin'" (4:04), "I Wanna Dance" (4:15), and "Preacher Man (Disco Bound)" (5:14), alongside "Don't Let the Feeling" (5:30), "Imagination" (4:18), and "We Rockin'" (4:02). A single from the album, "Love Cookin' / We Rockin'," followed in 1977 on Contempo Records, marking one of her limited solo-leaning releases in the 1970s. Fields' subsequent solo single, "Only One," appeared in 1987 on Fenner Records, available in both 7-inch and 12-inch formats. In 1999, Fields issued her fully solo album on Drumlake Pty. Ltd., a collection of gospel-soul covers and originals that showcased her after decades in session and backing work. The tracklist included interpretations of classics like "Crazy" (, 5:37), "You Send Me" (, 3:25), "Operator" (likely ' 1962 hit, 3:11), "" (Mack /, 3:01), and "" (traditional, 4:26), alongside original material such as "Oasis" (5:32), "Celebrate Your Life" (3:25), "Gonna Be Ready" (4:34), "He Is The Lord" (3:32), and "Daily Life" (3:09).

Group recordings as Ikette or Mirette

Venetta Fields joined as part of the core trio alongside and Jessie Smith, providing backing vocals and occasional leads for the Revue starting in the early . The group's debut single featuring Fields, "I'm Blue (The Gong-Gong Song)", was released in November 1961 on and became their biggest hit, reaching number 19 on the and number 3 on the R&B chart. A follow-up single, "No Bail in This Jail (Prisoner in Love)", issued in April 1963 on Teena Records, received limited airplay and bubbled under the Hot 100 at number 126. In 1965, Fields and her bandmates left the Revue to form the Mirettes, initially recording for Mirwood Records before moving to Revue Records. As a Mirette, Fields contributed to the cover of "In the Midnight Hour", released in February 1968 on Revue Records, which peaked at number 18 on the Billboard R&B chart and number 45 on the Hot 100 after seven weeks. The group also released "Take Me for a Little While" in May 1968 on Records, a soulful cover that did not but highlighted Fields' harmonies on their debut album. Fields appeared on live and compilation albums during her Ikette tenure, including Ike & Tina Turner Live (Kent Records, 1964) and Live! The Ike & Tina Turner Show (Warner Bros., 1965), where provided ensemble vocals on tracks like "Please, Please, Please" and "Think". Her Mirettes work culminated in the group's self-titled album (Revue Records, 1968), featuring the aforementioned singles alongside covers like "Somewhere" from .

Notable backing vocal credits

Venetta Fields established herself as a premier backing vocalist in the late and through freelance session work in , often collaborating with the vocal trio known as The Blackberries alongside and . Her contributions added soulful depth to rock and pop recordings, blending gospel influences with contemporary arrangements. In 1970, Fields provided backing vocals during Joe Cocker's Mad Dogs & Englishmen tour, documented in the live album and concert film of the same name; her harmonies supported Cocker's raw interpretations of songs like "The Letter" and "Delta Lady," enhancing the ensemble's gospel-rock energy. Two years later, she overdubbed backing vocals for ' Exile on Main St. (1972), appearing on key tracks including "," "I Just Want to See His Face," "Let It Loose," and "Shine a Light," where her interplay with King and Matthews infused the sessions with authentic R&B texture amid the album's chaotic production at Sunset Sound. Fields extended her work with Pink Floyd during their 1973-1974 tours promoting The Dark Side of the Moon, delivering live backing vocals that complemented the album's atmospheric soundscapes; she joined Carlena Williams for performances across and , including shows that captured the band's evolving stage presentation. Following her relocation to in 1982, Fields integrated into the local music scene, lending her voice to prominent acts. She contributed backing vocals to Cold Chisel's Twentieth Century (1984), bolstering the album's anthemic tracks with her experienced harmonies during the band's final studio sessions before their initial breakup. Her most enduring Australian collaboration came with , beginning with Whispering Jack (1986), Australia's highest-selling album of the 1980s; Fields' layered vocals supported Farnham's leads on hits like "You're the Voice" and "Pressure Down," and she continued as a touring staple through the Jack's Back Tour and beyond. Into the , Fields occasionally resurfaced for select live engagements, including backing vocals at the 2005 Australian Gospel Music Festival, where her performances honored her gospel roots while mentoring emerging singers.

References

  1. https://www.feenotes.com/database/artists/fields-venetta-1941-present/
  2. https://www.discogs.com/digs/music/venetta-fields-singer-biography/
  3. https://www.neptunepinkfloyd.co.uk/venetta-fields-biography
  4. https://www.discogs.com/release/7065305-Venetta-Fields-At-Last
  5. https://www.discogs.com/artist/258113-Venetta-Fields
  6. https://www.abc.net.au/listen/programs/pm/venetta-fields-reflects-on-her-inspiration-aretha-franklin/10134162
  7. https://www.history-of-rock.com/ikettes.htm
  8. https://www.waybackattack.com/ikettes.html
  9. https://pophits.org/songs/the-ikettes-im-blue-the-gong-gong-song
  10. https://www.tandfonline.com/doi/full/10.1080/03007760802521969
  11. https://www.discogs.com/artist/299690-The-Ikettes
  12. https://www.soulfulkindamusic.net/mirettes.htm
  13. https://www.nickiswift.com/1301820/the-troubled-life-of-ike-turner/
  14. https://www.rateyourmusic.com/artist/venetta-fields/credits/
  15. https://www.laweekly.com/the-forgotten-l-a-history-of-the-rolling-stones-exile-on-main-st/
  16. https://www.pinkfloydz.com/interviews/an-interview-with-venetta-fields/
  17. https://www.discogs.com/master/622241-The-Dupars-Featuring-Venetta-Fields-Love-Cookin
  18. https://www.rollingstone.com/music/music-news/clydie-king-ray-charles-bob-dylan-singer-dead-777417/
  19. https://www.nfsa.gov.au/collection/curated/asset/82648-christmas-song-venetta-fields
  20. https://www.theaustralian.com.au/arts/venetta-fields-embraces-exile-on-main-street-session-legacy/news-story/283a84ed8df7801a71e51947766f21ce
  21. https://www.discogs.com/release/9828322-Cold-Chisel-Last-Stand-
  22. https://www.youtube.com/watch?v=RAg_EXDgumI
  23. https://www.indailysa.com.au/inreview/music/2025/11/10/still-chained-to-the-wheel-joe-camilleris-victory-lap-on-vinyl
  24. https://www.discogs.com/release/2381645-The-Black-Sorrows-Hold-On-To-Me
  25. https://www.johnfarnham.info/band.html
  26. https://www.nfsa.gov.au/collection/curated/asset/99034-john-farnham-sings-amazing-grace-lindsay-and-venetta
  27. https://www.discogs.com/release/2886499-John-Farnham-Chain-Reaction
  28. https://ovrtur.com/production/2882513
  29. https://victoriancollections.net.au/items/53f873a92162f1130479790a
  30. https://theatreaotearoa.ausstage.edu.au/pages/venue/3121
  31. https://bmhof.org/Inducted-Members/Inductees.html
  32. https://www.smh.com.au/culture/books/vika-and-linda-s-pull-no-punches-memoir-20221018-p5bqpz.html
  33. https://dinnerbytheriver.com/artists/?ArtistID=40
  34. https://www.abc.net.au/listen/programs/melbourne-afternoons/venetta-fields/102394392
  35. https://www.abc.net.au/news/2025-09-20/jlo-kpop-paul-kelly-backing-artists/105765732
  36. https://www.npr.org/2022/04/18/1091317428/recovering-and-reclaiming-black-womens-place-in-music-history
  37. https://www.discogs.com/release/11278717-Venetta-Fields-Youre-Still-My-Baby-The-Paper-Mans-Whistle-Song
  38. https://www.discogs.com/release/3009306-The-Dupars-Featuring-Vanetta-Fields-Love-Cookin-We-Rockin
  39. https://www.45cat.com/record/cs2104
  40. https://www.discogs.com/release/2061137-The-Ikettes-Im-Blue-The-Gong-Gong-Song
  41. https://www.discogs.com/master/515889-The-Mirettes-In-The-Midnight-Hour
  42. https://www.discogs.com/release/4225034-The-Mirettes-Take-Me-For-A-Little-While
  43. https://www.discogs.com/release/5009220-The-Mirettes-In-The-Midnight-Hour
  44. https://www.discogs.com/master/196309-Cold-Chisel-Twentieth-Century
  45. http://www.audio-music.info/htm/f/Farnham_John_Whispering_Jack.htm
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