After their night at the Apollo, Ira, Elaine, and Diane left the group. After the curious renaming of the group to "Ronnie and the Relatives", Ronnie, Estelle, and Nedra began taking singing lessons two afternoons per week. Appearing at local bar mitzvahs and sock hops, they met Phil Halikus, who introduced them to Colpix Records producer Stu Phillips. According to Ronnie, Phillips played the piano while the women auditioned for him, singing "What's So Sweet About Sweet Sixteen". The audition was successful, and the group was brought into the studio in June 1961 and recorded four tracks: "I Want a Boy", "What's So Sweet About Sweet Sixteen", "I'm Gonna Quit While I'm Ahead", and "My Guiding Angel". Colpix released "I Want a Boy" in August 1961 and "I'm Gonna Quit While I'm Ahead" in January 1962, the first singles credited to Ronnie and the Relatives.  While both singles failed to chart on the Billboard Top 100, fate intervened in advancing the group's success. A fortuitous case of mistaken identity led to Ronnie and the Relatives making their debut - as dancers rather than a singing act - at New York City's hip The Peppermint Lounge in 1961. It was the height of the Twist craze, and under-aged Nedra and Ronnie disguised themselves to get in. The girls' mothers showed them how to put on make-up and fix their hair to make them look at least 23. When they arrived outside the club, its manager mistook Ronnie, Estelle, and Nedra for the trio supposed to dance behind house band Joey Dee and the Starliters for the evening. He led them in and put them onstage to perform in their place. During the show, Starliter David Brigati even handed the mic over to Ronnie when she started to sing Ray Charles' "What'd I Say". Soon afterward, Ronnie and the Relatives became a permanent act at The Peppermint Lounge, each earning $10 per night to dance The Twist and usually sing a song at some point in the show.  Ronnie and the Relatives soon became "The Ronettes". Colpix issued the first two singles credited to the Ronettes, "Silhouettes" and a re-issue of "I'm Gonna Quit While I'm Ahead", on its May label in April and June 1962, respectively. Both singles disappointingly failed to chart. Later that year, they were flown to Miami to open a Florida branch of The Peppermint Lounge. After their performance at the Miami gala, radio host Murray the K came backstage and introduced himself to them. He asked the women to begin appearing at his shows at The Brooklyn Fox in New York. They agreed, taking the Fox stage in 1962 and completing a transition from Murray the K's "Dancing Girls", to back-up singing for other acts, to performing as the Ronettes before year's end. It was during this time that the women evolved their iconic look, wearing ever more exaggerated eye make-up while teasing their hair to impossible proportions. "We'd look pretty wild by the time we got out onstage," Ronnie later recalled, "and the kids loved it." Colpix's May label issued a final single by the Ronettes in March 1963. When "Good Girls" failed to chart, the women decided to look elsewhere for studio work.  In early 1963, fed up with Colpix Records and the group's lack of success, sister Estelle placed a phone call to producer Phil Spector and told him the Ronettes would like to audition for him. Spector agreed and met the women soon after at Mira Sound Studios in New York City. Later, Spector told Ronnie that he had seen them at The Brooklyn Fox several times and was impressed with their performances. At the audition, Spector was sitting at a piano, and when the group began singing "Why Do Fools Fall in Love", he suddenly jumped up from his seat and shouted: "That's it! That's it! That's the voice I've been looking for!"  After their successful audition, Spector decided to sign the group. Originally, he wanted to sign Ronnie as a solo act, until her mother told him either he signed the Ronettes as a group or it was no deal. He agreed to sign the group and instructed Ronnie's mother to inform Colpix Records that the women had "given up" on show business so the studio would release their contract. By March 1963, the group was officially signed to Spector's Philles Records.  The first song the Ronettes rehearsed and recorded with Phil Spector was written by Spector, Jeff Barry, and Ellie Greenwich called "Why Don't They Let Us Fall in Love". They brought the women out to California to make the record, but, once it was completed, Spector declined to release it. They recorded more songs for Spector, including covers of "The Twist", "The Wah Watusi" (lead vocals by Nedra), "Mashed Potato Time", and "Hot Pastrami". These four songs were released, but were credited to The Crystals on their 1963 Philles LP The Crystals Sing Their Greatest Hits, Volume 1.  In January 1964, the Ronettes left for their first tour of the UK, where they made a strong impact from the very beginning. "We must have been quite a sight in the Heathrow waiting room," Ronnie Spector later recalled, "three black American girls sitting with their legs all crossed the same way, our three identical, enormous hairdos piled a foot or so over our heads. When our young chaperon finally showed up, he was all smiles."  On their first night in the UK, the women attended a party at Tony Hall's house where they met the Beatles. After a brief romance, Ronnie and John Lennon remained friends until Lennon's death. Estelle and George Harrison also spent time together. But for Ronnie, one of the biggest thrills was meeting Keith Richards of the Rolling Stones, who were the opening act for the Ronettes on their UK tour. The feeling was mutually shared by Richards, who wrote of his relationship with Ronnie: "The first time I ever went to heaven was when I awoke with Ronnie (later Spector!) Bennett asleep with a smile on her face. We were kids. It doesn't get any better than that."  When the women returned home from their British tour, they went right back into the studio to record "Keep on Dancing" and "Girls Can Tell", two songs written by Jeff Barry, Ellie Greenwich and Phil Spector. The group's recording of "Keep on Dancing" is notable because it features Ronnie and Nedra singing in unison, but Spector refused to release the single. Around this time, The Crystals also recorded a version of "Girls Can Tell", which also went unreleased.  "(The Best Part of) Breakin' Up" was subsequently recorded by the Ronettes. According to Ronnie, Spector was especially enthusiastic about the song. "When Phil loved a song as much as he loved '(The Best Part of) Breakin' Up,'" she later wrote, "he could work on it for days without ever getting tired." Released in April 1964, the song did not fare as well as the group's previous two singles, though it did manage to briefly break into the Billboard Top 40. In June 1964, the group's following single, "Do I Love You?", was released, also breaking into the Top 40, beating their previous single by five positions. The song is most notable for its powerful instrumental opening, accompanied by finger snapping and hand clapping.

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