The Top 17 Girl Group Albums of the 1960's

The 1960's, amongst the social and political turmoil and upheaval, produced some of the most diverse, electrifying, emotionally-charged music of the twentieth century. Bands and singers like the Beatles, Bob Dylan, Joan Baez, and Elvis helped change the landscape of American popular music forever. From Doris Day to the Doors, musical expression evolved from conservative, family-friendly bubblegum pop to musically- and lyrically-liberal commentary on social and political issues.

However, with all the just credit acts like Jimi Hendrix, Janis Joplin, and the Rolling Stones get for altering the face of popular music, there is a particular sect of sixties popular music whose significance is often overlooked and undervalued. The girl group sound of the early to mid sixties helped bring a female voice to the male-dominated world of rock and roll. Many groups, such as the Shirelles, Martha and the Vandellas, and the Ronettes, helped to bridge the divide between R&B and mainstream pop. These girl groups would be responsible for influencing rock acts such as the Beatles and the Rolling Stones, who held these groups in such high regard that they influenced the way they played, how they sang, and even what songs they sang.

Before the Marvin Gaye's “Let's Get It On” or the Doors' “Light My Fire,” girl group classics such as the Shirelles' “Will You Love Me Tomorrow” discussed previously-taboo subjects of intimacy and love-making. Girl groups also shed light on social subjects usually associated with beatniks and hipster circles. Marvin Gaye's “What's Going On” and Bob Dylan's “Blowin' in the Wind” made profound statements against social and political ills of society, but the Crystals struck nerves with “He Hit Me (and It Felt Like a Kiss),” while Darlene Love and the Blossoms confronted racism in “Things Are Changing.”

Below is a list, in no particular order, of albums by girl groups of the sixties that helped define the sound of rock and roll and pave the way for women in popular music. The music doesn't always directly address social and political issues the way the aforementioned examples do, but each group and their individual sound have helped to change music and the role of women in music forever.

It should also be noted that back in the sixties, the music industry catered to a 45's-audience – meaning that more people purchased and listen to 45's (two-song, 7-inch discs) than LP's (full-length, 12-inch albums). Many groups either did not release an LP or their focus was in singles and not in putting out quality LP's. Some of these groups, such as the Cookies and the Bobbettes, are known and well-loved for many of their songs, rather than their album work. Therefor, groups who are not included on this list should not be considered any less important than those mentioned here. Groups included on this list are recognized for the quality of their albums, not necessarily of their work as a whole.

1. The Chiffons – One Fine Day (1963)
   
   

   

• A quartet with tight, polished harmonies and a sweet, sugary sound, the Chiffons are one of, if not the, essential girl group of the sixties. While others have had longer, more impacting careers, the Chiffons were instrumental in bridging the gap between doo-wop of the fifties and the new, emerging sound of rock 'n' roll. One Fine Day is the group's sophomore album released on Laurie Records in 1963. Following the success of their first hit, “He's So Fine,” the group recorded their eponymously-named debut album, followed by their next big hit – a Carole King and Gerry Goffin-penned tune called “One Fine Day.”
  
  Like their singles, the album features tight harmonies, high energy, and a polished sound. However, what makes this album so special is the richness of the material. At the time, singles were the main focus of the record-buying public, while LP's were released in promotion of the singles. Along with the album's singles, they were often filled out with “fluff” or “fillers.” This “fluff” rounded out an album, but often lacked the same quality and excitement of the artists' hit singles. However, the Chiffons' One Fine Day not only contains “filler” that is exciting and fresh, but plenty of material that could have been released as additional singles. Their cover of Dion and the Belmonts' hit “I Wonder Why” is on par with, if not more exuberant, the original.
  
  Stand-out tracks: “One Fine Day,” “I Wonder Why,” “Tonight I Met An Angel,” “Did You Ever Go Steady?”
  

2. The Ronettes – Presenting the Fabulous Ronettes (1964, US #96)
   
   

   

• With their towering behive hair-do's, Egyptian cat eye make-up, tight, provocative dresses, and sexual, rebellious sound, the Ronettes are easily one of the most identifiable girl groups of the sixties. Thanks to their stand-out sound and appearance and Phil Spector's trademark 'Wall of Soun' production, the Ronettes have been incredibly influential in the revival of girl group mania, most noticeable in the dress and sound of the late Amy Winehouse. The Ronettes first burst onto the scene with their 1963 smash hit, “Be My Baby.” Although it did not top the charts (peaking at a taunting number two on Billboard), it has become arguable the most-covered and beloved song of the early sixties. Virtually overnight, the Ronettes became a national smash, following up their success with television appearances and more hit singles, such as “Baby I Love You” and “(The Best Part of) Breakin' Up.” Throughout 1964, their popularity spread worldwide and the group caught the attention of the Beatles, who had them tour England with them.
  
  In late 1964, their first (and final) album, Presenting the Fabulous Ronettes featuring Veronica, was released to lukewarm reception. By 1965, the group's popularity was drying up. It has been suspected that producer Phil Spector had purposefully began holding back hit material and halting promotion of the group and their material due to increasing jealousy of Ronettes frontman Ronnie Spector's heightened fame. However, the girl group sound, in general, had been suffering in popularity as a result of the incredible force of the musical scene known as the 'British Invasion.' Still, the album has come to be regarded as one of the essential albums of the sixties, ranking #427 on Rolling Stone's list of “The 500 Greatest Albums of All Time.” Original copies are hard-to-find and demand hundreds of dollars. Containing primarily of previously-released hit singles, the entire album flourishes with Phil Spector's astonishing production and high-quality filler material.
  
  Stand-out tracks: “Be My Baby,” “When I Saw You,” “Baby I Love You,” “(The Best Part of) Breakin' Up”
  

3. Reparata and the Delrons – Whenever a Teenager Cries (1965)
   
   

   

• The streets of America in the 1950's and 1960's were filled to every corner with teenage assemblages of vocal harmony groups, often performing acapella, picking out and arranging harmonies themselves. Fresh, new musical talent seemed to sprout up everyday, helping to cement the importance of doo-wop and rock 'n' roll in the history of American music. However, only a handful of select talent were lucky enough to secure a record deal. Even fewer still were those fortunate enough to strike a hit and find continual success. Many groups, like Reparata and the Delrons, fell somewhere in between that area of getting a hit and making a name for themselves.
  
  “Whenever a Teenager Cries” was the groups first, and biggest, hit in the US, peaking at #60. Their next single, “Tommy,” peaked at #92. Their debut album, Whenever a Teenage Cries, was released in 1965. Although they toured successfully with Dick Clark's “Caravan of Stars” tours and scored a European hit with “Captain of Your Ship,” the group never reached the same status of their contemporaries. The Delrons are a perfect example of a group whose music and sound was just as good as groups like the Shirelles and the Shangri-Las, but overlooked by the national audience. What makes this album stand out is their lush arrangements (their cover of “Do Wah Diddy,” probably the only one that remains faithful to the original version by the Exciters) and quality filler material with excellent musicality.
  
  Stand-out tracks: “Whenever a Teenager Cries,” “Do Wah Diddy,” “Bye Bye Baby,” “If I Fall”
  

4. The Chantels - On Tour (1962)

• The Chantels, a black girl group founded in the 1950's, have the distinguishable honor of being the first girl group to sell a million copies and receive a gold disc for “Maybe” - a doo-wop song composed by Chantels lead singer Arlene Smith. They are well-remembered for their tight-knit harmonies, as well as the powerful vocals of original lead singer, Arlene Smith.
  
  The group's first album, We Are the Chantels, was released in 1958. The album's first pressing featured all five members on the album cover. However, due to social conventions at the time in segregated America, the original album was quickly pulled and conveniently reissued with the image of two white teenagers picking out songs at a jukebox.
  In 1962, the Chantels released their sophomore album, On Tour. Reduced from a quintet to a quartet (Smith left the group in 1959), the girls' glimmering harmonies and crystal-clear timbre were just as strong, if not more polished and sophisticated. Featuring a soaring violin theme, beaming soprano vocals, and solid group unity, the album's lead single, “Look in My Eyes” stands out as one of the group's strongest performances ever recorded. Following the sweetness and tenderness of “Look in My Eyes” is a crisp, soulful reading of “Summertime” from Gershwin's opera, Porgy and Bess. The group collaborates with producer Richard Barrett on “Well, I Told You,” an answer to Ray Charles' “Hit the Road Jack.” Unlike their trademark rich, velvety harmonies and sugary tone, this track showcases the group's sassy, fiery side in strong unison. The album is strong and musically grounded, but its content is a bit unusual for a couple of reasons. Although titled, “On Tour,” the album consists entirely of studio recordings. The album also features three tracks not featuring the Chantels, but with Chris Montez, the Imperials, and Gus Backus.
  Stand-out tracks: “Look in My Eyes,” “Summertime,” “Well, I Told You,” “Glad to Be Back”
  

5. The Paris Sisters - Sing Everything Under the Sun!!! (1967)

• Consisting of real-life sisters Albeth, Sherrell, and Priscilla Paris, this vocal harmony trio formed in the early 1950's. Although they are most recognizable for their 'soft sound,' they began as an Andrews Sisters-esque act. It was by none other than the Andrews Sisters themselves that their career was catalyzed and the group began making regular appearances and their first recordings. Not until the early 1960's, however, did the sisters' career really take-off. Under the tutelage of Phil Spector, the girls honed their bright tone and soft, soothing harmonies, with Priscilla, the baby of the trio, taking the lead. One of their first recordings under Spector's label, “I Love How You Love Me,” characterizing the group's gentle, balanced blend and unearthing the beginnings of Spector's trademark 'Wall of Sound,' shot straight to #5 on the charts. Although it would be their biggest chart showing, the three vocal sirens achieved further success with the jubilant rocker “All Through the Night,” the Baroque pop-tinged “Dream Lover,” and the stunningly magnificent “Be My Boy.”
  Amidst a falling out with Spector, the sisters left Spector's label and continued to record and make live performances all over the world. Their final album, Sing Everything Under the Sun!!!, quite definitively showcases both the trio's remarkably delicate blend (“Sincerely”), their under-utilized electrifying rock sound (“Long After Tonight is All Over”), and their ear for harmony (“Born to Be with You”). Although not a Phil Spector-produced album, the trademark etherealness and tranquil echo of his 'Wall of Sound' is ever present in the album's production and timbre of their voices. However, what sets this album – as well as other girl groups of the time – apart from the rest the most is the level of contribution the girls had on the album. Not only did they chose the material for the album (a task not usually given to the artist), but nearly half of the album's content was written by lead singer Priscilla. It is noteworthy that these songs, notably the particularly dark “It's Me,” are musically and lyrically complex. Chord changes, harmonies, and lyrical content reflect a level of higher musical understanding present in the troubled mind of Priscilla. Over time, original vinyl pressings have received acclaim from critics and listeners alike, becoming a collector's item that often demands a hefty price tag in changing hands.
  Stand-out tracks: “I'm Me,” “Born to Be with You,” “Sincerely,” “It's My Party,” “Long After Tonight is All Over,” “You”
  

6. The Shangri-Las – Leader of the Pack (1964, US #109)
   
   

   

• Although the Shangri-Las remain somewhat of an “underdog” in the line-up of sixties greats, their style and sound are the base and foundation of the angsty, rebellious image of sixties rock 'n' roll music. The Shangri-Las, hailing from a rough neighborhood in Queens, are known for their brash, rebellious sound and reputation, setting them apart from their more 'sweeter' contemporaries such as the Chiffons and the Supremes. While their songs still dealt with tried and true teenage conundrums like puppy love, they delved into edgier lyrics, such as those that dealt with death (“Leader of the Pack”). Their music also took a stylistic left-turn from the basic verse-chorus lyric format and I-IV-V chord progression (“Remember [Walking in the Sand],” “Past, Present, and Future”).
  Leader of the Pack is a culmination of those musical and social deviations that helped drive the musical revolution forward. Even the cover of the album is a deviance from the heavy social expectations placed on girls and girl groups in music. Each member is posed next to a motorcycle, dressed in leather pants, boots, and vests. The girls are staring directly into the camera, challenging critics with bold, brazen expressions. In their music, too, listeners will hear that same brazenness in their delivery and the song's lyrical content. Their raucous energy boils over in a live, electrifying cover of the Isley Brother's “Shout.”
  
  Stand-out tracks: “Give Him a Great Big Kiss,” “Leader of the Pack,” “Remember (Walking In the Sand),” “Shout”
  

7. Martha Reeves and the Vandellas – Ridin' High (1968, US #167)
   
   

   

• Throughout the sixties, Motown dominated the charts and the airwaves, breaking musical and racial barriers all around the world. Martha Reeves and the Vandellas, one of Motown's premiere groups, electrified the world with smash hits like “(Love is Like a) Heatwave,” “Nowhere to Run,” and the anthem of the sixties, “Dancing in the Street.” Fronted by Martha Reeves, the group's soulful, empowering delivery brought audiences in revival-like frenzies. However, by the late sixties, Motown's attention was directed much more heavily on the Supremes. Meanwhile, the girl group formula was losing favor to psychedelic rock, socially-charged folk music, and the much more brazen soul music of the south.
  
  Nonetheless, the quality of music put out by the Vandellas did not suffer, and neither did their popularity, entirely. Ridin' High, released in 1968, was the group's seventh album (and last to chart, peaking at #127). By this time, the group's blend of rock, pop, and soul had matured, blossoming into a rich, soulful twang reminiscent of Memphis soul. Amidst soulful, groovy tunes such as “Honey Chile” and “Love Bug Leave My Heart Alone,” the versatile Vandellas include within their repertoire seasoned renditions of Burt Bacharach classics like “I Say A Little Prayer for You.” The Funk Brothers, Motown's world-renowned in-house session band, support the Vandellas with funky, spicy accompaniments that ignite the listener into a dance frenzy in much the same ways “Heatwave” and “Dancing” had done and still does today.
  
  Stand-out tracks: “Honey Chile,” “I Say a Little Prayer for You,” “(There's) Always Something There to Remind Me,” “I Promise to Wait My Love”
  

8. Honey Cone – Soulful Tapestry (1971, US #72)
   
   

   

• Although not a sixties group, Honey Cone is an oft-forgotten group important in the development and continuation of the girl group sound nearly swept under by the tidal wave of rock and psychedelic music. Led by Edna Wright, sister of Blossoms-frontman and powerhouse vocalist Darlene Love (“Christmas [Baby Please Come Home],” 20 Feet from Stardom), Honey Cone possessed the electrifying energy of the Vandellas, the funky stage presence of the Jean Terrell-led Supremes, and the hip, dance-fueled sound of the Jackson 5.
  
  Soulful Tapestry, a nod to the groundbreaking Carole King album, Tapestry, helped revive the girl group sound, combining elements of sixties girl group harmony and late-sixties funk, as well as the groovy rhythm leading to the emergence of disco. As their fourth and most successful album (US #72, R&B #15), the album contains strong, funky dance tunes such as “Want Ads” and “One Monkey Don't Stop No Show – Pts. I/II.”
  
  Stand-out tracks: “Want Ads,” “One Monkey Don't Stop No Show – Pts. I/II,” “How Does it Feel,” “All the King's Horses (All the King's Men)”
  

9. The Crystals – He's a Rebel (1962) / Twist Uptown (1963, US #131)

• The Crystals, whose career and popularity was launched by infamous record producer (and famed sociopath) Phil Spector, have scored a considerable number of hits – some controversial – that are still well-known and beloved today. This vocal quartet was known for the sweetness in their style, as well as their tight, controlled harmonies. Throughout the early sixties, the girls scored hits with classics like “Da Doo Ron Ron,” “Then He Kissed Me,” and “There's No Other (Like My Baby).” A big part of their uniqueness, however, stems from a series of unfortunate circumstances that have, inadvertently, helped cement their legacy.
  
  While the Crystals were on tour in 1962, Phil Spector got his hands on a hot new Gene Pitney tune entitled “He's a Rebel.” He wanted the Crystals to record it immediately, as singer Vicki Carr was on her way to releasing her own version, but they were unable to return from their tour. Instead, Phil had the Blossoms (fronted by Darlene Love, backed by Jean King and Fanita James) record the tune. Rather than releasing the tune under the Blossoms' name, he falsely attributed the tune to the Crystals – a humiliating and controversial tactic for both the Crystals and the Blossoms. Incredibly, the tune – as well as Phil's bit of deception – has launched both groups into music iconology.
  
  More trouble followed the Crystals as they were pressured by Spector to record a little Carole King/Gerry Goffin-penned tune called “He Hit Me (and It Felt Like a Kiss).” The song's lyrics tell of a girl who was unfaithful to her boyfriend, so he hit her. Rather than leave her abusive partner, she confesses how he was right and how his actions proves how much he loves her. Despite the fact that the song was actually beginning to make headway on the charts, heavy pressure from women's rights groups causes Phil to withdraw the single, resulting in a flop that would, in time, become a Crystals classic.
  “There's No Other,” plus additional hits like “Uptown” and “Oh Yeah, Maybe Be,” were included on their first album, Twist Uptown. Their next album, He's a Rebel, strangely consists of nine of the same twelve tracks from their previous album. The three new tracks include “He's a Rebel,” “He Hit Me,” and “He's Sure the Boy I Love” (the latter also recorded by the Blossoms).
  
  Stand-out tracks: “He's a Rebel,” “He Hit Me,” “He's Sure the Boy I Love,” “Uptown,” “There's No Other,” “Oh Yeah, Maybe Baby”
  

10. The Chiffons – Sweet Talkin' Guy (1966, US #149)

• While they did not achieve global popularity and have a string of number one hits like the Supremes, the Chiffons had a relatively long-lasting successful career compared to some of their other contemporaries, such as the Crystals (disbanded in 1964) and the Ronettes (disbanded in 1967). They were one of the few non-Motown girl groups to find success on the charts during 1965 and 1966 – the years the Brisith Invasion were at its peak in the U.S.
  
  Sweet Talkin' Guy is the group's third album, following 1963's One Fine Day. The group still retained its trademark sweet sound, tight doo-wop style harmonies, and teenager-friendly lyrical content. However, their melodies, harmonies, arrangements, and productions have noticeably matured, incorporating elements of Baroque pop (a la the Beach Boys and the Beatles) and what would become psychedelic rock. The album's title track, “Sweet Talking Guy,” a big hit for the group, is quite complex for a pop tune. It consists of layered vocal rounds, intriguing harmony, and a flavorful backing track with unique orchestration and instrumentation. The group's other hit, “Nobody Knows What's Going On in My Mind but Me” further departs from the formulaic girl group sound, leaning toward musical incongruity and asymmetry. There is departure from simplistic rhythms in the chorus (“nobody knows what's going on in my mind but me”) - thirteen syllables squeezed into a syncopated eight beats. The chorus grows and builds momentum, starting off acapella and layering harmonies and instruments progressively. We also see modal and harmonic changes throughout the song, incorporating rather complex harmonies and switching back and forth from minor to major throughout the song.
  
  Stand-out tracks: “Sweet Talking Guy,” “Nobody Knows What's Going On in My Mind but Me,” “Up On the Bridge,” “Thumbs Down,” “See You in September”
  

11. The Supremes – Where Did Our Love Go (1964, US #2)

• Signing with Motown in 1961, the Supremes released a string of singles over the next three years that failed to make significant impact on the chart, earning them the nickname, “No-Hit Supremes.” Comprising of Florence Ballard, Mary Wilson, and Diana Ross (fourth member Barbara Martin would remain in the group only briefly before leaving to settle down), the trio were given various songwriters (from Berry Gordy to Smokey Robinson), and had different lead singers, but they were still coming up dry. It wasn't until 1963 when they released a tune penned by songwriters Holland-Dozier-Holland, “When the Lovelight Starts Shining Through His Eyes,” that the group broke into the top 40, peaking at #23. For the next four years, Holland-Dozier-Holland was responsible for the group's unprecedented string of number-one hits.
  
  Released in the summer of 1964, “Where Did Our Love Go,” another HDH-penned tune, began climbing the charts while the Supremes were on tour. According to Mary Wilson, as their song climbed the charts, audience reaction grew bigger and bigger. By the end of the summer, “Where Did Our Love Go” was a national smash, beginning their five-time consecutive streak of number one hits. Their debut album, Where Did Our Love Go, was released in August of that year. It contained several of their “flop” singles, their current hit, and two further number-one hits, “Baby Love” and “Come See About Me.” This album achieved several feats, as well. The group became the first group in history to have three number-one hits off of the same album. It spent eighty-nine mind-blowing weeks on the Billboard charts, spending four weeks at #2, making the album the highest ranking girl group album at the time.
  
  Stand-out tracks: “Where Did Our Love Go,” “Baby Love,” “Come See About Me,” “Long Gone Lover” (the latter contains a rare solo by Florence Ballard)
  
  

12. The Toys – The Toys Sing “A Lover's Concerto” and “Attack!” (1966, US #92)

• The Toys arrived broke out onto the scene in 1965, just as the girl group era was fading and the British Invasion was taking over. Hailing from Jamaica, New York, the trio possessed a tight blend and dynamic vocal energy, creating a raw, brash soulful sound. Though their sound was rough and lacked the sweetness of the Chiffons or the Supremes, their subtle stage presence and somewhat-reserved demeanor made them palatable to an equally reserved audience.
  
  In the same vein of Elvis' “Can't Help Falling in Love,” the Toys' breakout hit, “A Lover's Concerto,” was a reconstruction of a classical piece, Bach's Minuet in G. Adding percussion, lyrics, and changing the meter from 3/4 to 4/4, the song struck a chord (pardon the pun) with audiences all over the country, literally shooting the trio from obscurity to stardom overnight. As Barbara Harris, lead singer of the Toys, explains, they were not prepared for the success that came from “A Lover's Concerto” and had to get their act ready, and ready quick, for touring. Their next hit, “Attack!,” was featured in the 1967 film, It's a Bikini World. Featuring a prominent horn section, a key change, and a total time totaling over three minutes, the song showcased the group's tight vocal harmonies and Harris' reaching vocal range. Despite the group's success with these two singles, the group struggled to maintain their initial level of success. Still, their only album, The Toys Sing 'A Lover's Concerto' and 'Attack!' managed to chart within the top 100.
  
  Aside from the two title tracks, the album contains a third outstanding track, “Can't Get Enough of You Baby” - a track that would later, oddly enough, become a hit for '90's rock group, Smash Mouth. The group's soulful delivery shines on tracks like “I Got a Man” and “Hallelujah.” Their remarkable capability for harmony are highlighted on “Yesterday” (the only cover on the album) and “Baby's Gone.” Another noteworthy track, included not on the original release but on the CD reissue, is “Melt My Heart Into Stone.” A minor hit for the group in 1965 (peaking at #85), the track features smooth verse-chorus modulations, a funky, psychedelic under beat, and rich harmonies, making the track highly underestimated and overlooked.
  
  Stand-out tracks: “A Lover's Concerto,” “Attack!,” “May My Heart Be Cast Into Stone*,” “Can't Get Enough of You Baby”
  
  * - Not released on 1965 LP. Released as a single and on CD reissue.
  
  

13. Martha and the Vandellas – Dance Party (1965, US #116)
    
    

    

• The year 1965 proved to be a highly successful year for Motown, with acts like the Supremes, the Four Tops, the Temptations, and Martha and the Vandellas scoring iconic crossover hits. For the Vandellas, in particularly, one single would ultimately define not only the Motown sound, but the sound of a generation. “Dancing in the Street,” in both its lyrics and joyous Funk Brothers instrumental, got American, quite literally, on their feet and dancing – in their homes, the streets, etc. This single, along with their follow-up hit, “Nowhere to Run,” spoke for a generation anxious to get up, move, and sing.
  
  Dance Party, like many teen-targeted pop albums of the time, consisted of dance tunes and upbeat pop material. It featured another hit, “Wild One,” as well as a cover of Smokey Robinson and the Miracles' “Mickey's Monkey.” If it had not been done so already, the album firmly cemented and ingrained the Motown sound in the public eye and is still considered an essential album of the Motown era.
  
  Stand-out tracks: “Dancing in the Street,” “Nowhere to Run,” “Wild One,” “Mobile Lil Dancing Witch”
  
  

14. The Angels – My Boyfriend's Back (1963, US #33)
    
    

    

• This New Jersey-based trio epitomized both the sound and image of the early-1960's girl group. With their hairspray-teased bouffants, skirts (both poodle and mini), sweet-and-sour attitude, the Angels were a real-life Sandy-meets-Rizzo preincarnation of Grease. Their harmonies were sweet and well-polished, and their appearance was usually quite tame in nature. However, their lyrics (“My Boyfriend's Back”) and R&B-flavored gruff of lead singer Peggy Santiglia suggested an edgier, sexier quality to the group's persona.
  The group's 1963 #1 hit single, “My Boyfriend's Back,” spawned an eponymously-named album, containing their hit and a previous hit from 1961, “Till.” While the album's contents are not particularly noteworthy in its lyrical and harmonic complexity, it is quite resonant of the quintessential sound of early 1960's doo-wop and rock and roll. The group's warm blend and bubbly energy are best exemplified on “Has Anybody Seen My Boyfriend,” a track combining the sounds of sock-hop rock and roll and the harmonies of the McGuire Sisters, as well as a surprisingly delightful of Disney's “Someday My Prince Will Come.”
  
  Stand-out tracks: “My Boyfriend's Back,” “Till,” “Has Anybody Seen My Boyfriend,” “Someday My Prince Will Come,” “The Night Has a Thousand Eyes”
  
  

15. The Chiffons – He's So Fine (1963, US #97)

• Not much else needs to be said about the importance of the Chiffons' contributions to rock and roll, doo-wop, girl group sounds, and American popular music. Their musical sensibility, harmonically-complex arrangements, and vibrant, youthful energy place them at the top of most important musical acts in rock and roll.
  
  The Chiffons held their own right from the beginning with a solid, musically grounded debut album. Following their explosive number-one hit, “He's So Fine,” the Chiffons released their album, He's So Fine. Tight harmonies are the quartet's strength, and they make it plenty clear throughout this album they can hold their own over harmonically-diverse musical arrangements. String arrangements, guitar licks, and strong, danceable rhythms provide for colorful and dynamic instrumental accompaniments to the girls' sassy, spirited vocal performances.
  
  Stand-out tracks: “He's So Fine,” “Why Do Fools Fall in Love,” “When I Go to Sleep at Night,” “See You in September,” “Oh My Lover,” “My Block”
  
  

16. The Shirelles – Baby It's You (1962, US #59)
    
    

    

• Ask any rock and roll enthusiast who the most memorable girl groups were and answers will almost unanimously hear “the Shirelles.” Discovered by Florence Greenberg, the Shirelles scored a hit with “Tonight's the Night” in 1960, becoming one of the first groups to top the Billboard Hot 100. Their follow-up single, “Will You Love Me Tomorrow,” a Carole King/Gerry Goffin-penned tune, became one of the greatest and most-beloved songs of all time.
  
  Their fourth album, Baby It's You, features two of their biggest hits, “Baby It's You” and “Soldier Boy.” The title track, a Burt Bacharach tune, is unorthodox in composition for a pop hit. A mid-tempo ballad, the song features a dramatic reading from lead singer Shirley Owens, dissonant harmonies (the girls singing a tonic triad with a ninth on top during the “sha-la-la's”), and a Brazilian-flavored rhythm section. Their next hit on the album, “Soldier Boy,” features the quartet singing entirely in unison, without harmony, displaying their ability to blend smoothly. Their sugary-sweet delivery of devotion to a far-away soldier still rings with those with loved ones overseas. On the contrast, the Shirelles showcase their versatility in blues- and rock and roll-flavored tunes such as “Twenty One” and “Twisting in the U.S.A.”
  
  Stand-out tracks: “Baby It's You,” “Soldier Boy,” “Big John (Ain't You Gonna' Marry Me),” “Twisting in the U.S.A.”
  
  

17. VA – Philles Records Presents Today's Hits (1963)
    
    

    

• Released in 1963, Philles Records Presents Today's Hits is a compilation of the many hits of Philles acts the Ronettes, the Crystals, Bob B. Soxx & the Blue Jeans, the Alley Cats, and Darlene Love. With the exception of the sole track from the Alley Cats and Bob B. Soxx of the Blue Jeans, the album consists entirely of girl group hits. More importantly, it is the only album released in Philles' heydey to feature Darlene Love's vocally dynamic singles.
  
  Darlene Love spent much of her career as a back-up vocalist in acts such as the Blossoms (“He's a Rebel,” “He's Sure the Boy I Love”), who provided backup for hundreds of artists throughout the sixties and seventies. However, she was granted a few opportunities under the Philles label for solo releases. “(Today I Met) the Boy I'm Gonna Marry” features Phil Spector's trademark 'Wall of Sound' and layered backup harmonies, but more importantly, it features Darlene's soaring and powerful voice – arguably one of the most powerful voices next to Aretha Franklin.
  
  Stand-out tracks: “(Today I Met) the Boy I'm Gonna Marry,” “Wait Til' My Bobby Gets Home,” “Zip-A-Dee Doo Dah,” “Playing for Keeps”

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Further reading:

• Girls Rock!: Fifty Years of Women Making Music – Mina Carson, Tisa Lewis, Susan M. Shaw
• Girl Groups: Fabulous Females Who Rocked the World – John Clemente

Further listening (girl group compilations, further girl group listening, solo girls):

• Various Artists - One Kiss Can Lead To Another: Girl Group Sounds, Lost & Found
• Various Artists – The Essential Phil Spector
• The Chiffons – Absolutely the Best!
• The Shirelles – Greatest Hits; Greatest Hits Vol. II
• The Paris Sisters – Greatest Hits / Best of; The Complete Phil Spector Sessions
• The Ronettes – Be My Baby: The Very Best of the Ronettes
• Darlene Love – The Sound of Love: The Very Best of Darlene Love
• The Cookies – Chains
• Carole King – Tapestry; The Essential Carole King (w/ Various Artists)
• Dusty Springfield – A Girl Called Dusty; Stay A While/I Only Want to Be with You; Dusty in Memphis
• Aretha Franklin – I've Never Loved a Man the Way I Love You; Aretha Now; Lady Soul; Soul '69