![]() But most of all, “the girl group sound” had a fresh and optimistic buoyancy to it, with lyrics that were mostly innocent and naive – of the “girl–dealing-with-boy” variety – though some songs also offered social commentary. The songs and performances pushed the bounds of the industry at the time and became a key source of innovative song writing and composition, as well as novel forms of instrumentation. Still, the 1960s girl group phenomenon resulted in a compressed period of musical innovation with lasting results. Jacqueline Warwick’s 2007 book, “Girl Groups, Girl Culture,” with Shirelles on cover. The music spawned the sales of millions of records, creating a number of millionaires – though often not the performers themselves, who were frequently short-changed and manipulated in the process. The distinctive sound of the girl group songs filled the air in those years, and seemed to be everywhere. They were named The Crystals, The Shirelles, The Ronettes, and more. A few lone performers with and without female backup, also carried the “girl group” sound, and were considered a part this genre. ![]() ![]() In the late 1950s and early 60s, one style of music that began to dominate the American music charts and permeate youth culture of that day came from the “girl groups.” Comprised mostly of three-to-four young females, typically teenagers themselves, the girl groups of the late 1950s through the mid-1960s were mostly African American, though some white groups scored hits, too. In 1963-64, The Chiffons put four songs on the Top 40 list, including “He’s So Fine,” a No.1 hit.
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