One of the most interesting and difficult-to-categorize singers in '60s pop, Gene Pitney had a long run of hits distinguished by his pained, one-of-a-kind melodramatic wail. Pitney is sometimes characterized (or dismissed) as a shallow teen idol-type prone to operatic ballads. It's true that some of his biggest hits -- "Town Without Pity," "Only... [+] Read More

One of the most interesting and difficult-to-categorize singers in '60s pop, Gene Pitney had a long run of hits distinguished by his pained, one-of-a-kind melodramatic wail. Pitney is sometimes characterized (or dismissed) as a shallow teen idol-type prone to operatic ballads. It's true that some of his biggest hits -- "Town Without Pity," "Only Love Can Break a Heart," "I'm Gonna Be Strong," "It Hurts to Be in Love," and "Twenty Four Hours From Tulsa" -- are archetypes of adolescent or just-post-adolescent agony, characterized by longing and not a little self-pity.

But Pitney was not just an archetype of his style -- he was one of the best at his style, and indeed one of the few (along with Roy Orbison) that could pull it off convincingly. Also (like Orbison), he had more range than he's generally given credit for, making forays into tough pop/rock, country, and even borderline rockabilly. Other than Dionne Warwick, he was the best interpreter of Bacharach-David's early compositions. Although he didn't pen much of his material, he was a composer of note, writing "He's a Rebel" for the Crystals, and "Hello Mary Lou" for Rick Nelson. He was also something of a closet hipster -- he was the first American artist to cover a Jagger-Richards song ("That Girl Belongs to Yesterday," which was a British hit before the Rolling Stones had ever entered the U.S. Top 100), contributed to an actual Rolling Stones session in early 1964 (during which they recorded "Not Fade Away"), had a brief fling with a teenage Marianne Faithfull, and recorded songs by Randy Newman and Al Kooper long before those musicians became famous.

Pitney broke into the music as a songwriter in his late teens, getting his first taste of success when Rick Nelson had a hit with "Hello Mary Lou" in 1961. That same year, Pitney had a small hit with his first single, "(I Wanna) Love My Life Away," a self-penned demo on which he sang and played every instrument -- an extraordinary feat for 1961. Another 1961 single, Goffin-King's "Every Breath I Take," was produced by Phil Spector, and is one of the very first examples of his pull-out-the-stops Wall of Sound productions. Pitney didn't really find his metier, however, until late-1961's "Town Without Pity," which became his first Top 20 entry.

For the next four years, Pitney was one of the most successful solo male vocalists in America, reeling off over a dozen more Top 40 hits. While lovelorn angst was his stock-in-trade, some of the singles were fairly innovative -- "Half Heaven, Half Heartache" and "(The Man Who Shot) Liberty Valance" were crossover country-pop before that term existed, "Mecca" was one of the few big pop/rock hits to bear the influence of Middle Eastern music (albeit in a superficial fashion), and "Last Chance to Turn Around" was a hard-boiled tough-luck tale worthy of a top-notch B-movie thriller.

Pitney withstood the initial onslaught of the British Invasion fairly well, scoring Top Ten hits in 1964 with "It Hurts to Be in Love" and "I'm Gonna Be Strong." By 1966, though, he was in serious trouble stateside. Ironically, by this time he was a much bigger star in Britain, making the U.K. Top Ten six times in 1965-1966. He could also depend on a faithful international audience throughout Europe, and frequently recorded in Italian and Spanish for overseas markets. In 1966, he became one of the first artists to reach success with Randy Newman compositions, taking "Nobody Needs Your Love" and "Just One Smile" into the British Top Ten.

Pitney entered the U.S. Top 20 one last time in 1968 with "She's a Heartbreaker," a rather forced updating of his trademark sound, and reached the Top 40 in Britain for the last time in 1974. Still, he remained a big concert draw on the overseas nostalgia circuit. In 1989, he made number one in the U.K. again by duetting with Marc Almond on a remake of one of his '60s singles, "Something's Gotten Hold of My Heart." He died in April 2006, the night after a show in Cardiff, Wales. ~ Richie Unterberger, All Music Guide [-] Hide

Songwriter Ellie Greenwich helped to shape and popularize the "girl group" sound of the early '60s that included such acts as the Ronettes, the Shangri-Las and the Crystals, becoming, in the process, one of the most respected pop songwriters of the era. Like most of her generation, Greenwich was transfixed with the sounds of rock n' roll and,... [+] Read More

Songwriter Ellie Greenwich helped to shape and popularize the "girl group" sound of the early '60s that included such acts as the Ronettes, the Shangri-Las and the Crystals, becoming, in the process, one of the most respected pop songwriters of the era. Like most of her generation, Greenwich was transfixed with the sounds of rock n' roll and, between college classes, hung out at a local record shop in her home of Hicksville, New York. The owner of the shop introduced Greenwich to some label scouts and soon she found herself recording a single for MCA under the name Ellie Gaye. The single flopped, however, but in a moment of fate she met aspiring songwriter Jeff Barry in 1962 at a party and soon the two began writing songs together, eventually becoming husband and wife. After composing for a few short months, the duo made an appointment at the famed Brill Building where other songwriting teams such as Leiber and Stoller, King and Goffin and Mann and Weil where beginning to find success. Greenwich and Barry were taken into the fold by Leiber and Stoller and began writing and producing for Phil Spector's short-lived Philles label. It was during this period that Greenwich co-wrote some of her most lasting songs, including "Da Do Ron Ron" and "Be My Baby." Greenwich and Barry also recorded an album under the name the Raindrops, scoring with "The Kind of Boy You Won't Forget." In 1964 Greenwich and her songwriting husband teamed up with Leiber and Stoller to write for their Red Bird imprint. It was with Red Bird that the girl group sound was molded into perfection by Greenwich, Barry, Leiber, Stoller and producer George "Shadow" Morton. Providing songs for the Dixie Cups ("Chapel of Love") and the Shangri-Las ("Leader of the Pack"), the Red Bird staff produced records whose love-struck lyrical content belied the complication and sophistication of the music. Greenwich continued to write hit records with Jeff Barry, including the seminal "River Deep, Mountain High" and the Beach Boys 1969 hit "I Can Hear Music," but, like the team of Cynthia Weil and Barry Mann, when their marriage soured so did their writing partnership. Greenwich continued on in the music industry, recording a singer-songwriter album for Verve Records in 1973 and providing background vocals to many of rock's biggest stars. In 1984 she involved herself in a musical based on her life titled Leader of the Pack. ~ Steve Kurutz, All Music Guide [-] Hide

They weren't brothers, but Bill Medley and Bobby Hatfield (both born in 1940) were most definitely righteous, defining (and perhaps even inspiring) the term "blue-eyed soul" in the mid-'60s. The white Southern California duo were an established journeyman doo wop/R&B act before an association with Phil Spector produced one of the most memorable... [+] Read More

They weren't brothers, but Bill Medley and Bobby Hatfield (both born in 1940) were most definitely righteous, defining (and perhaps even inspiring) the term "blue-eyed soul" in the mid-'60s. The white Southern California duo were an established journeyman doo wop/R&B act before an association with Phil Spector produced one of the most memorable hits of the 1960s, "You've Lost That Lovin' Feelin'." The collaboration soon fell apart, though, and while the singers had some other excellent hit singles in a similar style, they proved unable to sustain their momentum after just a year or two at the top.

When Medley and Hatfield combined forces in 1962, they emerged from regional groups the Paramours and the Variations; in fact, they kept the Paramours billing for their first single. By 1963, they were calling themselves the Righteous Brothers, Medley taking the low parts with his smoky baritone, Hatfield taking the higher tenor and falsetto lines. For the next couple of years they did quite a few energetic R&B tunes on the Moonglow label that bore similarity to the gospel/soul/rock style of Ray Charles, copping their greatest success with "Little Latin Lupe Lu," which became a garage-band favorite covered by Mitch Ryder, the Kingsmen, and others.

Even on the Moonglow recordings, Bill Medley acted as producer and principal songwriter, but the duo wouldn't break out nationally until they put themselves at the services of Phil Spector. Spector gave the Wall of Sound treatment to "You've Lost That Lovin' Feelin'," a grandiose ballad penned by himself, Barry Mann, and Cynthia Weil. At nearly four minutes, the song was pushing the limits of what could be played on radio in the mid-'60s, and some listeners thought they were hearing a 45 single played at 33 rpm due to Medley's low, blurry lead vocal. No matter; the song had a power that couldn't be denied, and went all the way to number one.

The Righteous Brothers had three more big hits in 1965 on Spector's Philles label ("Just Once in My Life," "Unchained Melody," and "Ebb Tide"), all employing similar dense orchestral arrangements and swelling vocal crescendos. Yet the Righteous Brothers-Spector partnership wasn't a smooth one, and by 1966 the duo had left Philles for a lucrative deal with Verve. Medley, already an experienced hand in the producer's booth, reclaimed the producer's chair, and the Righteous Brothers had another number one hit with their first Verve outing, "(You're My) Soul and Inspiration." Its success must have been a particularly bitter blow for Spector, given that Medley successfully emulated the Wall of Sound orchestral ambience of the Righteous Brothers' Philles singles down to the smallest detail, even employing the same Mann-Weil writing team that had contributed to "You've Lost That Lovin' Feelin'." It's a bit of a mystery as to why the Righteous Brothers never came close to duplicating that success during the rest of their tenure at Verve. But they would only have a couple of other Top 40 hits in the 1960s ("He" and "Go Ahead and Cry," both in 1966), even with the aid of occasional compositions by the formidable Goffin-King team. In 1968 Medley left for a solo career; Hatfield, the less talented of the pair (at least from a songwriting and production standpoint), kept the Righteous Brothers going with Jimmy Walker (who had been in the Knickerbockers).

Medley had a couple of small hits in the late '60s as a solo act, but unsurprisingly neither "brother" was worth half as much on their own as they were together. In 1974 they reunited and had a number three hit with "Rock and Roll Heaven," a tribute to dead rock stars that some found tacky. A couple of smaller hits followed before Medley retired from performing for five years in 1976. The Righteous Brothers continued to tour the oldies circuit off and on in the 1980s and 1990s. It was while on one of these tours that Bobby Hatfield died suddenly on November 5, 2003. ~ Richie Unterberger, All Music Guide [-] Hide

His career launched as a fill-in for the recently deceased Buddy Holly, Bobby Vee scored several pop hits during the early '60s, that notorious period of popular music sandwiched between the birth of rock & roll and the rise of the British Invasion. Though a few of his singles -- "Rubber Ball," for one -- were as innocuous as anything else from... [+] Read More

His career launched as a fill-in for the recently deceased Buddy Holly, Bobby Vee scored several pop hits during the early '60s, that notorious period of popular music sandwiched between the birth of rock & roll and the rise of the British Invasion. Though a few of his singles -- "Rubber Ball," for one -- were as innocuous as anything else from the era, Vee had a knack for infectious Brill Building pop, thanks to his ebullient voice as well as the cadre of songwriters standing behind him.

Born in Fargo, North Dakota in 1943, Robert Thomas Velline was still in his teens when he formed his first combo, the Shadows, with his brother Bill and their friend Bob Korum. The trio were playing around the area when their big break came, at the expense of one of Bobby's musical idols; the Winter Dance Party package tour, with Buddy Holly, Ritchie Valens and the Big Bopper were on their way to Fargo when their plane went down in Iowa, killing all three. The Shadows were scheduled to play the date instead of Holly, and several months later, producer Tommy "Snuff" Garrett supervised their first recording session and the release of the single "Suzie Baby" on Soma Records. Liberty/RCA picked up the single later in the year, and though it just barely scraped the pop charts, the label kept plugging with Vee as a solo act, recording him on Adam Faith's "What Do You Want?," which also failed to move.

With the collective might of the Brill Building behind him, though, Vee was guaranteed to make it; his third single, "Devil or Angel," hit the Top Ten in mid-1960, followed by "Rubber Ball" later that year. One year later, Vee's biggest hit, "Take Good Care of My Baby," spent three weeks at number one, followed by the number two "Run to Him." His fame appeared to wane after the 1962 Top Ten single "The Night Has a Thousand Eyes," due in large part to the success of the Beatles and other English acts. Vee appeared in several movies (Just for Fun, Play It Cool) and briefly tried to cash in on the British phenomenon -- with the disappointing Bobby Vee Sings the New Sound from England! -- but also recorded songs by his early influences, including Buddy Holly and the Crickets. Bobby Vee continued to chart throughout the 1960s, and even hit the Top Ten again in 1967 with "Come Back When You Grow Up," but after a brief attempt at more serious recordings, he hit the rock & roll oldies circuit. ~ John Bush, All Music Guide [-] Hide

The Shirelles were the first major female vocal group of the rock era, defining the so-called girl group sound with their soft, sweet harmonies and yearning innocence. Their music was a blend of pop/rock and R&B -- especially doo wop and smooth uptown soul -- that appealed to listeners across the board, before Motown ever became a crossover... [+] Read More

The Shirelles were the first major female vocal group of the rock era, defining the so-called girl group sound with their soft, sweet harmonies and yearning innocence. Their music was a blend of pop/rock and R&B -- especially doo wop and smooth uptown soul -- that appealed to listeners across the board, before Motown ever became a crossover phenomenon with white audiences. Even if the Shirelles were not technically the first of their kind, their success was unprecedented, paving the way for legions of imitators; their inviting musical blueprint had an enduring influence not just on their immediate followers, but on future generations of female pop singers, who often updated the style with a more modern sensibility. What was more, they provided some of the earliest hits for important Brill Building songwriters like Gerry Goffin & Carole King, Burt Bacharach & Hal David, and Van McCoy.

The Shirelles were originally formed in 1958 in Passaic, NJ, by four high school friends: Doris Coley (later Doris Kenner-Jackson), Addie "Micki" Harris, Shirley Owens (later Shirley Alston), and Beverly Lee. Christening themselves the Poquellos, the girls wrote a song called "I Met Him on a Sunday" and entered their school talent show with it. A school friend had them audition for her mother, Florence Greenberg, who ran a small record label; she was impressed enough to become the group's manager, and changed their name to the Shirelles by combining frequent lead singer Owens' first name with doo woppers the Chantels. The Shirelles' recording of "I Met Him on a Sunday" was licensed by Decca and climbed into the national Top 50 in 1958. Two more singles flopped, however, and Decca passed on further releases. Greenberg instead signed them to her new label, Scepter Records, and brought in producer Luther Dixon, whose imaginative, sometimes string-heavy arrangements would help shape the group's signature sound.

"Dedicated to the One I Love" (1959) and "Tonight's the Night" (1960) both failed to make much of an impact on the pop charts, although the latter was a Top 20 R&B hit. However, they broke big time with the Goffin-King composition "Will You Love Me Tomorrow"; released in late 1960, it went all the way to number one pop, making them the first all-female group of the rock era to accomplish that feat; it also peaked at number two R&B. Its success helped send a re-release of "Dedicated to the One I Love" into the Top Five on both the pop and R&B charts in 1961, and "Mama Said" did the same; a more R&B-flavored outing, "Big John," also went to number two that year. 1962 continued their run of success, most notably with "Soldier Boy," a Luther Dixon/Florence Greenberg tune that became their second pop number one; they also had a Top Ten pop and R&B hit with "Baby It's You." Unfortunately, Dixon subsequently left the label; the Shirelles managed to score one more pop/R&B Top Ten with 1963's "Foolish Little Girl," but found it difficult to maintain their previous level of success.

The group went on to record material for the film It's a Mad, Mad, Mad, Mad World, headlined the first integrated concert show in Alabama, and helped a young Dionne Warwick get some of her first exposure (subbing for Owens and Coley when each took a leave of absence to get married). A money dispute with Scepter tied up their recording schedule for a while in 1964, and although it was eventually settled, the Shirelles were still bound to a label where their run was essentially over. Of course, this was also because of the British Invasion, whose bands were among the first to cover their songs; not only their hits, but lesser-known items like "Boys" (the Beatles) and "Sha La La" (a hit for Manfred Mann). The Shirelles scraped the lower reaches of the charts a few more times, making their last appearance, ironically, with 1967's "Last Minute Miracle." Doris Kenner left the group the following year to concentrate on raising her family, and the remaining Shirelles continued as a trio, cutting singles for Bell, United Artists, and RCA through 1971. The group continued to tour the oldies circuit, however, and appeared in the 1973 documentary Let the Good Times Roll. Shirley Alston left for a solo career in 1975, upon which point Doris Kenner-Jackson returned. Micki Harris died of a heart attack during a performance in Atlanta on June 10, 1982, upon which point the group went into what turned out to be a temporary retirement; the three remaining charter members recorded together for the last time on a 1983 Dionne Warwick record. Different Shirelles lineups toured the oldies circuit in the '90s, though Beverly Lee eventually secured the official trademark. They were officially inducted into the Rock and Roll Hall of Fame in 1996. Doris Kenner-Jackson passed away after a bout with breast cancer in Sacramento on February 4, 2000. ~ Steve Huey, All Music Guide [-] Hide

Until the release of this import, there had never been a truly satisfactory Shangri-Las anthology; in fact, the group had been subject to worse piecemeal mangling than almost any other significant act of the 1960s. This 33-track production finally sets the record straight, including all of the significant A-sides, B-sides, and album tracks they... [+] Read More

Until the release of this import, there had never been a truly satisfactory Shangri-Las anthology; in fact, the group had been subject to worse piecemeal mangling than almost any other significant act of the 1960s. This 33-track production finally sets the record straight, including all of the significant A-sides, B-sides, and album tracks they recorded for Red Bird between 1964 and 1966, as well as an earlier single for a different label, and four radio commercials. Includes every one of their hits, but anyone who likes those will be enchanted by quite a few of their more obscure numbers here: "Dressed in Black," "Paradise," "It's Easier to Cry," "Never Again," and "Heaven Knows" are all first-class (if sometimes mordant). Not everything is up to that level, but enough is to make a case for them as one of the very best girl groups, and the good sound and thorough liner notes are significant bonuses. It may be more extensive and expensive than some fans wish, but don't settle for the numerous skimpy/rip-off domestic compilations, all of which manage to leave off some key tunes; this is the definitive document. ~ Richie Unterberger, All Music Guide [-] Hide

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The influence of the Toys is evident when one sees the group listed as the first "tribute" on page 49 of the Supremes four-CD box set on Motown. The Supremes' own "I Hear a Symphony," released October 6, 1965, was a tribute to the tribute, if you will. It says a lot about the competition as the Toys hit number two on the charts that very week,... [+] Read More

The influence of the Toys is evident when one sees the group listed as the first "tribute" on page 49 of the Supremes four-CD box set on Motown. The Supremes' own "I Hear a Symphony," released October 6, 1965, was a tribute to the tribute, if you will. It says a lot about the competition as the Toys hit number two on the charts that very week, pushing the Supremes, Diana Ross, and the production team of Holland/Dozier/Holland to one of their greatest heights. The re-write of Bach, with its boss production, is a sweeping pop sensation. And the album's 14 tracks play like the Ronettes' first and only official release, a magnificent statement of vocal harmony and pretty melodies. The songwriter/production team of Sandy Linzer and Denny Randell for Bob Crewe Productions add that remarkable Four Seasons punch to the music. A little of the boy group sound, classical music, and a refreshing collection of melodies that the airwaves were, somehow, denied. "This Night," "Back Street," solid dance hall/radio hits that never got to reign the way "Lover's Concerto" and, to a lesser degree, "Attack" climbed the Top 40. "Attack" is a brilliant song that sounds like a tribute to Frankie Valli. The Dyno Voice album, re-relased on Sundazed, is augmented by singles "Baby Toys" and "May My Heart Be Cast Into Stone," songs that lead soprano Barbara Harris said were recorded for the second, unreleased Toys disc slated for Dyno Voice. The musical camaraderie on "Baby Toys" is amazing. These voices carry. Both singles are a welcome addition to this album, and they should've been huge. June Montiero's vocal on The Beatles' "Yesterday" bridges the gap between the Vegas and new wave arrangement. Perhaps that marriage of underground rock with middle of the road pop is what makes the girl group genre so perpetually inviting. The first track on the disc, "Can't Get Enough of You Baby," is reminiscent of the Cake, a band that couldn't crack the Billboard Top 40 as the Toys did, but deserved to. "Hallelujah," not the fun Sweathog tune from 1971, but a wonderful song that should've hit, with a delicious lead vocal by Barbara Parritt. The Toys were formidable beyond their two Top 20 hits; "This Night" is a fine example. The girls continue to practice and tour with Richard Nader's rock & roll packages. Harris, with a strong solo record Barbara Now, speaks highly of Nader and his events. This CD, with its bonus tracks and replication of the original disc and liner notes, is classic pop. ~ Joe Viglione, All Music Guide [-] Hide

Not many artists can claim a 20-year run of hits, much less be credited with writing the majority of them as well, but Paul Anka can. Starting out as a sawed-off Canadian teen idol, he rocketed to the top of the charts with fare like "Diana," "Put Your Head on My Shoulder," "Lonely Boy," and "Puppy Love" before moving into the '70s with more... [+] Read More

Not many artists can claim a 20-year run of hits, much less be credited with writing the majority of them as well, but Paul Anka can. Starting out as a sawed-off Canadian teen idol, he rocketed to the top of the charts with fare like "Diana," "Put Your Head on My Shoulder," "Lonely Boy," and "Puppy Love" before moving into the '70s with more adult fare like "(You're) Having My Baby" and "My Way." Pop enthusiasts will appreciate this package, even if rock & roll fans shun his work to the very end. ~ Cub Koda, All Music Guide [-] Hide

Jackie DeShannon was one of the rare people (especially for the '60s) who could not only sing and score hits, but write them too -- and for a woman that was almost unheard of. Both "Put a Little Love in Your Heart" and "When You Walk in the Room" scored not only for her but other artists, while she herself had a big hit with "Needles and Pins"... [+] Read More

Jackie DeShannon was one of the rare people (especially for the '60s) who could not only sing and score hits, but write them too -- and for a woman that was almost unheard of. Both "Put a Little Love in Your Heart" and "When You Walk in the Room" scored not only for her but other artists, while she herself had a big hit with "Needles and Pins" by Jack Nitzsche and Sonny Bono, which, in a different version by the Searchers, heralded the start of the first jangle pop movement. Excellent as her covers are -- her "What the World Needs Now" is a classic -- it's her original work that's most illuminating, whether it's the idyllic "Brighton Hill" or the glowingly hippie-ish "Holly Would" and "Love Will Find a Way"; part of the fun is dating the songs by their lyrics. But that would dismiss her singing ability, which was superb, lending gravitas to "The Weight" and bringing a curiously mannered rasp (which works) to "When You Walk in the Room" over a budget-priced Spector-wannabe arrangement. And while the album's somewhat skimpy, with ten tracks coming in at less than 30 minutes, there's no denying the pop history that runs all through it. ~ Chris Nickson, All Music Guide [-] Hide