Mind-blowing late-60s girl-group sound with very odd lyrics...words really can't describe it. Suffice to say, it's a strange song. This group started out as a very typical girl group of the early 60s mold, but kept plugging away long after those groups had gone out of style. This cut from '68 is very psych-y and "groovy", as was the fashion at the time. They eventually transformed into Barry Manilow's backup singers, but please don't hold that against them.

The finest moment of a legendary 80s UK indie label which fused a post-punk spirit with the best elements of 60s pop style - bossa nova, light psychedelia, girl groups. And pre-empted the lounge/easy listening revival by about 10 years. The Would Be-Goods were two sisters, Jessica and Miranda, who couldn�t sing and did so beautifully. The �l catalogue is being re-issued on CD by Cherry Red Records. Well worth checking out.

A wild ride down the Nile. If anyone ever accuses the girl group sound of being all innocent or only about boys then just shove this riot in their ears.

Resplendent with one of the greatest nonsense refrains in popular music ("shimmy-shimmy-shimmy-shi-mi-mis-pe-dis") and screams aplenty, this track is a winner on every conceivable level. The instrumentation is clearly designed to sound Egyptian, but instead resembles the soundtrack to a campy exploitation flick about girl gangs among the pyramids (or something).

A highly unusual platter, and deservedly enjoying a greater cult reputation as the years go by.

Who?

As a 60's girl group collector who's been at it for a number of years, I'm always delighted when some compiler somewhere turns up an absolute gem. As this is from the sleevenotes-shy semi-legal Marginal records, I had to find out on my own that this is infact Jill (with bonus "l") Gibson, Jan-of-Jan-and-Dean's girlfriend and rock photographer. Jan and Dean also recorded this song.

Very quiet vocals in contrast to a lot of 60's girl groups - almost a little Margo Guryan in there if it weren't for the stomping in the background. No info at all on the production. If anyone can fill me in, I'd love to hear it.

Holly's always been prolific, but never more so than in the mid nineties when this fantastic tune was released. There were usually a couple of her own albums out every year, plus releases with her girl group Thee Headcoatees, and the quality never dropped.

This is a typically brilliant slice of Holly's sound - pop blues riffing with her who-cares vocals. It fixes me within such a groove whenever I hear it.

Random reminicense: One of the best live performances I have seen was Thee Headcoats and Thee Headcoatees on stage in North London at Hallowe'en, treating the crowd to the BEST EVER version of Monster Mash. At that gig I saw Holly milling around the crowd before Thee Headcoatees took to the stage and was struck by her luminescent beauty and remarkable poise. Truly she has everything. She's worthy of heroine status.

After her brief burst of mainstream recognition guesting with the White Stripes, Holly's back in the comfortable indie heartland these days. I really can't think of enough nice things to say about her.

The Crystalairs are a german vocal quartett that started out in the 80`s. (Their earlier name was "Del Romans", they released many records on the "Crystal Ball" - label, what was the influence for their new band name.) In their youth the 4 guys had all collected many 45's from the USA ranging from doo wop to girl group classics, but all their songs are self-arranged self-written originals or unreleased songs from others.
"Night of wonders" is one beautiful example for their harmonic style and their loving vocals.

Better than the avalanches. Few other tracks have made me so glad this year than this song from Japans Handsomeboy Technique. It is virtually the same formula as the avalanches; collage pop from soft rock, disco,hip hop, girl groups etc but with much better song structures than the ava. The album adelie land is also recommended.

Since I've been recommending on this site for a while, I came up with a new idea in January. A lot of my all time favourites are on here now, so what I thought I would do now is to recommend a track every week that has had most resonance for me over the past seven days.

A bit of background: I've been having an unhappy time at work lately. I sometimes work shifts and don't get in until 11pm. As I have been so stressed with my daily grind, I've been finding it very difficult to wind down at the end of the day.

This song, this week, is suddenly making sense to me. It's calmed the jumble in my head every night by understanding that the world isn't an ordered place. I've been coaxed out of my rigid state by these 17 minutes. It's not my favourite Velvet Underground song - that would be The Murder Mystery - but after years of always thinking Sister Ray was a self-indulgent filler, I think I finally grasp what its purpose is. Or, at least, I now know there are only certain, bloody awful, weeks in which I can find the beautiful oyster inside this track.

I will return to normal service next week with my usual gay disco or girl group love.

This is a cute, somewhat slight piece of sixties girly pop with a nice Tony Hatch production. The thing that struck me about this tune is how it sounds exactly like the ironic, girl groupy stuff Tracey Ullman did on her 'You Broke My Heart In 17 Places' album. I wouldn't be surprised if Ullman covered this at some point; both singers have a winsome, appealing quality in their voices that overcomes their lack of range.

If you want to hear the wall of sound effect, just listen to this song. By the time the second verse comes around, everything has kicked in. The horns plus the rolling accompaniment are just so good.