When "She's a Fool" made number five in late 1963, it was a vitally important accomplishment for Lesley Gore's career, as she was in danger of being typecast for just one song or type of song. "It's My Party" had been a number one hit earlier that year, and "Judy's Turn to Cry" was a somewhat contrived soundalike follow-up whose lyrics were a direct sequel to "It's My Party." "She's a Fool" had nothing to do, melodically or lyrically, with either single. Maybe that sounds like a trivial feat given the light respect Gore is given by most critics, but, in fact, "She's a Fool" was quite a good girl-group single, and one that cemented Gore's skill with a lyric in which she took the role of the wronged devoted female. "She's a Fool" had a light jazzy swing, in keeping with several of Gore's early tracks (probably due in no small part to Quincy Jones' production), and a pretty mean bluesy piano, as heard in the opening instrumental section. The melody was catchy and imbued with a sense of longing hurt, amplified by the two sturdy handclaps which followed each of the first pair of lines of the verses. The vocals, melodic hook, and sweeping strings became far more decisive and emphatic in the chorus, embellished by dramatic female backup vocals of the kind that would be considered hokey within just a year or two, but were quite effective in this context. Far more bizarre were the low, grumbled responsive male vocals that followed Gore's declaration of "she's a fool"; it sounded as if they were singing "tractor fool" or something like that. You'd be surprised by just how many '60s rock songs used an upward key change for the last verse, and "She's a Fool" does so without missing a beat. The anguish of the storyline -- the guy she likes is in thrall to a woman who doesn't know what she has and treats him cruel, and if only he'd realize how well Lesley would treat him -- goes into overdrive for the final chorus, which takes it up yet another key as Gore draws out the words in the title phrase on the fadeout. In many respects, "She's a Fool" bears hallmarks of 1963 pop/rock elements that would become corny and dated within only a year -- the melodramatic backup vocals, the abject devotion of the female singer, the flourishes of the tympani at certain points to add tension. Within the limitations of its era and genre, though, "She's a Fool" was quite a good single.