This installment in Decca Records archival Scene-related CDs explores the sizable contributions of the fairer sex to pop music during the 1960s. While these ladies may have made a significant impact in their native U.K., the vast majority remained virtual unknowns on other shores. The Girls' Scene (2000) contains over two-dozen cuts, representing some of the best female vocal groups of the era. Much like their Stateside colleagues, songs were often derived from veteran contemporary composers. This collection offers up distinguished reworkings from performers whose names might not be instantly recognizable, although the melodies should be. The Motown-sound is represented by "Two Lovers" from Louise Cordet, as well as Beryl Marsden's spot-on reading of "When the Lovelight Starts Shining Thru' His Eyes." The Brill Building pop scene spawned the Gerry Goffin/Carole King compositions "The Boy From Chelsea" -- sung here by Truly Smith -- an inspired take of "Hey Boy" by Barry St. John, and along with Phil Spector, Marianne Faithfull's "Is This What I Get For Loving You?" Faithfull is one of the more prominent figures to have emerged from Andrew Loog Oldham's notable stable of talent. In many ways, Oldham was the English equivalent to Spector, as both were multi-talented moguls who were best known for their work behind the scenes with others. From his coterie are Adrienne Poster and Vashti -- each respectively cover Keith Richard and Mick Jagger tunes "Shang a Doo Lang" and "Some Things Just Stick in Your Mind." Lorraine Child goes even closer to the source on the Oldham-penned "You." Olivia Newton-John is certainly a name that stands out, as does her unmistakable Aussie warble on the otherwise hard-hitting attack of Jackie DeShannon's "Till You Say You'll Be Mine." Parties interested in Girls' Scene should also note the other entries in this series, including the Rock 'N' Roll Scene (1999), Blues Scene (1999), Freakbeat Scene (1999), Psychedelic Scene (1998), and two volumes from the wonderful world of the Mod Scene (1998).
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AllMusic Review by Lindsay Planer