So You Want to Listen to Girl Rock Bands from the ’50s and ’60s

The 1950s and early 1960s were characterized by conformity, emphasizing traditional values in nuclear families, clearly defined gender roles, and a rise in suburbanization. However, teenage girls have always been rebellious. The late 1960s and 1970s are typically recognized as a cultural renaissance, characterized by music that challenged societal norms and sparked a wave of revolutionary ideas. Yet, the seeds of this counterculture may have been sown earlier, with girl rock bands like The Pleasure Seekers and The Starlets, who sang about sexual desire, a reckless lifestyle, and a longing for freedom from societal pressures. This list of girly punk rock songs will make you want to cut your skirt shorter and dance around your room — and who knows, your grandma may have done the same, secretly listening to these bands on her record player in her pastel pink childhood bedroom.

“I’m Gonna Destroy That Boy” by The What Four (1966)

Have you ever hated a boy so much that you wanted to destroy him? Well, this song isn’t about that — it’s about having such a bad crush that you want to destroy him… in the bedroom. As the lead singer of The What Four boldly declares her mission to “make that boy [her] lover,” the rest of the band backs her with a fierce, harmonized chorus. Chanting “gonna turn him on,” their voices blending in a wave of irresistible confidence. The minor key notes create a suspenseful feel, while the fast-paced beat creates excitement that truly embodies the feeling of having a bad crush.

“What a Way to Die” by The Pleasure Seekers (1965)

At a time when conventional values dictated proper behavior, particularly for women, The Pleasure Seekers’ unapologetic embrace of excess and rebellion stood in stark contrast to these societal expectations. The repeated phrases give “What a Way to Die” a powerful, commanding feel, matching the lyrical theme of female defiance. The upbeat rhythm creates a sense of release that makes listeners want to dance and join this girl band in their search for pleasure.

“Straight Shooter” by Mandy & The Girlfriends (1967)

Mandy & The Girlfriends deliver a commanding and passionate performance, featuring soulful, harmonizing vocals and a steady guitar riff that creates a driving rhythm and an exhilarating listening experience. Hailing from Hull, UK, this dynamic group of teenage girls — who made the bold decision to leave high school to pursue their music career — took Europe by storm, spreading their powerful messages of self-empowerment with an infectious energy.

“Hide and Seek” by The Feminine Complex (1969)

Mindy Dalton, lead singer of the Feminine Complex, delivers her vocals with a wistful, dreamy quality that perfectly complements the song’s introspective tone. As the repeated phrase “can you find yourself” carries listeners deeper into the song’s trance, the dynamic build-up intensifies, leading to a powerful emotional climax.

“You Just Gotta Know My Mind” by Karen Verros (1965)

Karen Verros conveys a profound desire for deeper emotional transparency in her relationships. The repeated phrase “you just gotta know my mind” emphasizes the urgency of being truly heard and understood. Her voice is rich and expressive, brimming with nuances that convey both longing and sincerity. The powerful guitar riff, complemented by a vibrant tambourine, creates an infectious rhythm that evokes a sense of liberation and empowerment. Together, these elements beautifully capture the essence of her message, inviting listeners to reflect on their own journeys of emotional connection.

“Shop Around” by The Liverbirds (1965)

Hailing from Liverpool — hence their name — the Liverbirds earned the nickname “the Female Beatles” due to their rock qualities and their shared hometown with the legendary band. Their hit song “Shop Around” starts off with a melancholic tone, reflecting on their mothers’ advice, then takes a sharp turn to a funkier beat.

“Feel Good” by Ace of Cups (2018)

Ace of Cups reunites in their old age to release “Feel Good,” a lively rock song that encourages listeners to release guilt and embrace pleasure. The band, which originally formed in 1967 in San Francisco — the heart of the hippie movement — draws on its roots to create a track that encapsulates the cultural shift from the conformity of the 1950s to the liberation movements of the mid-’60s and -’70s. Through its lyrics, the song calls on the next generation to “carry something new to turn this world around,” invoking a spirit of change and renewal. The lyrics emphasize solidarity, urging listeners to “not be afraid” because “you’re not alone,” highlighting the growing momentum of social movements and the importance of community in the quest for personal and collective freedom.

“Better Tell Him No” by The Starlets (1961)

“Better Tell Him No” was The Starlets’ breakout hit, launching their career and earning them a spot on the Billboard Hot 100. Beginning with powerful, soulful vocals that embody a classic Black folk sound infused with a modern pop twist, the song captivates listeners. The lyrics inspire women to take greater agency over their bodies and minds in the face of men’s desires, highlighting the empowering act of learning to say no. The Starlets were one of the few Black girl rock bands of their time, making their powerful lyrics that challenged the patriarchy all the more impactful.

“You Don’t Love Me” by The Starlets (1965)

The raw, unpolished characteristic of girl rock bands from this era is beautifully paired with soft vocals in “You Don't Love Me,” a prime example of women reclaiming their voices through emotional honesty. The song’s suggestive, repeated lyric, “If you tell me, baby, I’ll get on my knees and pray” captures the song theme of unrequited love, while references to Christianity add a layer of rebellion against traditional expectations. Despite the lead singer’s longing lyrics, her deep, resonant voice conveys a palpable sense of resentment, delivering a powerful message.

“Hear You Talking” by Beverly Jones and the Prestons (1964)

In a more traditional 1960s sound, Beverly Jones sings about the emotional turmoil of being the other woman, weaving a story of heartache and betrayal. Her seductive voice lulls listeners into a trance, enveloping them in the melody’s melancholic beauty. However, the softness is abruptly shattered when she shifts her tone, delivering the chilling line, “I’m gonna cut you,” with a jarring intensity.