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Dressed in Black: The Shangri-Las and Their Recorded Legacy
The first full-length history of the Shangri-Las, one of the most significant—and most misunderstood—pop groups of the 1960s.
Sisters Mary and Betty Weiss, together with twins Mary Ann and Marguerite Ganser, were schoolgirls when they formed the Shangri-Las in 1963, and had a meteoric rise to fame with songs like “Leader of the Pack” and “Remember (Walking in the Sand).” Their career was cut short for reasons largely beyond their control, derailed by the machinations of Mafia-linked record executives, and heartbreak and tragedy followed. Historian Lisa MacKinney marshals an impressive array of new evidence to tell the Shangri-Las’ story, dispelling many myths and long-standing mysteries along the way.
Equally importantly, Dressed in Black radically rewrites the accepted narrative of the Shangri-Las’ place in rock history. As young women, they were permitted little agency within a male-dominated industry that viewed teenagers as fodder to be manipulat-ed and exploited by producers, songwriters, and label owners. For decades, this has served as an excuse for critics to deny the musical input of the group members, to trivialize the Shangri-Las as a "girl group," and to assign their work a lesser rank in the canon of "authentic" rock and roll. MacKinney’s great achievement here is to foreground the Shangri-Las’ considerable abilities and musicality, and establish the centrality of their performance of their songs to the group’s underappreciated artistic achievement.
This is not to deny the critical role in the group’s success of professional songwriters (including Ellie Greenwich and Jeff Barry) and writer/producer George ‘Shadow’ Morton, a pioneering and eccentric figure whose self-mythologizing has generated a level of obfuscation that rivals that of the Shangri-Las themselves. MacKinney’s clear-sighted account reveals Morton in a completely new light—and as part of a complex ecosystem of musical relationships. Morton wrote and produced highly emotional material specifically for the Shangri-Las because he knew they had the skills to make his mini-operas not only believable, but enthralling. The group members, particularly Mary Weiss, channeled personal anguish into their extraordinary performances, which are central to the songs’ impact—no less so than for such classic singers as Ella Fitzgerald and Elvis Presley, who also relied on producers and songwriters for their body of work. The Shangri-Las’ impassioned delivery elicited a massive response from their audience of fellow teenagers at the time and has continued to connect profoundly with audiences ever since. MacKinney backs up these arguments with in-depth analysis of key Shangri-Las’ recordings, and makes a powerful case that their achievements warrant a far more prominent place for the Shangri-Las in the history of popular music.
Sisters Mary and Betty Weiss, together with twins Mary Ann and Marguerite Ganser, were schoolgirls when they formed the Shangri-Las in 1963, and had a meteoric rise to fame with songs like “Leader of the Pack” and “Remember (Walking in the Sand).” Their career was cut short for reasons largely beyond their control, derailed by the machinations of Mafia-linked record executives, and heartbreak and tragedy followed. Historian Lisa MacKinney marshals an impressive array of new evidence to tell the Shangri-Las’ story, dispelling many myths and long-standing mysteries along the way.
Equally importantly, Dressed in Black radically rewrites the accepted narrative of the Shangri-Las’ place in rock history. As young women, they were permitted little agency within a male-dominated industry that viewed teenagers as fodder to be manipulat-ed and exploited by producers, songwriters, and label owners. For decades, this has served as an excuse for critics to deny the musical input of the group members, to trivialize the Shangri-Las as a "girl group," and to assign their work a lesser rank in the canon of "authentic" rock and roll. MacKinney’s great achievement here is to foreground the Shangri-Las’ considerable abilities and musicality, and establish the centrality of their performance of their songs to the group’s underappreciated artistic achievement.
This is not to deny the critical role in the group’s success of professional songwriters (including Ellie Greenwich and Jeff Barry) and writer/producer George ‘Shadow’ Morton, a pioneering and eccentric figure whose self-mythologizing has generated a level of obfuscation that rivals that of the Shangri-Las themselves. MacKinney’s clear-sighted account reveals Morton in a completely new light—and as part of a complex ecosystem of musical relationships. Morton wrote and produced highly emotional material specifically for the Shangri-Las because he knew they had the skills to make his mini-operas not only believable, but enthralling. The group members, particularly Mary Weiss, channeled personal anguish into their extraordinary performances, which are central to the songs’ impact—no less so than for such classic singers as Ella Fitzgerald and Elvis Presley, who also relied on producers and songwriters for their body of work. The Shangri-Las’ impassioned delivery elicited a massive response from their audience of fellow teenagers at the time and has continued to connect profoundly with audiences ever since. MacKinney backs up these arguments with in-depth analysis of key Shangri-Las’ recordings, and makes a powerful case that their achievements warrant a far more prominent place for the Shangri-Las in the history of popular music.
396 pages, Paperback
Published March 18, 2025
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Displaying 1 - 7 of 7 reviews
November 14, 2025
Definitive book 60's female vocal group Shangri-Las, hits "Leader of the Pack" and "Remember(Walking in the Sand)", songs about teenage attraction to 'bad boys'. Influenced Amy Winehouse, Blondie. Vocals by sisters, Mary and Betty Weiss, and twins, Mary Ann and Marguerite Ganser. Author shows overshadowed by male dominated music industry and their producer "Shadow" Morton, who wrote the songs, known for his sound effects:motorcycles, seagulls, ocean waves. But it was their voices that carried the emotions in their recordings. About more than just a female pop group.
May 14, 2025
I’m happy somebody finally wrote a book on the coolest girls to ever do it. However pretentious and overly academic it is, Mary Weiss declined multiple requests for an interview and she would’ve hated the book.
April 26, 2025
The critical consensus, if not quite yet the public, has moved on from the misogynistic dismissal of early 1960’s girl vocal groups as artistically lesser than the “authentic” and more masculine rock and roll acts which followed them and wrote their own music. MacKinney gives a strong account of how the Shagri-Las and similar acts were dismissed by “serious” rock journalists, like Greil Marcus, who described the genre merely as “producer’s music”, and she references the great work Jacqueline Warwick and others have contributed to correcting that perspective. She might overreach a bit when demonstrating the ongoing prevalence of this attitude towards women in rock today by quoting a review of a 2011 Beaches record in Crawldaddy Fanzine. Is a 14-year-old review in a fanzine the best she could find?
Her take on their biography emphasizes the role of George “Shadow” Morton”. Andrew Hickey’s “A History of Rock Music in 500 Songs” was largely dismissive of his contributions, but MacKinney lays out evidence that his own song writing had a history of “emotion, teen drama, sound effects, and death” key components which he contributed to all their most successful songs. And she sides with Morton’s claim that he alone wrote “Leader of the Pack” and that the cro-credited Barry and Greenwhich contributed little.
The Brill building, colorful producers, gangsters, and 1960s rock and roll is all fun to read about, but the best bit isn’t the biographical details, but near the end of the book when MacKinny goes long on Romanticism and its role in the Shanri-Las’ oeuvre. “Past, Present, and Future” is a spoken word piece performed over a variation of Bethoven’s Moonlight Sonata. MacKinney goes deep into the history of the sonata and Bethoven’s love affair with his “beloved” Julia Guicciardi, whom he dedicated it to. Like “Leader of the Pack” his cross-class romance ended unhappily ever after.
Her take on their biography emphasizes the role of George “Shadow” Morton”. Andrew Hickey’s “A History of Rock Music in 500 Songs” was largely dismissive of his contributions, but MacKinney lays out evidence that his own song writing had a history of “emotion, teen drama, sound effects, and death” key components which he contributed to all their most successful songs. And she sides with Morton’s claim that he alone wrote “Leader of the Pack” and that the cro-credited Barry and Greenwhich contributed little.
The Brill building, colorful producers, gangsters, and 1960s rock and roll is all fun to read about, but the best bit isn’t the biographical details, but near the end of the book when MacKinny goes long on Romanticism and its role in the Shanri-Las’ oeuvre. “Past, Present, and Future” is a spoken word piece performed over a variation of Bethoven’s Moonlight Sonata. MacKinney goes deep into the history of the sonata and Bethoven’s love affair with his “beloved” Julia Guicciardi, whom he dedicated it to. Like “Leader of the Pack” his cross-class romance ended unhappily ever after.
September 13, 2025
First ever in depth book about the Shangri-Las. The author had to work with without any involvement from the group, but was able to interview those who knew them, and gather numerous sources about them and their background. The author goes into their story and music, but talks about how other music, and society, and the culture of the times affected the Shangr-Las music. The author tends to get off topic(particularly in the last few chapters), but manages to tie everything together.
September 9, 2025
This review originally published in Looking For a Good Book. Rated 3.5 of 5
My Sirius Radio is almost always tuned to the 1960s hits channel. I grew up listening to this music and I still enjoy it today. But with a few exceptions, I know vey little about many of the artists of this era that I enjoy so much, so when I see a book like Dressed in Black: The Shangri-Las and Their Recorded Legacy by Lisa MacKinney, I'm definitely interested.
There's a good reason that there hasn't been much written about this group prior to MacKinney's book - the band has been tight-lipped (their lead singer wouldn't sit down for an interview even today) and there isn't much information available otherwise. And it shows in the book.
MacKinney does a fine job given the lack of available information, but it becomes obvious that MacKinney is reaching for something to write about and branches off on a number of tangential items. Tangents such as a deep dive into the record label the Shangri-La's recorded with, and a lot about George "Shadow" Morton. To be fair, "Shadow" Morton might be to the Shangri Las what George Martin was to The Beatles, which I did find quite interesting - I just maybe didn't need quite so much about him.
I admit that I got off to bit of a rough start with the book. We had way too much information in the opening about 'girl groups' and how we are not to refer to the Shangri-Las as a girl group. Don't call them a girl group. Got that? They are not a girl group. They are, however, a group of three or four girls, two sets of sisters (or sometimes one pair of sisters and a solo) who had a lot of talent but, as was way too common in the 60's - and probably, unfortunately, still too common - taken advantage of in a number of ways. Some of this is why the members don't talk about these days. This book could easily be a social commentary on sleazy business practices or the way in which women are taken advantage of.
As a parent, I will say that I'm disappointed that the parents of these girls let so much happen. These girls were minors in their early days. But I do recognize that the 60s were a different and difficult time - not just for the youth coming of age, but for the adults who were struggling to adapt.
Not having been a follower of the Shangri-Las, I was unaware of the fact that the group was not very consistent with its three or four members. Nor had I known that there was never any public notice as to why a member might suddenly not be with the group (but not a girl group). MacKinney addresses this and while there's no official confirmation, MacKinney believes it's because one of the members was pregnant. Single and pregnant. This wouldn't be the image promoters wanted to present so one of the members (Betty) was simply removed until such a time as she could return. And while she was the lead singer when she was with the group, her sister Mary took on the role when it was a trio. Later, when twin Mary Ann Ganser died of a drug overdose at age 22, Mary rejoined the team for their last few hurrahs.
What it meant to be a teen and pregnant in the early 1960s was another tangent that we take.
Overall, I appreciated this look at a 'classic' pop group though I did feel it was padded with a fair amount of 'extras' that I didn't really need. It did, however, prompt me to add the Shangri-Las to my Spotify playlist so that I can get a few of the songs that don't usually spin in a set of classic 60s songs.
Looking for a good book? Lisa MacKinney does a deep dive into a 1960s pop group in Dressed in Black: The Shangri-Las and Their Recorded Legacy. It was a Masters thesis adapted for general consumption. It is sometimes thin on relevant material, but interesting nonetheless.
I received a digital copy of this book from the publisher, through Edelweiss, in exchange for an honest review.
My Sirius Radio is almost always tuned to the 1960s hits channel. I grew up listening to this music and I still enjoy it today. But with a few exceptions, I know vey little about many of the artists of this era that I enjoy so much, so when I see a book like Dressed in Black: The Shangri-Las and Their Recorded Legacy by Lisa MacKinney, I'm definitely interested.
There's a good reason that there hasn't been much written about this group prior to MacKinney's book - the band has been tight-lipped (their lead singer wouldn't sit down for an interview even today) and there isn't much information available otherwise. And it shows in the book.
MacKinney does a fine job given the lack of available information, but it becomes obvious that MacKinney is reaching for something to write about and branches off on a number of tangential items. Tangents such as a deep dive into the record label the Shangri-La's recorded with, and a lot about George "Shadow" Morton. To be fair, "Shadow" Morton might be to the Shangri Las what George Martin was to The Beatles, which I did find quite interesting - I just maybe didn't need quite so much about him.
I admit that I got off to bit of a rough start with the book. We had way too much information in the opening about 'girl groups' and how we are not to refer to the Shangri-Las as a girl group. Don't call them a girl group. Got that? They are not a girl group. They are, however, a group of three or four girls, two sets of sisters (or sometimes one pair of sisters and a solo) who had a lot of talent but, as was way too common in the 60's - and probably, unfortunately, still too common - taken advantage of in a number of ways. Some of this is why the members don't talk about these days. This book could easily be a social commentary on sleazy business practices or the way in which women are taken advantage of.
As a parent, I will say that I'm disappointed that the parents of these girls let so much happen. These girls were minors in their early days. But I do recognize that the 60s were a different and difficult time - not just for the youth coming of age, but for the adults who were struggling to adapt.
Not having been a follower of the Shangri-Las, I was unaware of the fact that the group was not very consistent with its three or four members. Nor had I known that there was never any public notice as to why a member might suddenly not be with the group (but not a girl group). MacKinney addresses this and while there's no official confirmation, MacKinney believes it's because one of the members was pregnant. Single and pregnant. This wouldn't be the image promoters wanted to present so one of the members (Betty) was simply removed until such a time as she could return. And while she was the lead singer when she was with the group, her sister Mary took on the role when it was a trio. Later, when twin Mary Ann Ganser died of a drug overdose at age 22, Mary rejoined the team for their last few hurrahs.
What it meant to be a teen and pregnant in the early 1960s was another tangent that we take.
Overall, I appreciated this look at a 'classic' pop group though I did feel it was padded with a fair amount of 'extras' that I didn't really need. It did, however, prompt me to add the Shangri-Las to my Spotify playlist so that I can get a few of the songs that don't usually spin in a set of classic 60s songs.
Looking for a good book? Lisa MacKinney does a deep dive into a 1960s pop group in Dressed in Black: The Shangri-Las and Their Recorded Legacy. It was a Masters thesis adapted for general consumption. It is sometimes thin on relevant material, but interesting nonetheless.
I received a digital copy of this book from the publisher, through Edelweiss, in exchange for an honest review.
April 28, 2025
Dressed in Black: The Shangri-Las and Their Recorded Legacy by Lisa Mackinney is a 2025 Verse Chorus Press publication
As of late, I stumbled across a few books about the ‘Girl Groups’ of the fifties – the seventies, and I love it that these groups are finally getting some long overdue credit and recognition.
This book focuses on only one group, though… The Shangri-Las.
This is an excellent group choice as this group has stuck in the public’s memory more than most, but was also a huge influence on different subgenres of rock music over the years. The group consisted of two pairs of sisters: Mary and Betty Weiss and twins, Mary Ann and Margarite Ganser.
The group gained momentum while these young ladies were still in high school, which put them in a very vulnerable position in an industry that has never had much of a reputation for integrity to start off with. Unfortunately, the Shangri-Las were taken advantage of due to their youth, unscrupulous contracts and shady business dealings. The group also suffered from the perils of life on the road, with one probable heroin overdose- though word of mouth and inaccurate record keeping makes it hard etch that conclusion in stone.
Overall, the author did a pretty good job of analyzing the phrase ‘girl group’, breaking down the songs, the lyrics, trying her best, in a frustrating situation, to give the reader an accurate depiction of the group’s members.
Like many biographies, this is not an authorized manuscript. In fact, Mary Weiss wanted nothing to do with the book and refused repeated invitations to participate. Mary Weiss, sadly, passed away just a short time ago, maintaining her strict privacy to the very end.
This book is a combination of history, music, and pop culture. The author did an admirable job with the limited resources she had, including some odd discrepancies, even from reputable press stories.
She managed to capture the time and place and paint a portrait of this influential group that proves the impact they had on future artists and styles that many others that fell under the ‘girl group’ umbrella failed to achieve.
Overall, a fascinating study of the popularity of these all-female groups, the business side of the music business, and specifically the Shangri-Las, who most assuredly deserve some center stage recognition and credit.
While only a handful of all-female groups have ever been inducted into the rock hall, the Shangri-las could be considered an early influence nominee- but I’m sure that’s just wishful thinking on my part.
4 star
As of late, I stumbled across a few books about the ‘Girl Groups’ of the fifties – the seventies, and I love it that these groups are finally getting some long overdue credit and recognition.
This book focuses on only one group, though… The Shangri-Las.
This is an excellent group choice as this group has stuck in the public’s memory more than most, but was also a huge influence on different subgenres of rock music over the years. The group consisted of two pairs of sisters: Mary and Betty Weiss and twins, Mary Ann and Margarite Ganser.
The group gained momentum while these young ladies were still in high school, which put them in a very vulnerable position in an industry that has never had much of a reputation for integrity to start off with. Unfortunately, the Shangri-Las were taken advantage of due to their youth, unscrupulous contracts and shady business dealings. The group also suffered from the perils of life on the road, with one probable heroin overdose- though word of mouth and inaccurate record keeping makes it hard etch that conclusion in stone.
Overall, the author did a pretty good job of analyzing the phrase ‘girl group’, breaking down the songs, the lyrics, trying her best, in a frustrating situation, to give the reader an accurate depiction of the group’s members.
Like many biographies, this is not an authorized manuscript. In fact, Mary Weiss wanted nothing to do with the book and refused repeated invitations to participate. Mary Weiss, sadly, passed away just a short time ago, maintaining her strict privacy to the very end.
This book is a combination of history, music, and pop culture. The author did an admirable job with the limited resources she had, including some odd discrepancies, even from reputable press stories.
She managed to capture the time and place and paint a portrait of this influential group that proves the impact they had on future artists and styles that many others that fell under the ‘girl group’ umbrella failed to achieve.
Overall, a fascinating study of the popularity of these all-female groups, the business side of the music business, and specifically the Shangri-Las, who most assuredly deserve some center stage recognition and credit.
While only a handful of all-female groups have ever been inducted into the rock hall, the Shangri-las could be considered an early influence nominee- but I’m sure that’s just wishful thinking on my part.
4 star
May 1, 2025
The Shangri-las have always been far & away my favorite of the early '60s girl group for the combination of great vocals and what can only be described as unique songs. Has any other group ever lyrically dispatched so many--and so well?
A veil of mystery always surrounded the group, from the here today/gone tomorrow/back next week 4th member Betty Weiss to their disappearance from studios and stage after their last few singles tanked in 1967. Luckily, McKinney is able to punch enough holes in this shroud to reveal at least some of the truth. Apparently, Betty Weiss's disappearance/reappearance covered an out-of-wedlock baby (major scandal potential) and the group's post-1967 vanishing act was due to a mobbed-up contract that banned them from performing for 10 years. But the whole story will never be told, with the last Shangri-la (Mary Weiss) dying incommunicado during the writing of this book.
Weiss does a good job painting the background of the Brill Building/doo-wop era of rock 'n' roll, with its punishing package tours and one sided contracts enforced by colorful characters happily dangling recalcitrant artists from 10th story windows until they complied. However, except for Phil Milstein, I found her research to be surprising light in sources from New York's hardcore record collecting scene (the Kicks/Norton Records/WFMU axis). And frankly, the role of sexism in the Shang's treatment by the industry and the critics is at the very least exaggerated. The critics didn't do anything to the Shangs that they didn't do to acts like Bobby Vee/Vinton, Ricky Nelson, and even the mighty Monkees. And their unpleasant industry experience seems familiar, if not universal.
But kvetches aside, this is a very good book, probably the best we're ever going to get on the Shangs Damn near essential.
A veil of mystery always surrounded the group, from the here today/gone tomorrow/back next week 4th member Betty Weiss to their disappearance from studios and stage after their last few singles tanked in 1967. Luckily, McKinney is able to punch enough holes in this shroud to reveal at least some of the truth. Apparently, Betty Weiss's disappearance/reappearance covered an out-of-wedlock baby (major scandal potential) and the group's post-1967 vanishing act was due to a mobbed-up contract that banned them from performing for 10 years. But the whole story will never be told, with the last Shangri-la (Mary Weiss) dying incommunicado during the writing of this book.
Weiss does a good job painting the background of the Brill Building/doo-wop era of rock 'n' roll, with its punishing package tours and one sided contracts enforced by colorful characters happily dangling recalcitrant artists from 10th story windows until they complied. However, except for Phil Milstein, I found her research to be surprising light in sources from New York's hardcore record collecting scene (the Kicks/Norton Records/WFMU axis). And frankly, the role of sexism in the Shang's treatment by the industry and the critics is at the very least exaggerated. The critics didn't do anything to the Shangs that they didn't do to acts like Bobby Vee/Vinton, Ricky Nelson, and even the mighty Monkees. And their unpleasant industry experience seems familiar, if not universal.
But kvetches aside, this is a very good book, probably the best we're ever going to get on the Shangs Damn near essential.
Displaying 1 - 7 of 7 reviews