". . . often the most interesting things in a pop song have little to do with the chord progressions. Indeed, the use of very conventional, predictable musical language is often a deliberate strategy, a choice made in order to appeal to listeners who don't see themselves primarily as rebels. . . . When we reserve our highest praise and respect for the innovations and inventiveness of the Beatles's late recordings, we come dangerously close to trivialising the early, mainstream records, the girls who bought them, and the girl music that influenced them. What's more, focussing so much on what the Beatles learned from Chuck Berry and Little Richard in terms of songwriting and instrumental techniques that we ignore what they learned from Girl Groups in terms of vocal harmonies and subject positions means that we don't fully understand what the Beatles were about."