992:, was the first single released (and the only one released by this group) on the Motown label—all previous singles from the company (and all those following from the group) were released on the Tamla label. Issued locally on the Motown Records label, it was licensed to and released nationally by Chess Records because the fledgling Motown Record Corporation did not, at that time, have national distribution. "Bad Girl" was the group's first national chart hit, reaching number 93 on the Billboard Hot 100. Written by Miracles lead singer Smokey Robinson and Motown Records' president Berry Gordy, "Bad Girl" was the first of several of the Miracles' songs performed in the doo-wop style during the late 1950s.
613:, performing at high school dances and other social occasions. They rehearsed on street corners and apartment stoops, as well as under bridges, in high school washrooms, and in hallways and other places with echoes: these were the only spaces with suitable acoustics available to them. Thus they developed a form of group harmony based in the harmonies and emotive phrasing of black spirituals and gospel music. Doo-wop music allowed these youths not only a means of entertaining themselves and others, but also a way of expressing their values and worldviews in a repressive white-dominated society, often through the use of innuendo and hidden messages in the lyrics.
2627:
you know, doo-wop doowah da dadada. You'd hear it everywhere. So the same thing started with rap groups around '76 or so. All of a sudden, everywhere you turned you'd hear kids rapping. In the summertime, they'd have these little parties in the park. They used to go out and play at night and kids would be out there dancing. All of a sudden, all you could hear was, hip hop hit the top don't stop. It's kids – to a great extent mixed-up and confused – reaching out to express themselves. They were forcefully trying to express themselves and they made up in fantasy what they missed in reality.
263:
49:
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who courted Battle to promote and sell records, as well as to find new talent at his shop and studio. Battle's record labels included JVB, Von, Battle, Gone, and
Viceroy; he also had subsidiary arrangements with labels such as King and Deluxe. He supplied Syd Nathan with many blues and doo-wop masters recorded in his primitive back-of-the-store studio from 1948 to 1954. As the pivotal recording mogul in the Detroit area, Battle was an important player in the independent label network.
845:. As in all the major urban centers of the US, many of the teen gangs had their own street corner vocal groups in which they took great pride and which they supported fiercely. Competitive music and dance was a part of African American street culture, and with the success of some local groups, competition increased, leading to territorial rivalries among performers. Pennsylvania Avenue served as a boundary between East and West Baltimore, with the East producing the Swallows and
2058:
1959:
1414:, yet they adopted the popular music of African Americans, treated it as their own, and were an appreciative audience for black doo-wop groups. Similarities in language idioms, masculine norms, and public comportment made it possible for African American and Italian American young men to mingle easily when societal expectations did not interfere. These cultural commonalities allowed Italian Americans to appreciate the singing of black doo-woppers in
541:
830:
audience, with Sonny Til using his entire body to convey the emotion in the lyrics of their songs. He became a teen sex symbol for black girls, who reacted by screaming and throwing pieces of clothing onto the stage when he sang. Other young male vocalists of the era took note and adjusted their own acts accordingly. The
Orioles were soon displaced by newer groups who imitated these pioneers as a model for success.
973:, who was beginning to take up new styles, including doo-wop. Gordy wanted to promote a black style of music that would appeal to both the black and white markets, performed by black musicians with roots in gospel, R&B, or doo-wop. He sought artists who understood that the music had to be updated to appeal to a broader audience and attain greater commercial success. Early recordings by Gordy's
802:, and even more so for their offspring. In the late 1940s, the Orioles rose from the streets and made a profound impression on young chitlin' circuit audiences in Baltimore. The group, formed in 1947, sang simple ballads in rhythm and blues harmony, with the standard arrangement of a high tenor singing over the chords of the blended mid-range voices and a strong bass voice. Their lead singer,
7884:
894:. During the late 1940s and early 1950s, independent record labels gained control of the black record market from the major companies, and Chicago rose as one of the main centers for rhythm and blues music. This music was a vital source for the youth music called rock 'n' roll. In the mid-1950s, a number of rhythm and blues acts performing in the vocal ensemble style later known as
1195:, their manager and main songwriter, and appeared on the show. They won only third place, but Godfrey invited them back twice. Chessler leveraged a few demo recordings the group had cut, along with the recent radio exposure, to interest a distributor in marketing the group on an independent label. They cut six sides, one of which was a doo-wop ballad written by Chessler called "
2654:
1181:, and began recording doo-wop; he recorded the Ravens, the Mello-Moods, and many other doo-wop vocal groups. He used the tiny shop to launch a series of record labels which released many hits in the US. Robinson founded or co-founded Red Robin Records, Whirlin' Disc Records, Fury Records, Everlast Records, Fire Records and Enjoy Records.
1455:. They were recorded by small independent rhythm and blues record labels, and occasionally by more established labels in New York. Most of these groups had limited success, scoring only one or two hit songs on the R&B charts. They had frequent personnel changes and often moved from label to label hoping to achieve another hit.
1955:, who were performing similar music and creating hits for the Motown label, but were categorized as soul. According to ethnomusicologist Evan Rapport, before 1958 more than ninety percent of doo-wop performers were African-American, but the situation changed as large numbers of white groups began to enter the performance arena.
1248:. Santiago was too sick to sing lead on the day of the audition, consequently Lymon sang the lead on "Why Do Fools Fall in Love" instead, and the group was signed as the Teenagers with Lymon as lead singer. The song quickly charted as the number one R&B song in the United States and reached number six on the
561:; they specialized in romantic ballads that appealed to the sexual fantasies of teenagers in the late 1940s and early 1950s. The nonsense string of syllables, "doo doo doo doo-wop", from which the name of the genre was later derived, is used repeatedly in the song "Just A Sittin' And A Rockin", recorded by the
1177:, a noted venue for African-American performers. The Apollo held talent contests in which audience members indicated their favorites with applause. These were a major outlet for doo-wop performers to be discovered by record company talent scouts. In 1951, Robinson started Robin Records, which later became
806:, had a soft, high-pitched tenor, and like the rest of the group, was still a teenager at the time. His style reflected the optimism of young black Americans in the postmigration era. The sound they helped develop, later called '"doo-wop", eventually became a "sonic bridge" to reach a white teen audience.
1902:, the Robins, and many others. Although his entrepreneurial approach to the music business and his role as a middleman between black artists and white audiences created opportunities for unrecorded groups to pursue wider exposure, he was reviled by many of the black musicians he dealt with. Historians
2626:
Doo-wop originally started out as the black teenage expression of the '50s and rap emerged as the black teenage ghetto expression of the '70s. Same identical thing that started it – the doowop groups down the street, in hallways, in alleys and on the corner. They'd gather anywhere and,
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The history of modern
Jamaican music is relatively short. A sudden shift in its style began in the early 1950s with the importing of American rhythm and blues records to the island and the new availability of affordable transistor radios. Listeners whose tastes had been neglected by the lone Jamaican
1458:
The migration of blacks to
Philadelphia from the southern states of the US, especially South Carolina and Virginia, had a profound effect not only on the city's demographics, but on its music and culture as well. During the Great Migration, the black population of Philadelphia increased to 250,000 by
1418:
spaces, whether on the radio, on records, at live concerts, or in street performances. Dozens of neighborhood
Italian groups formed, some of which recorded songs at Cousins Records, a record shop turned label, on Fordham Road. Italian American groups from the Bronx released a steady stream of doo-wop
1406:
Although
Italians were a much smaller proportion of the Bronx's population in the 1950s than Jews and the Irish, only they had significant influence as rock 'n' roll singers. Young people of other ethnicities were listening to rock 'n' roll, but it was Italian Americans who established themselves in
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business survey. Battle, a migrant from Macon, Georgia, established his shop as the first black-owned business in the area, which remained primarily Jewish up to the late 1940s. Young aspiring performers would gather there in hopes of being discovered by the leading independent record company owners
1906:
and
Jennifer Griffith maintain that regardless of Lubinsky's personal shortcomings, the evidence that he treated African American artists worse in his business dealings than other independent label owners did is unconvincing. They contend that in the extremely competitive independent record company
1797:
One style of rhythm and blues was mostly vocal, with instrumental backing that ranged from a full orchestra to none. It was most often performed by a group, frequently a quartet, as in the black gospel tradition; utilizing close harmonies, this style was nearly always performed in a slow to medium
906:
The
Chicago doo-wop groups, like those in New York, started singing on street corners and practiced their harmonies in tiled bathrooms, hallways, and subways, but because they came originally from the deep South, the home of gospel and blues music, their doo-wop sound was more influenced by gospel
1966:
This music was embraced by punk rockers in the 1970s, as part of a larger societal trend among white people in the US of romanticizing it as music that belonged to a simpler (in their eyes) time of racial harmony before the social upheaval of the 1960s. White
Americans had a nostalgic fascination
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In the decade from 1944 to 1955, many of the most influential record companies specializing in "race" music—or "rhythm and blues", as it later came to be known—were owned or co-owned by Jews. It was the small independent record companies that recorded, marketed, and distributed doo-wop music. For
1817:
becoming more socially contentious in
American society, while the black leadership increasingly challenged the old social order. The white power structure in American society and some executives in the corporately controlled entertainment industry saw rhythm and blues, rooted in black culture, as
1785:
The synthesis of music styles that evolved into what is now called rhythm and blues, previously labeled "race music" by the record companies, found a broad youth audience in the postwar years and helped to catalyze changes in racial relations in American society. By 1948, RCA Victor was marketing
620:
men who, like their black counterparts, lived in rough neighborhoods (e.g., the Bronx and Brooklyn), learned their basic musical craft singing in church, and would gain experience in the new style by singing on street corners. New York was the capital of Italian doo-wop, and all its boroughs were
548:
The vocal harmony group tradition that developed in the United States post-World War II was the most popular form of rhythm and blues music among black teenagers, especially those living in the large urban centers of the eastern coast, in Chicago, and in Detroit. Among the first groups to perform
2006:
pattern associated with California surf or beach music, done within eight-, sixteen-, and twenty-four bar forms, were made by bands such as the Ramones, either as covers or as original compositions. Employing stylistic conventions of 1950s and 1960s doowop and rock and roll to signify the period
833:
The Swallows began in the late 1940s as a group of Baltimore teenagers calling themselves the Oakaleers. One of the members lived across the street from Sonny Til, who went on to lead the Orioles, and their success inspired the Oakaleers to rename themselves the Swallows. Their song "Will You Be
821:
s "Race Records" chart, and number 13 on the pop charts, a crossover first for a black group. This was followed in 1953 by "Crying in the Chapel", their biggest hit, which went to number 1 on the R&B chart and number 11 on the pop chart. The Orioles were perhaps the first of the many doo-wop
1832:
Jewish composers, musicians, and promoters had a prominent role in the transition to doo-wop and rock 'n' roll from jazz and swing in American popular music of the 1950s, while Jewish businessmen founded many of the labels that recorded rhythm and blues during the height of the vocal group era.
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wrote the doo-wop song "Cry a Little Cry" in honor of his shapely biology teacher, and recruited a group of his schoolmates to back him on a recording of the song under the name Dobby Dobson and the Deltas on the Tip-Top label. It climbed to number one on the RJR charts, where it spent some six
829:
era. Their stage choreography was also more sexually explicit, and their songs were simpler and more emotionally direct. This new approach to sex in their performances did not target the white teen audience at first—when the Orioles took the stage, they were appealing directly to a young black
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and encouraged creativity within the context of African American culture. Young singers formed groups and rehearsed their songs in public spaces: on street corners, apartment stoops, and subway platforms, in bowling alleys, school bathrooms, and pool halls, as well as at playgrounds and under
692:
1039:. Many other Los Angeles doo-wop groups of the time were recorded by Dootsie Williams' Dootone Records and by John Dolphin's Central Avenue record store, Dolphin's of Hollywood. These included the Calvanes, the Crescendos, the Cuff Linx, the Cubans, the Dootones, the Jaguars, the Jewels,
239:
addressed to the beloved. Harmonic singing of nonsense syllables (such as "doo-wop") is a common characteristic of these songs. Gaining popularity in the 1950s, doo-wop was "artistically and commercially viable" until the early 1960s and continued to influence performers in other genres.
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Early doo-wop music, dating from the late 1940s and early 1950s, was especially popular in the Northeast industrial corridor from New York to Philadelphia, and New York City was the world capital of doo-wop. There, African American groups such as the Ravens, the Drifters, the Dominoes,
2141:, released their cover of the song, which reached number 1 and remained there for nine weeks. This was followed by several other white artists covering doo-wop songs performed by black artists, all of which scored higher on the Billboard charts than did the originals. These include "
1652:, a half-Jewish, half-Italian, popular deejay on Philadelphia radio, built his career hosting dances and live shows and gained a devoted local following. He soon had his own independent radio show, on which he introduced many doo-wop acts in the 1960s to a wide audience, including
2621:
The formation of the hip-hop scene beginning in the late 1970s strongly parallels the rise of the doo-wop scene of the 1950s, particularly mirroring it in the emergence of the urban street culture of the 1990s. According to Bobby Robinson, a well-known producer of the period:
1946:
The R&B and doo-wop music that informed early rock 'n' roll was racially appropriated in the 1970s just as blues-based rock had been in the 1950s and 1960s. Generic terms such as "Brill Building music" obscure the roles of the black producers, writers, and groups like
929:, and the Spaniels, all of whom achieved national chart hits in the mid-1950s. Chess signed the Moonglows, who had the most commercial success (seven Top 40 R&B hits, six of those Top Ten) of the 1950s doo-wop groups, and the Flamingos, who had national hits as well.
1054:
The Jaguars, from Fremont High School, was one of the first interracial vocal groups; it consisted of two African Americans, a Mexican American, and a Polish-Italian American. Doo-wop was popular with California Mexican Americans, who were attracted in the 1950s to its
1165:, a native of South Carolina, was an independent record producer and songwriter in Harlem who helped popularize doo-wop music in the 1950s. He got into the music business in 1946 when he opened "Bobby's Record Shop" (later "Bobby's Happy House") on the corner of
1934:. Reed recorded his first lead vocals in 1962 on two doo-wop songs, "Merry Go Round" and "Your Love", which were not released at the time. A few years later, Reed worked as a staff songwriter writing bubblegum and doo-wop songs in the assembly-line operation at
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singers in ensembles dating to the 1940s, and were one of the oldest groups to record during the era. Among the Du Droppers' most enduring songs are "I Wanna Know" and "I Found Out (What You Do When You Go Round There)", which both reached number three on the
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s programming came to rely on the musical creations of black performers, the show marginalized black teens with exclusionary admissions policies until it moved to Los Angeles in 1964. Featuring young whites dancing to music popularized by local deejays
1692:) and his selection of records. Enterprising deejays used mobile sound systems to create impromptu street parties. These developments were the principal means by which new American R&B records were introduced to a mass Jamaican audience.
903:, record distributors, and nightclub owners of Chicago all had a part in developing the vocal potential of the doo-wop groups, but Chicago doo-wop was "created and nourished" on the street corners of the city's lower-class neighborhoods.
1802:
exchange. Vocal harmony groups such as the Ink Spots embodied this style, the direct antecedent of doo-wop, which rose from inner city street corners in the mid-1950s and ranked high on the popular music charts between 1955 and 1959.
1763:". Bunny Wailer cited Frankie Lymon and the Teenagers, the Platters, and the Drifters as early influences on the group. The Wailers covered Harvey and the Moonglows' 1958 doo-wop hit, "Ten Commandments of Love", on their debut album,
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songs, including "Teenager In Love" and "I Wonder Why" by Dion and the Belmonts, and "Barbara Ann" by the Regents. Johnny Maestro, the Italian American lead singer of the interracial Bronx group the Crests, was the lead on the hit "
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neighborhood, was born in Harlem and raised in the Bronx; his mother was from North Carolina. Crier was a founding member of a doo-wop group called the Five Chimes, one of several different groups with that name, and sang bass with
565:
in December 1945. By the mid-1950s, vocal harmony groups had transformed the smooth delivery of ballads into a performance style incorporating the nonsense phrase as vocalized by the bass singers, who provided rhythmic movement for
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When done in swing time, early doo-wop became a popular form of rock and roll, and it was often slowed down to provide dance hits throughout the 1950s, and the genre was personified by successful groups like the Coasters and the
1466:
Black doo-wop groups had a major role in the evolution of rhythm and blues in early 1950s Philadelphia. Groups like the Castelles and the Turbans helped develop the music with their tight harmonies, lush ballads, and distinctive
1879:
Deborah Chessler, a young Jewish sales clerk interested in black music, became the manager and songwriter for the Baltimore doo-wop group the Orioles. They recorded her song "It's Too Soon to Know" and it reached no. 1 on
222:
communities during the 1940s, mainly in the large cities of the United States, including New York, Philadelphia, Pittsburgh, Chicago, Baltimore, Newark, Detroit, Washington, D.C., and Los Angeles. It features vocal group
516:' 1953 release "Good Lovin'" (Atlantic Records 1000), and in the chorus of Carlyle Dundee & the Dundees' 1954 song "Never" (Space Records 201). The first hit record with "doo-wop" being harmonized in the refrain was
2460:
Although the ultimate longevity of doo-wop has been disputed, at various times in the 1970s–1990s the genre saw revivals, with artists being concentrated in urban areas, mainly in New York City, Chicago, Philadelphia,
1390:
New York was also the capital of Italian doo-wop, and all its boroughs were home to groups that made successful records. The Crests were from the Lower East Side in Manhattan; Dion and the Belmonts, the Regents, and
432:
While these features provide a helpful guide, they need not all be present in a given song for aficionados to consider it doo-wop, and the list does not include the aforementioned typical doo-wop chord progressions.
860:
Baltimore vocal groups gathered at neighborhood record stores, where they practiced the latest hits in hopes that the store owners' connections with record companies and distributors might land them an audition. A
1483:
and recorded "Let Me Show You (Around My Heart)" with its B side, "When We Dance", in 1955. "When We Dance" became a national hit, rising to no. 3 on the R&B charts and reaching the Top 40 on the pop charts.
1558:
over rock 'n' roll's popularity with white teenagers, and the show's Italian American dancers and performers were deethnicized as "nice white kids", their Italian American youth identity submerged in whiteness.
898:
began to cross over from the R&B charts to mainstream rock 'n' roll. The Chicago record companies took note of this trend and scouted for vocal groups from the city that they could sign to their labels. The
715:'s voice would be better in the lead, Santiago's original version was not recorded. To suit his tenor voice Lymon made a few alterations to the melody, and consequently the Teenagers recorded the song known as "
1708:
performed in Kingston. In late August 1957, the doo-wop group Lewis Lymon and the Teenchords arrived in Kingston as part of the "Rock-a-rama" rhythm and blues troupe for two days of shows at the Carib Theatre.
1373:
Public School 99, which sponsored evening talent shows, and Morris High School were centers of musical creativity in the Bronx during the doo-wop era. Arthur Crier, a leading figure in the doo-wop scene in the
6674:
256:
Doo-wop's style is a mixture of precedents in composition, orchestration, and vocals that figured in American popular music created by songwriters and vocal groups, both black and white, from the 1930s to the
1699:
of Federal Studios, Jamaica's first recording facility, in 1954, marked the beginning of a prolific recording industry and a thriving rhythm and blues scene in Jamaica. In 1957, American performers including
2541:
949:
in 1946 and recorded a variety of eccentric artists and sounds; in the mid-1950s they became champions of Detroit rhythm and blues, including the music of local doo-wop groups. Fortune's premier act was the
1142:
came mostly from Georgia, Florida, and the Carolinas. In the 1940s black youths in the city began to sing the rhythm and blues styling that came to be known as doo-wop. Many of these groups were found in
865:
talent scout discovered the Swallows as they were rehearsing in Goldstick's record store. Sam Azrael's Super Music Store and Shaw's shoeshine parlor were also favored hangouts for Baltimore vocal groups;
5414:
While never achieving the national stature of many of their contemporaries, the Solitaires managed to outlast most of them in a career that saw them as one of the top vocal groups on the New York scene.
2011:
in songs, with subject matter following the example set by rock and roll and doo-wop groups of that era: teenage romance, cars, and dancing. Early punk rockers sometimes portrayed these nostalgic 1950s
1154:, to live in certain parts of New York City of the early 1950s. They identified with their own wards, street blocks and streets. Being effectively locked out of mainstream white society increased their
1000:
Doo-wop groups also formed on the west coast of the United States, especially in California, where the scene was centered in Los Angeles. Independent record labels owned by black entrepreneurs such as
1479:, and performed at neighborhood recreation centers and teen dances. The Turbans, Philadelphia's first nationally charting R&B group, formed in 1953 when they were in their teens. They signed with
1407:
performing and recording the music. While relationships between Italian Americans and African Americans in the Bronx were sometimes fraught, there were many instances of collaboration between them.
2023:
rocker Lou Reed was working the college circuit, leading bands that played covers of three-chord hits by pop groups and "anything from New York with a classic doo-wop feel and a street attitude".
1308:. The six girls in the Bobettes, aged eleven to fifteen, wrote and recorded "Mr. Lee", a novelty tune about a schoolteacher that was a national hit. The Chantels were the second African-American
445:
spoken chorus. The Mills Brothers, who were famous in part because in their vocals they sometimes mimicked instruments, were an additional influence on street vocal harmony groups, who, singing
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who appealed to both black and white audiences. He was born in Harlem, where he began singing doo-wop songs with his friends on the streets. He joined a group, the Premiers, and helped members
1585:
The program director of WHAT, Charlie O'Donnell, hired Lit, who was Jewish, to deejay on the station in 1955, and Lit's career was launched. From there he went to WRCV and then around 1956 to
1117:. Zappa took the song to Laboe, who recruited the lead vocalist of the Penguins, Cleve Duncan, for a new iteration of the group, recorded it, and released it as a single on his record label.
5564:
3790:
1716:
Like their American exemplars, many Jamaican vocalists began their careers by practicing harmonies in groups on street corners, before moving on to the talent contest circuit that was the
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groups due to its easy adaptation to an all-vocal form. Doo-wop experienced a resurgence in popularity at the turn of the 21st century with the airing of PBS's doo-wop concert programs:
487:
Although the musical style originated in the late 1940s and was very popular in the 1950s, the term "doo-wop" itself did not appear in print until 1961, when it was used in reference to
1907:
business during the postwar era, the practices of Jewish record owners generally were more a reflection of changing economic realities in the industry than of their personal attitudes.
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of Los Angeles. They, along with Bruce Tate and Curtis Williams, recorded the song "Earth Angel" (produced by Dootsie Williams), which rose to number one on the R&B charts in 1954.
497:, just as the style's vogue was nearing its end. Though the name was attributed to radio disc jockey Gus Gossert, he did not accept credit, stating that "doo-wop" was already in use in
392:'s song "I Miss You So" (1939), and the Triangle Quartette's even earlier record "Doodlin' Back" (1929) prefigured doo-wop's rhythm and blues sound long before doo-wop became popular.
1443:
Young black singers in Philadelphia helped create the doo-wop vocal harmony style developing in the major cities of the US during the 1950s. Early doo-wop groups in the city included
7826:
1599:
were major record labels based in Philadelphia from 1956 (Cameo) and 1958 (Parkway) to 1967 that released doo-wop records. In 1957, small Philadelphia record label XYZ had recorded "
937:
In 1945, Joe Von Battle opened Joe's Record Shop at 3530 Hastings Street in Detroit; the store had the largest selection of rhythm and blues records in the city, according to a 1954
7452:
766:
Like other urban centers in the US during the late 1940s and early 1950s, Baltimore developed its own vocal group tradition. The city produced rhythm and blues innovators such as
1841:
in 1946, and recorded a variety of eccentric artists and sounds; in the mid-1950s they became champions of Detroit rhythm and blues, including the music of local doo-wop groups.
1806:
Black and white young people both wanted to see popular doo-wop acts perform, and racially mixed groups of youths would stand on inner city street corners and sing doo-wop songs
2618:
are two examples of current artists who incorporate doo-wop music into their records and live performances. Mars says he has "a special place in heart for old-school music".
2374:, doo-wop influenced many of the major rock and roll groups that defined the latter decades of the 20th century, and laid the foundation for many later musical innovations.
7787:
1967:
with the 1950s and early 1960s that entered mainstream culture beginning in 1969 when Gus Gossert started to broadcast early rock and roll and doo-wop songs on New York's
2827:
Doo-wop is characterized by simple lyrics, usually about the trials and ecstasies of young love, sung by a lead vocal against a background of repeated nonsense syllables.
1491:", released in 1957, reached number one on the pop and R&B charts in February 1958, while Lee Andrews & the Hearts had hits in 1957 and 1958 with "Teardrops", "
1008:
recorded these groups, most of which had formed in high schools. One such group, the Penguins, included Cleveland "Cleve" Duncan and Dexter Tisby, former classmates at
5320:
6682:
2465:, and Los Angeles. Revival television shows and boxed CD sets such as the "Doo Wop Box" set 1–3 have rekindled interest in the music, the artists, and their stories.
2039:(1985) with acoustic guitar and doo-wop harmonies. His song "Down in Bermuda" for example, was directly influenced by "Down in Cuba" by the Royal Holidays. His album
363:
with simple instrumentation. Doo-wop street singers generally performed without instrumentation, but made their musical style distinctive, whether using fast or slow
2573:. The genre would see another resurgence in popularity in 2018, with the release of the album "Love in the Wind" by Brooklyn-based band, the Sha La Das, produced by
1688:. In the late 1940s and early 1950s, many working-class Jamaicans who could not afford radios attended sound system dances, large outdoor dances featuring a deejay (
1203:
national Most-Played Juke Box Race Records chart, and, in a first for a doo-wop song, the record crossed over to the mainstream pop chart, where it reached no. 13.
1312:
to enjoy nationwide success in the US. The group was established in the early 1950s by five students, all of them born in the Bronx, who attended the Catholic
1191:, was a New York venue from which some doo-wop groups gained national exposure. In 1948, the Orioles, then known as the Vibra-Nairs, went to the city with
743:" was a hit in 1959. Chico Torres was a member of the Crests, whose lead singer, Johhny Mastrangelo, would later gain fame under the name Johnny Maestro.
1798:
tempo. The lead voice, usually one in the upper register, often sang over the driving, wordless chords of the other singers or interacted with them in a
1059:
vocals; the romantic style of the doo-wop groups appealed to them, as it was reminiscent of the traditional ballads and harmonies of Mexican folk music.
2208:". Frankie Laine referred to it as "rock and roll"; Lymon's extreme youth appealed to a young and enthusiastic audience. His string of hits included: "
1794:
magazine at the time, reversed the words and coined the name "Rhythm and Blues" to replace the term "Race Music" for the magazine's black music chart.
1258:, an influential street corner group from Harlem, were a model for many of the New York City doo-wop acts that rose after them. Their biggest hit was "
7683:
1550:
s young dancers were Italian Americans who attended a nearby Catholic high school in South Philadelphia. Like the rest of the entertainment industry,
1387:. Many years later he observed that there was a shift in the music sung on the streets from gospel to secular rhythm and blues between 1950 and 1952.
3846:
7818:
5576:
3798:
1894:
had a reputation for exploiting black artists. Lubinsky, who founded Savoy Records in 1942, produced and recorded the Carnations, the Debutantes,
1463:, bringing their secular and religious folk music with them. After World War II, the black population of the metro grew to about 530,000 by 1960.
1138:; instrumental accompaniment was added when the songs were recorded. The large numbers of blacks who had migrated to New York City as part of the
5213:
1669:(Real Jamaican Radio), tuned into the R&B music being broadcast on the powerful nighttime signals of American AM radio stations, especially
3481:
1684:
Jamaicans who worked as migrant agricultural workers in the southern US returned with R&B records, which sparked an active dance scene in
1543:
presented to its national audience an image of youth culture that erased the presence of black teenagers in Philadelphia's youth music scene.
7420:
955:
1410:
Italian Americans kept African Americans out of their neighborhoods with racial boundary policing and fought against them in turf wars and
1354:, fourteen years old, was the lead singer, singing with Patricia Bennett and Barbara Lee, both thirteen. In 1962, the girls met songwriter
520:' 1955 hit, "When You Dance" (Herald Records H-458). The Rainbows embellished the phrase as "do wop de wadda" in their 1955 "Mary Lee" (on
707:, wrote the lyrics and the music for a song to be called "Why Do Birds Sing So Gay?", but whether because he was ill or because producer
8340:
8043:
7795:
6532:
2299:
838:
R&B chart. In 1952, the Swallows released "Beside You", their second national hit, which peaked at number 10 on the R&B chart.
5653:
5129:
841:
Some Baltimore doo-wop groups were connected with street gangs, and a few members were active in both scenes, such as Johnny Page of
6261:
4662:
7892:
5894:
2553:
890:
The city of Chicago was outranked as a recording center in the United States only by New York City in the early years of the music
1814:
6501:
5716:
4975:"Doo-wop Italiano: Towards an understanding and appreciation of Italian-American vocal groups of the late 1950s and early 1960s"
2485:
doo-wop band called Ruben & the Jets. In collaboration with Zappa, singer Ruben Guevara went on to start a real band called
2706:
1603:", a song by local group the Rays, which Cameo picked up for national distribution. It eventually reached number 3 on both the
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6882:
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2016:
with irony and sarcasm according to their own lived experiences, but they still indulged the fantasies evoked by the images.
525:
5324:
1827:
1769:, released in late 1965. The same year, the Wailers cut the doo-wop song "Lonesome Feelings", with "There She Goes" on the
371:, while using the "doo-wop" syllables as a substitute for drums and a bass vocalist as a substitute for a bass instrument.
352:
7764:
6438:
7571:
3527:
1343:
1313:
1024:
817:
radio show. The song they performed, "It's Too Soon to Know", often cited as the first doo-wop song, went to number 1 on
266:
4635:
2131:
charts in 1954. "Sh-Boom" is considered to have been the first rhythm-and-blues record to break into the top ten on the
969:
In late 1957, seventeen-year-old Robinson, fronting a Detroit vocal harmony group called the Matadors, met the producer
4689:
2498:
1139:
1031:, a successful R&B group of the late 1940s and the 1950s who formed in San Francisco, or by other groups including
795:
5076:
2906:
Samples. Online Publikationen der Gesellschaft für Popularmusikforschung/German Society for Popular Music Studies e.V.
1134:, melded rhythm and blues with the gospel music they had grown up singing in church. Street singing was almost always
437:, lead singer of the Ink Spots, is often credited with introducing the "top and bottom" vocal arrangement featuring a
8345:
7989:
7959:
7944:
7920:
6563:
5547:
4918:
4478:
4224:
3829:
2885:
2610:, doo-wop acts in vogue in the second decade of the 2000s range from the Four Quarters to Street Corner Renaissance.
2469:
1527:, and subsequently it sold over a million copies, topping the Billboard R&B singles chart and pop singles chart.
1188:
1020:
926:
6953:
5565:"From Doo Wop to Hip Hop: The Bittersweet Odyssey of African-Americans in the South Bronx | Socialism and Democracy"
954:, featuring the soaring tenor of lead vocalist Nolan Strong, a native of Alabama. The group's most notable hit was "
8325:
6093:
The Nicest Kids in Town: American Bandstand, Rock 'n' Roll, and the Struggle for Civil Rights in 1950s Philadelphia
5983:
2231:, and the Marcels had hits that charted on Billboard. All-white doo-wop groups would appear and also produce hits:
2217:
2205:
1501:, a Philadelphia deejay, record label owner and producer, managed the doo-wop groups Lee Andrews & the Hearts,
1241:
1162:
1078:. The record was a collection of classic doo-wop songs by bands that used to play at the dances Laboe organized at
716:
356:
6364:
5346:
5020:
4315:
2606:. These programs brought back, live on stage, some of the better known doo-wop groups of the past. In addition to
1810:. This angered white supremacists, who considered rhythm and blues and rock and roll a danger to America's youth.
1759:
sang low harmony. The Wailers recorded an homage to doo-wop in 1965 with their version of Dion and the Belmonts' "
231:. Lyrics are simple, usually about love, sung by a lead vocal over background vocals, and often featuring, in the
8335:
1995:
1619:
1611:
Top 100, and also reached the top five on both the sales and airplay charts. It was the group's only top 40 hit.
1506:
85:
53:
6981:"Walls of Sounds: Leiber & Stoller, Phil Spector, the Black-Jewish Alliance, and the "Enlarging" of America"
1435:
in New York. Freed's various radio and stage shows had a crucial role in creating a market for Italian doo-wop.
8036:
4716:
962:, lead singer of the Dominoes and later of the Drifters. Strong himself made a lasting impression on the young
740:
1113:". This was one of the first songs written by Zappa, who had been listening to Laboe's compilation of doo-wop
6705:
4100:
3209:
Popular Music Studies Today: Proceedings of the International Association for the Study of Popular Music 2017
1476:
1005:
951:
645:
8176:
6618:""Local" and "Foreign": The Popular Music Culture of Kingston, Jamaica, before Ska, Rock Steady, and Reggae"
6292:
5599:
2282:". There was a revival of the nonsense syllable form of doo-wop in the early 1960s, with popular records by
1818:
obscene, and considered it a threat to white youth, among whom the genre was becoming increasingly popular.
8104:
3451:
2347:
985:
862:
344:
2362:". Doo-wop was a precursor to many of the African-American musical styles seen today. Having evolved from
3874:
2239:
in 1957 with the chart-topping cover song "Little Darlin'" (original song by an African American group),
2077:
1876:
Hot 100 chart in 1961. During the early 1960s, Scepter was the most successful independent record label.
1600:
1452:
1127:
1009:
750:, lead singer of the Mellows from 1953 to 1958, helped pave the way for other women in doo-wop, soul and
262:
2801:
David Goldblatt (2013). "Nonsense in Public Places: Songs of Black Vocal Rhythm and Blues or Doo-Wop".
2517:
2406:
2120:
1744:
1724:
1623:
1582:. These were Philadelphia's two major black radio stations; they were black-oriented, but white-owned.
1359:
685:
305:
7588:
Inside the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys' Founding Genius
4214:
374:
Doo-wop's characteristic vocal style was influenced by groups such as the Mills Brothers, whose close
8330:
8029:
7902:
6841:"23, "Bring It on Home": Constructions of Social Class in Rhythm and Blues and Soul Music, 1949-1980"
2667:
2254:
The peak of doo-wop might have been in the late 1950s; in the early 1960s the most notable hits were
2244:
1869:
1423:". Maestro said that he became interested in R&B vocal group harmony listening to the Flamingos,
1400:
1170:
978:
779:
5834:"Italian Doo-Wop: Sense of place, Politics of Style, and Racial Crossovers in Postwar New York City"
5685:"Italian Doo-Wop: Sense of place, Politics of Style, and Racial Crossovers in Postwar New York City"
3986:
8218:
8196:
8191:
8089:
2562:
2478:
2267:
2263:
2181:
2085:
1604:
1514:
1362:, to the group. The group was named the Chiffons when recording and releasing their first single, "
1300:
The heyday of the girl group era began in 1957 with the success of two teen groups from the Bronx,
1275:
1215:
1196:
1166:
472:
31:
2569:
sessions to feature a doo-wop influence was a cover of "Teenager In Love", originally recorded by
1689:
1098:, playing doo-wop and rhythm and blues broadcast from the parking lot of Scriverner's Drive-In on
825:
The sexual innuendo in the Orioles' songs was less disguised than in the vocal group music of the
786:
in Washington, D.C. were among the most prestigious venues for black performers on the so-called "
8355:
8350:
7711:
6786:
3734:
3542:
2545:
2509:
2382:
1971:
radio station. This trend reached its peak in racially segregated commercial productions such as
1653:
1131:
1079:
728:
649:
269:
17:
3601:
3932:
2355:
2035:
1627:
1392:
591:
590:, the Cadillacs' "Gloria", the Heartbeats' "A Thousand Miles Away", Shep & the Limelites' "
108:
7656:
7528:
7498:
7384:
7357:
7303:
7276:
7192:
7119:
7009:
6926:
6872:
6840:
6813:
6759:
6590:
6391:
6337:
6178:
6148:
6064:
6037:
6010:
5930:
5862:
5833:
5684:
5626:
5536:
5508:
5481:
5368:
5239:
5184:
4938:
4800:
4770:
4743:
4549:
4522:
4495:
4468:
4358:
4157:
4073:
4046:
3821:
3763:
3707:
3653:
3626:
3372:
3121:
3081:
3054:
3027:
2996:
2719:
2544:"). The last doo-wop record to reach the top ten on the U.S. pop charts was "It's Alright" by
7849:
7737:
7613:
7586:
7558:
7330:
7246:
7219:
7092:
7065:
6980:
6899:
6732:
6467:
6234:
6207:
6121:
6091:
5957:
5803:
5776:
5454:
5427:
5293:
5154:
5047:
4908:
4881:
4854:
4827:
4608:
4441:
4412:
4385:
4241:
4184:
4127:
4016:
3959:
3680:
3514:
3479:
3395:
3345:
3318:
3263:
3233:
3204:
3177:
2950:
2775:
2748:
2589:
2570:
2279:
2209:
1643:
1596:
1563:
1259:
879:
625:
505:
320:; composers of doo-wop songs varied this slightly but significantly to the chord progression
309:
293:
7472:
6540:
5747:
5103:
4270:
3570:
2927:
2843:
7409:
The Doo-Wop Box I, Rhino Records Inc., liner notes by Bob Hyde, Billy Vera and others, 1993
5661:
5601:
They All Sang on the Corner: A Second Look at New York City's Rhythm and Blues Vocal Groups
4102:
Popular Music and the Underground: Foundations of Jazz, Blues, Country, and Rock, 1900-1950
3029:
Continuum Encyclopedia of Popular Music of the World: Volume II: Performance and Production
2645:
2213:
2146:
2108:
2008:
1608:
1415:
1110:
1083:
1036:
958:". Strong, like other R&B and doo-wop tenors of the time, was profoundly influenced by
661:
493:
476:
368:
6269:
5139:
3812:
Reebee Garofalo (2001). "VI. Off the Charts". In Rachel Rubin Jeffrey Paul Melnick (ed.).
3483:
Encyclopedia of African-American Culture and History: the Black Experience in the Americas
2872:
Bernard Gendron (1986). "2: Theodor Adorno Meets the Cadillacs". In Tania Modleski (ed.).
419:
8:
8119:
3851:
2398:
2351:
2189:
2162:
1370:
label in 1963. "He's So Fine" hit No. 1 in the US, selling over one million copies.
1255:
1150:
Blacks were forced by legal and social segregation, as well as by the constraints of the
524:; also a Washington, D.C. regional hit on Pilgrim 703); and in their 1956 national hit, "
434:
389:
340:
328:. This characteristic harmonic layout was combined with the AABA chorus form typical for
5902:
4802:
Mexican American Mojo: Popular Music, Dance, and Urban Culture in Los Angeles, 1935–1968
2902:"AABA, Refrain, Chorus, Bridge, Prechorus — Song Forms and their Historical Development"
1717:
8299:
8129:
7688:
7173:
6645:
5456:
Girls Like Us: Carole King, Joni Mitchell, Carly Simon--And the Journey of a Generation
5134:
4994:
3594:
3515:"Show 11 – Big Rock Candy Mountain: Early rock 'n' roll vocal groups & Frank Zappa"
2818:
2585:
2558:
2494:
2486:
2462:
2402:
2013:
2007:
referenced, some punk bands used call-and-response background vocals and doo-wop style
1845:
1760:
1670:
1523:
1492:
1358:
at the after-school center; Mack suggested they add Sylvia Peterson, who had sung with
1155:
1013:
442:
348:
7355:
6509:
5928:
5398:
3930:
746:
Female doo-wop singers were much less common than males in the early days of doo-wop.
7955:
7940:
7857:
7743:
7662:
7619:
7592:
7534:
7504:
7428:
7390:
7363:
7336:
7309:
7282:
7252:
7225:
7198:
7177:
7125:
7098:
7071:
7044:
7017:
6988:
6959:
6932:
6905:
6878:
6848:
6819:
6792:
6788:
Icons of R & B and Soul: An Encyclopedia of the Artists who Revolutionized Rhythm
6765:
6738:
6637:
6596:
6569:
6475:
6397:
6370:
6343:
6240:
6213:
6186:
6154:
6127:
6097:
6070:
6043:
6016:
5963:
5936:
5929:
Emmett G. Price III; Tammy Kernodle; Horace J. Maxile, Jr., eds. (17 December 2010).
5868:
5841:
5809:
5782:
5755:
5692:
5632:
5605:
5543:
5514:
5487:
5460:
5433:
5374:
5299:
5272:
5245:
5192:
5160:
5082:
5055:
5026:
4998:
4974:
4950:
4942:
4914:
4887:
4860:
4833:
4806:
4776:
4749:
4722:
4695:
4668:
4641:
4614:
4587:
4555:
4528:
4501:
4474:
4447:
4420:
4364:
4321:
4276:
4249:
4220:
4190:
4163:
4133:
4106:
4079:
4052:
4022:
3992:
3965:
3938:
3911:
3825:
3814:
3769:
3742:
3713:
3686:
3659:
3632:
3605:
3487:
3457:
3430:
3423:
3401:
3351:
3324:
3269:
3239:
3212:
3183:
3156:
3149:
3127:
3087:
3060:
3033:
3002:
2956:
2901:
2881:
2874:
2849:
2810:
2781:
2754:
2727:
2521:
2166:
2124:
2030:
1973:
1799:
1770:
1685:
1615:
1460:
1420:
1375:
1249:
1178:
1151:
732:
562:
521:
375:
313:
211:
2998:
Devil's Music, Holy Rollers and Hillbillies: How America Gave Birth to Rock and Roll
2909:
1513:, who had a number 1 hit in 1958 with "Get a Job". After the nationally distributed
813:
signed the Orioles to a contract, following which they appeared on Arthur Godfrey's
8320:
8094:
8062:
8052:
7163:
6868:
6629:
4986:
2607:
2533:
2441:
2437:
2418:
2343:
2158:
2150:
2132:
2104:
2073:
2041:
2026:
1935:
1903:
1899:
1546:
Broadcast from a warehouse on 46th and Market Street in West Philadelphia, most of
1488:
1472:
1192:
1130:, and the so-called "bird groups", such as the Crows, the Sparrows, the Larks, and
1099:
1001:
854:
755:
633:
624:
By the late 1950s and early 1960s, many Italian-American groups had national hits:
617:
575:
456:
385:
379:
297:
289:
219:
215:
81:
67:
8171:
4990:
4551:
Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations
2565:
chart in June 1993. Much of the album had a doo-wop flavor. Another song from the
1713:, a Greek American doo-wop group from Pittsburgh, did a show in Kingston in 1958.
1634:" and their song "Rock and Roll Is Here to Stay" reached the top twenty. In 1961,
48:
7038:
5266:
4579:
3905:
2682:
2578:
2574:
2549:
2504:
Over the years other groups have had doo-wop or doo-wop-influenced hits, such as
2323:
2232:
2228:
2142:
2081:
2064:
during their participation in the doo-wop festival celebrated in May 2010 at the
1948:
1891:
1849:
1838:
1765:
1740:
1590:
1575:
1510:
1448:
1363:
1321:
1233:
1206:
1086:, beginning in 1955. It included songs by local bands such as the Heartbeats and
1048:
1040:
963:
959:
946:
910:
842:
810:
791:
787:
724:
720:
700:
609:
Teenagers who could not afford musical instruments formed groups that sang songs
529:
325:
280:
191:
6012:
Who Did It First?: Great Rhythm and Blues Cover Songs and Their Original Artists
5838:
Making Italian America: Consumer Culture and the Production of Ethnic Identities
5689:
Making Italian America: Consumer Culture and the Production of Ethnic Identities
3765:
Making Italian America: Consumer Culture and the Production of Ethnic Identities
3628:
Making Italian America: Consumer Culture and the Production of Ethnic Identities
8277:
8156:
8084:
7566:
7559:"Show 25 – The Soul Reformation: Phase two, the Motown story. [Part 4]"
7554:
7457:
6423:
3522:
3510:
2615:
2445:
2394:
2291:
2287:
2065:
1865:
1710:
1502:
1480:
1367:
1282:
1237:
1184:
1174:
1114:
1087:
1075:
1043:, the Silks, the Squires, the Titans, and the Up-Fronts. A few groups, such as
922:
891:
783:
708:
677:
232:
4129:
Doo-Wop Acappella: A Story of Street Corners, Echoes, and Three-Part Harmonies
3682:
Doo-Wop Acappella: A Story of Street Corners, Echoes, and Three-Part Harmonies
3347:
Doo-Wop Acappella: A Story of Street Corners, Echoes, and Three-Part Harmonies
3320:
Doo-Wop Acappella: A Story of Street Corners, Echoes, and Three-Part Harmonies
3292:
3179:
Doo-Wop Acappella: A Story of Street Corners, Echoes, and Three-Part Harmonies
2952:
Doo-Wop Acappella: A Story of Street Corners, Echoes, and Three-Part Harmonies
2777:
Doo-Wop Acappella: A Story of Street Corners, Echoes, and Three-Part Harmonies
2429:
2330:, helped link the doo-wop style to the mainstream, and to the future sound of
2137:
charts, reaching number 5; a few months later, a white group from Canada, the
1267:
8314:
7965:
7638:
7524:
7494:
7432:
6641:
6318:
5724:
5394:
4340:
2975:
2913:
2814:
2359:
2295:
2259:
2240:
2224:
2201:
2197:
2193:
2138:
2100:
2093:
2089:
2061:
1985:
1864:, who worked for Don Kirshner's Aldon music at 1650 Broadway (near the famed
1853:
1666:
1639:
1536:
1444:
1424:
1305:
1294:
1290:
1271:
1225:
974:
914:
871:
850:
846:
767:
747:
712:
704:
653:
637:
603:
599:
595:
579:
554:
509:
336:
329:
301:
146:
6955:
Friends, Colleagues, and Neighbors: Jewish Contributions to American History
6424:"From Memphis to Kingston: An Investigation into the Origin of Jamaican Ska"
4524:
Record Makers and Breakers: Voices of the Independent Rock 'n' Roll Pioneers
2722:. In Emmett G. Price III; Tammy Lynn Kernodle; Horace Joseph Maxile (eds.).
1328:
girl group to chart. Their second single, "Maybe" hit the charts, No. 15 on
719:". Racially integrated groups with both black and white performers included
8282:
8151:
8146:
6928:
The Black Musician and the White City: Race and Music in Chicago, 1900-1967
6268:. Encyclopedia of Greater Philadelphia | Rutgers University. Archived from
2672:
2659:
2542:
Doo Wa Ditty (Blow That Thing)/A Touch of Jazz (Playin' Kinda Ruff Part II)
2513:
2453:
2335:
2327:
2319:
2315:
2255:
2236:
2185:
2170:
2057:
1952:
1919:
1857:
1787:
1774:
1752:
1736:
1728:
1705:
1701:
1649:
1554:
camouflaged the intrinsic blackness of the music in response to a national
1498:
1339:
1301:
1210:
1044:
989:
900:
875:
867:
775:
665:
629:
587:
571:
558:
463:(1950) includes vocalizations imitating the "doomph, doomph" plucking of a
452:
151:
7168:
7151:
7067:
Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era
6209:
Guido Culture and Italian American Youth: From Bensonhurst to Jersey Shore
5778:
Guido Culture and Italian American Youth: From Bensonhurst to Jersey Shore
1459:
1940. Hundreds of thousands of southern African Americans migrated to the
1324:. Their first recording was "He's Gone" (1958), which made them the first
8267:
8166:
8079:
7356:
Vladimir Bogdanov; Chris Woodstra; Stephen Thomas Erlewine, eds. (2002).
6146:
5104:"An Old Record Shop May Fall Victim to Harlem's Success (Published 2007)"
3205:"From Earth Angel to Electric Lucifer: Castrati, Doo Wop and the Vocoder"
2537:
2505:
2474:
2473:, released in late 1968, is a concept album of doo-wop music recorded by
2433:
2410:
2371:
2339:
2283:
2275:
1990:
1923:
1915:
1895:
1861:
1678:
1635:
1555:
1411:
1384:
1355:
1263:
1245:
1106:
1091:
970:
917:
were the main labels recording doo-wop groups in Chicago. Vee-Jay signed
826:
771:
736:
673:
669:
583:
550:
517:
513:
488:
468:
464:
415:
it features a wide range of vocal parts, "usually from bass to falsetto";
166:
98:
7615:
Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective
6874:
Music in the Late Twentieth Century: The Oxford History of Western Music
6675:"A thousand teardrops: how doo-wop kickstarted Jamaica's pop revolution"
4216:
Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race
3480:
Colin A. Palmer; Schomburg Center for Research in Black Culture (2006).
2822:
2204:
show in New York, which was televised nationally, performing their hit "
1252:
in 1956, becoming the number one pop hit in the United Kingdom as well.
8272:
8245:
8228:
8141:
7684:"A Doo-Wop Shop Prepares to Close, Signaling the End of a Fading Genre"
6236:
American Bandstand: Dick Clark and the Making of a Rock 'n' Roll Empire
6066:
American Bandstand: Dick Clark and the Making of a Rock 'n' Roll Empire
3056:
Four Parts, No Waiting: A Social History of American Barbershop Quartet
2611:
2594:
2529:
2449:
2414:
2405:". The Beach Boys later acknowledged their debt to doo-wop by covering
2390:
2386:
2378:
2331:
2303:
2248:
2174:
2046:
2020:
1979:
1958:
1931:
1756:
1748:
1720:
for new talent in the days before the rise of the first sound systems.
1696:
1631:
1539:
and Mitch Thomas, with steps created by their black teenage listeners,
1518:
1428:
1396:
1351:
1309:
1286:
1032:
1028:
799:
681:
641:
498:
460:
447:
360:
236:
228:
176:
171:
128:
123:
103:
6649:
6617:
227:
that carries an engaging melodic line to a simple beat with little or
8233:
8223:
8186:
8109:
7386:
The Garland Encyclopedia of World Music: The United States and Canada
6502:"American Rhythm and Blues Influence on Early Jamaican Musical Style"
5214:"Harlem legend dead Bobby Robinson, owner of Happy House on 125th St"
2525:
2490:
2363:
2271:
2154:
2128:
2112:
1927:
1674:
1579:
1571:
1432:
1380:
1347:
1317:
1229:
1063:
918:
803:
657:
540:
161:
118:
7359:
All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul
5295:
Black Firsts: 4,000 Ground-Breaking and Pioneering Historical Events
3934:
All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul
2072:
Doo-wop groups achieved 1951 R&B chart hits with songs such as "
1837:
example, Jack and Devora Brown, a Jewish couple in Detroit, founded
508:' 1945 recording, "Just A-Sittin' And A-Rockin", it is heard in the
8292:
8262:
8252:
8021:
7421:"POP VIEW; 'The Deep Forbidden Music': How Doo-Wop Casts Its Spell"
6633:
6293:"25 memorable DJs and radio personalities from Philadelphia's past"
5628:
South Bronx Battles: Stories of Resistance, Resilience, and Renewal
3931:
Vladimir Bogdanov; Chris Woodstra; Stephen Thomas Erlewine (2002).
3547:
3032:. Vol. 11, Close Harmony Singing. A&C Black. p. 124.
2677:
2188:. That same year the Platters had a number one pop chart hit with "
2177:
points out that these recordings are not considered to be doo-wop.
1941:
1911:
1872:", which was recorded by the Shirelles and rose to number 1 on the
1586:
1468:
1325:
574:, particularly in 1955, which saw such cross-over doo-wop hits as "
317:
113:
7152:"Down to Business: Herman Lubinsky and the Postwar Music Industry"
7117:
6366:
The Encyclopedia of Popular Music: Brown, Marion – Dilated Peoples
5018:
4313:
3449:
691:
8161:
6179:"Groovin': A Riff on Italian Americans in Popular Music and Jazz"
6150:
The Italian American Heritage: A Companion to Literature and Arts
2482:
2116:
1968:
1844:
A few other Jewish women were in the recording business, such as
224:
156:
8134:
3596:
Civil Rights Music: The Soundtracks of the Civil Rights Movement
1813:
The development of rhythm and blues coincided with the issue of
1019:
Most of the Los Angeles doo-wop groups came out of the Fremont,
8287:
8181:
6622:
Latin American Music Review / Revista de Música Latinoamericana
4633:
3816:
American Popular Music: New Approaches to the Twentieth Century
2688:
2397:. In the Beach Boys' case, doo-wop influence is evident in the
1567:
1209:
formed in Harlem in 1952. Members of the band were experienced
1144:
1067:
981:
in January 1959, were of either blues or doo-wop performances.
751:
7819:"Review: Bruno Mars brings Moonshine Jungle to Staples Center"
7149:
5808:. University of Chicago Press. pp. 22–23, 48, 71, 90–95.
5717:"Italian Americans in Bronx Doo Wop-The Glory and the Paradox"
5366:
4383:
1677:
in Miami. On these stations Jamaicans could hear the likes of
8240:
7248:
The Heebie-jeebies at CBGB's: A Secret History of Jewish Punk
7221:
The Heebie-jeebies at CBGB's: A Secret History of Jewish Punk
7014:
Chosen Capital: The Jewish Encounter with American Capitalism
5805:
Flavor and Soul: Italian America at Its African American Edge
5752:
Flavor and Soul: Italian America at Its African American Edge
5542:(2nd ed.). London: Barrie and Jenkins Ltd. p. 157.
5045:
2876:
Studies in Entertainment: Critical Approaches to Mass Culture
438:
364:
248:
Doo-wop has complex musical, social, and commercial origins.
6734:
Bob Marley and the Wailers: The Ultimate Illustrated History
2099:
Doo-wop groups played a significant role in ushering in the
1090:. Laboe had become a celebrity in the Los Angeles area as a
616:
Particularly productive doo-wop groups were formed by young
532:
sang across the bridge with a plaintive "doo-wop, doo-wah".
8257:
6588:
5654:"Interview with the Bronx African American History Project"
4939:"Memories of El Monte: Art Laboe's Charmed Life on the Air"
4856:
Waiting for the Sun: A Rock 'n' Roll History of Los Angeles
4829:
Encyclopedia of Rhythm & Blues and Doo-Wop Vocal Groups
4443:
In the Midnight Hour: The Life & Soul of Wilson Pickett
3373:"The Five Satins | Biography, Albums, Streaming Links"
2489:. An early notable revival of "pure" doo-wop occurred when
2367:
2338:, particularly in their early hits such as "Got A Job" (an
1852:
label in 1959, and signed the African American girl group,
1505:, who sold nearly a million records in 1961 with the song "
1095:
5156:
I Don't Sound Like Nobody: Remaking Music in 1950s America
5078:
Honkers and Shouters: The Golden Years of Rhythm and Blues
4018:
I Don't Sound Like Nobody: Remaking Music in 1950s America
3961:
Front Stoops in the Fifties: Baltimore Legends Come of Age
2413:" with their number 2 cover of the song in 1966. In 1984,
1566:
and popular disc jockeys. In Philadelphia, he listened to
1562:
Dick Clark kept track of the national music scene through
324:, so influential that it is sometimes referred to as the '
7788:"Street Corner Renaissance takes 'doo-wop' to new levels"
7473:"The Monotones | Biography, Albums, Streaming Links"
7010:"Blacks, Jews, and the Business of Race Music, 1945–1955"
6985:
Mazal Tov, Amigos! Jews and Popular Music in the Americas
6845:
The Bloomsbury Handbook of Popular Music and Social Class
6140:
3571:"The Jive Five | Biography, Albums, Streaming Links"
2928:"The Ink Spots | Biography, Albums, Streaming Links"
1743:
served as a vocal model for a newly formed (1963) group,
268:
Audio playback is not supported in your browser. You can
7735:
7349:
4879:
4745:
Motown: The Golden Years: More than 100 rare photographs
4577:
4186:
Group Harmony: The Black Urban Roots of Rhythm and Blues
4098:
3791:"Lillian Leach Boyd, singer for The Mellows, dead at 76"
2894:
2845:
Group Harmony: The Black Urban Roots of Rhythm and Blues
2750:
Group Harmony: The Black Urban Roots of Rhythm and Blues
2290:, and Vito & the Salutations. The genre reached the
1786:
black music under the name "Blues and Rhythm". In 1949,
6181:. In William J. Connell; Stanislao G. Pugliese (eds.).
6172:
6170:
6123:
A House on Fire: The Rise and Fall of Philadelphia Soul
5924:
5922:
5920:
4132:. Rowman & Littlefield Publishers. pp. 24–25.
3685:. Rowman & Littlefield Publishers. pp. 47–48.
2294:
stage, with songs about the singers ("Mr. Bass Man" by
1399:
from Queens; the Mystics, the Neons, the Classics, and
1187:'s long-running (1946–1958) morning radio show on CBS,
1109:, with his friend Ray Collins, wrote the doo-wop song "
7145:
7143:
7141:
7118:
Eric L. Goldstein; Deborah R. Weiner (28 March 2018).
7043:. University of Massachusetts Press. pp. 45, 48.
6339:
American Singing Groups: A History from 1940s to Today
6096:. University of California Press. pp. 15–16, 21.
6039:
American Singing Groups: A History from 1940s to Today
5864:
American Singing Groups: A History from 1940s to Today
5510:
American Singing Groups: A History from 1940s to Today
5347:"The Willows, "Church Bells May Ring" Chart Positions"
4159:
American Singing Groups: A History from 1940s to Today
3425:
American Singing Groups: A History from 1940s to Today
3151:
American Singing Groups: A History from 1940s to Today
2444:" during the festival of this genre celebrated at the
1574:, and African American disc jockeys Georgie Woods and
1395:
were from the Bronx; the Elegants from Staten Island;
874:
auditioned the Cardinals at Azrael's. Some groups cut
699:
Some doo-wop groups were racially mixed. Puerto Rican
695:
Herman Santiago, original lead singer of the Teenagers
7308:. University Press of Mississippi. pp. 116–117.
7281:. University Press of Mississippi. pp. 105–107.
7036:
6461:
6459:
5185:"Appropriations of blues and gospel in popular music"
4466:
4345:
The Billboard Book of TOP 40 R&B and Hip Hop Hits
3910:. University of Massachusetts Press. pp. 38–41.
3903:
3450:
Anthony J. Gribin; Matthew M. Schiff (January 2000).
1656:, an Italian American group from Newark, New Jersey.
1589:, where over 70 percent of the radio audience in the
425:
there is a simple beat and low key instrumentals; and
7121:
On Middle Ground: A History of the Jews of Baltimore
7111:
6167:
5917:
5483:
Sh-Boom!: The Explosion of Rock 'n' Roll (1953–1968)
5039:
5012:
4932:
4930:
4637:
Rock and Roll: Its History and Stylistic Development
4470:
Before Motown: A History of Jazz in Detroit, 1920-60
4307:
3924:
3475:
3473:
3202:
3126:. Rowman & Littlefield Publishers. p. 249.
2635:
834:
Mine", released in 1951, reached number 9 on the US
7645:, Billboard Books, New York, 1992, pp. 42 & 381
7305:
Damaged: Musicality and Race in Early American Punk
7278:
Damaged: Musicality and Race in Early American Punk
7138:
7040:
Forever Doo-wop: Race, Nostalgia, and Vocal Harmony
6897:
6668:
6666:
5291:
4627:
4584:
Heaven was Detroit: From Jazz to Hip-hop and Beyond
4527:. University of Illinois Press. pp. 135, 321.
3907:
Forever Doo-wop: Race, Nostalgia, and Vocal Harmony
3726:
3350:. Rowman & Littlefield Publishers. p. 27.
3323:. Rowman & Littlefield Publishers. p. 28.
3182:. Rowman & Littlefield Publishers. p. 29.
2955:. Rowman & Littlefield Publishers. p. 18.
2780:. Rowman & Littlefield Publishers. p. 30.
1614:Several white Philadelphia doo-wop groups also had
977:, founded several months before he established the
882:, with the aim of getting signed to a record deal.
7952:Group Harmony: Echoes of the Rhythm and Blues Era.
6931:. University of Michigan Press. pp. 101–103.
6730:
6589:Michael Campbell; James Brody (27 February 2007).
6582:
6495:
6493:
6491:
6456:
6089:
5827:
5825:
5624:
5535:
4586:. Wayne State University Press. pp. 100–104.
4219:. University of California Press. pp. 62–63.
3813:
3593:
3422:
3148:
2982:, Record Research, Menomanee, Wisconsin, 1973 p.37
2873:
966:, who went out of his way to attend Diablo shows.
570:songs. Soon, other doo-wop groups entered the pop
471:helped develop the doo-wop sound with their hits "
395:
347:worldwide of all time, and "Address Unknown") and
7982:Gribin, Anthony J., and Matthew M. Shiff (1992).
7742:. University of California Press. p. 81−83.
7244:
7217:
5425:
5373:. Sterling Publishing Company, Inc. p. 132.
5189:The Cambridge Companion to Blues and Gospel Music
5178:
5176:
4927:
4182:
3899:
3897:
3895:
3470:
3119:
3026:Gage Averill (8 July 2003). John Shepherd (ed.).
2848:. University of Pennsylvania Press. p. 193.
2841:
2746:
2334:. The style's influence is heard in the music of
8312:
7841:
7618:. University of Michigan Press. pp. 66–67.
7517:
7190:
7150:Robert Cherry; Jennifer Griffith (Summer 2014).
6904:. University of Illinois Press. pp. 66–68.
6867:
6724:
6672:
6663:
6561:
6417:
6415:
6413:
6205:
6199:
6147:George J. Leonard; Pellegrino D'Acierno (1998).
6126:. Oxford University Press, USA. pp. 13–14.
5888:
5886:
5884:
5774:
5360:
5271:. Gale Research Incorporated. pp. 137–139.
4493:
4460:
4189:. University of Pennsylvania Press. p. 47.
4151:
4149:
4125:
4105:. Kendall/Hunt Publishing Company. p. 440.
4092:
4021:. University of Michigan Press. pp. 89–90.
3820:. Amherst: Univ of Massachusetts Press. p.
3805:
3678:
3443:
3397:Boy Bands and the Performance of Pop Masculinity
3393:
3343:
3316:
3257:
3255:
3175:
2948:
2900:Ralf von Appen, Markus Frei-Hauenschild (2015).
2837:
2835:
2773:
2711:
2377:Doo-wop's influence continued in soul, pop, and
1942:Doo-wop influence on punk and proto-punk rockers
1646:who were dancing a new step called "The Stomp".
1293:", were one of the most popular vocal groups in
945:Jack and Devora Brown, a Jewish couple, founded
549:songs in the vocal harmony group tradition were
388:' "Take Me Right Back to the Track" (1945), the
378:derived from the vocal harmonies of the earlier
359:" and "Glow Worm") were generally slow songs in
7739:Confessions of a Radical Chicano Doo-Wop Singer
7295:
7270:
7268:
6951:
6530:
6488:
6119:
6115:
6113:
5949:
5822:
5676:
5631:. University of California Press. p. 110.
5618:
5533:
5264:
5237:
4968:
4966:
4883:Confessions of a Radical Chicano Doo-Wop Singer
4610:I Hear a Symphony: Motown and Crossover R&B
4554:. University of California Press. p. 464.
4065:
3957:
3811:
3287:
3285:
3261:
2871:
2800:
2753:. University of Pennsylvania Press. p. x.
2049:rhythms, was recorded in acoustic trio format.
1780:
1735:The harmonizing of the American doo-wop groups
878:at local studios and played them for recording
404:, co-authors Gribin and Schiff (who also wrote
7611:
7584:
7057:
6838:
6329:
6290:
6253:
6226:
6083:
6029:
5854:
5831:
5768:
5710:
5708:
5682:
5500:
5211:
5173:
5130:"Music entrepreneur Bobby Robinson dies at 93"
5127:
4949:. Rutgers University Press. pp. 227–231.
4886:. University of California Press. p. 83.
4852:
4825:
4798:
4762:
4687:
4573:
4571:
4071:
4040:
4038:
3892:
3768:. Fordham University Press. pp. 207–208.
3761:
3755:
3705:
3655:The Rockin' 60s: The People Who Made the Music
3651:
3624:
3591:
3113:
3079:
2994:
2867:
2865:
1821:
1281:Although they never had a national chart hit,
988:", a 1959 doo-wop single by Robinson's group,
504:"Doo-wop" is itself a nonsense expression. In
8037:
7984:Doo-Wop: The Forgotten Third of Rock 'n Roll.
7954:New Bedford, Massachusetts: TRB Enterprises.
7939:New Bedford, Massachusetts: TRB Enterprises.
7654:
7648:
7523:
7493:
7487:
7382:
7328:
7211:
7084:
7030:
7007:
6972:
6891:
6877:. Oxford University Press. pp. 313–314.
6861:
6757:
6751:
6615:
6470:. In Monique Guillory; Richard Green (eds.).
6421:
6410:
6317:
6311:
6284:
6259:
6002:
5955:
5892:
5881:
5754:. University of Chicago Press. pp. 8–9.
5739:
5452:
5419:
5387:
5321:"Frankie Lymon and The Teenagers (1954–1957)"
5019:Anthony J. Gribin; Matthew M. Schiff (2000).
4873:
4794:
4792:
4708:
4681:
4473:. University of Michigan Press. p. 173.
4439:
4314:Anthony J. Gribin; Matthew M. Schiff (2000).
4268:
4233:
4146:
4119:
4075:Encyclopedia of Great Popular Song Recordings
3709:Encyclopedia of Great Popular Song Recordings
3672:
3337:
3310:
3265:Rock'n America: A Social and Cultural History
3252:
3238:. University of Illinois Press. p. xii.
3231:
3169:
3083:Before Elvis: The Prehistory of Rock 'n' Roll
2942:
2832:
2717:
2516:successful revival of the doo-wop standards "
2029:, founder of the influential proto-punk band
1926:were doo-wop fans, as were many other Jewish
1471:. Many of these vocal groups got together in
1027:high schools. All of them were influenced by
853:, while the West was home to the Orioles and
703:, originally slated to be the lead singer of
656:. Other Italian-American doo-wop groups were
621:home to groups that made successful records.
455:to mimic musical instruments. For instance, "
408:), identify five features of doo-wop music:
406:Doo-Wop, the Forgotten Third of Rock 'n' Roll
8015:The Da Capo Book of American Singing Groups.
7729:
7605:
7578:
7376:
7301:
7274:
7265:
7090:
7070:. Penguin Publishing Group. pp. 11–13.
6524:
6389:
6362:
6232:
6176:
6110:
6062:
6056:
6008:
5976:
5801:
5795:
5745:
5651:
5597:
5205:
5182:
5159:. University of Michigan Press. p. 89.
4963:
4947:East of East: The Making of Greater El Monte
4819:
4768:
4714:
4613:. University of Michigan Press. p. 26.
4606:
4433:
4419:. Wayne State University Press. p. 63.
4410:
4044:
4010:
4008:
3984:
3699:
3645:
3414:
3282:
3073:
3052:
3025:
3019:
2990:
2988:
2880:. Indiana University Press. pp. 24–25.
2794:
1240:rewrite a song they had composed to create "
1035:, the Flamingos (not the Chicago group) and
652:, who charted with their Top 10 1963 single
84:communities across some major cities on the
7937:Group Harmony: Behind the Rhythm and Blues.
7816:
7453:Buck Ram (manager of Penguins and Platters)
7322:
7238:
7063:
7001:
6978:
6945:
6918:
6832:
6681:. Guardian News & Media. Archived from
6609:
6555:
6499:
6465:
6383:
6356:
5714:
5705:
5562:
5556:
5446:
5318:
5231:
5191:. Cambridge University Press. p. 172.
5101:
5074:
4906:
4846:
4805:. Duke University Press. pp. 182–183.
4568:
4541:
4520:
4356:
4275:. University of Illinois Press. p. 1.
4262:
4239:
4208:
4206:
4176:
4035:
3951:
3618:
3387:
3370:
3268:. University of Toronto Press. p. 58.
3196:
3110:, Collectables, Narberth, PA US, 2009 p. 17
3106:Gribin, Anthony j., and Matthew M. Schiff,
3046:
2862:
2803:The Journal of Aesthetics and Art Criticism
1366:". Written by Mack, it was released on the
8044:
8030:
7856:. Cambridge University Press. p. 43.
7847:
7756:
7736:Rubén Funkahuatl Guevara (13 April 2018).
7184:
6924:
6778:
6697:
6335:
6183:The Routledge History of Italian Americans
6153:. Taylor & Francis. pp. 437–438.
6035:
5959:Rock Obituaries: Knocking On Heaven's Door
5860:
5645:
5591:
5506:
5258:
5121:
5095:
4945:; Cummings, Alex Sayf; Reft, Ryan (eds.).
4880:Rubén Funkahuatl Guevara (13 April 2018).
4789:
4694:. Together Publications LLP. p. 146.
4660:
4654:
4634:Joe Stuessy; Scott David Lipscomb (2006).
4547:
4514:
4487:
4377:
4350:
4155:
3978:
3732:
3585:
3420:
3225:
3146:
3140:
2980:Joel Whitburn's Top Pop Records: 1940-1955
2767:
2740:
2002:Early punk rock adaptations of the 12-bar
47:
7921:Learn how and when to remove this message
7852:. In John Potter; Jonathan Cross (eds.).
7681:
7553:
7470:
7197:. Rutgers University Press. p. 153.
7167:
7016:. Rutgers University Press. p. 141.
6811:
6805:
6784:
6703:
6472:Soul: Black Power, Politics, and Pleasure
5840:. Fordham University Press. p. 204.
5723:. Fordham University: 2–4. Archived from
5691:. Fordham University Press. p. 198.
5479:
5473:
5393:
5367:Cousin Bruce Morrow; Rich Maloof (2007).
5312:
5285:
5187:. In Allan Moore; Jonathan Cross (eds.).
5152:
4900:
4748:. Penguin Publishing Group. p. 243.
4741:
4600:
4404:
4014:
4005:
3844:
3838:
3739:Encyclopedia of Music in the 20th Century
3631:. Fordham University Press. p. 198.
3568:
3509:
3486:. Macmillan Reference USA. p. 1534.
3086:. Rowman & Littlefield. p. 168.
2985:
2925:
2685:, also known as the "Doo-wop" progression
2184:" was released in June 1955 by pop group
822:groups who named themselves after birds.
7709:
6342:. Hal Leonard Corporation. p. 284.
6069:. Oxford University Press. p. 120.
6042:. Hal Leonard Corporation. p. 287.
5867:. Hal Leonard Corporation. p. 434.
5660:. Fordham University: 10. Archived from
5527:
5513:. Hal Leonard Corporation. p. 265.
5068:
5046:Dick Weissman; Richard Weissman (2005).
4972:
4735:
4718:The Virgin Encyclopedia of Sixties Music
4417:Detroit 1967: Origins, Impacts, Legacies
4347:, Billboard Books, New York 2006, p. 407
4203:
4162:. Hal Leonard Corporation. p. 303.
3788:
3782:
3429:. Hal Leonard Corporation. p. 24].
3059:. Oxford University Press. p. 167.
2428:
2251:in 1961 with "The Lion Sleeps Tonight".
2056:
1957:
1887:s race records charts in November 1948.
1244:", which won the group an audition with
690:
539:
7979:Scarsdale, New York: Crackerjack Press.
6239:. Oxford University Press. p. 51.
6090:Matthew F. Delmont (22 February 2012).
5292:Jessie Carney Smith (1 December 2012).
5146:
4664:The Golden Age of American Rock 'n Roll
4446:. Oxford University Press. p. 27.
3866:
3737:. In Lol Henderson; Lee Stacey (eds.).
3505:
3503:
3155:. Hal Leonard Corporation. p. 45.
1673:in Nashville, WNOE in New Orleans, and
754:. Margo Sylvia was the lead singer for
14:
8313:
7829:from the original on 18 September 2013
7785:
7762:
7418:
6847:. Bloomsbury Publishing. p. 768.
6737:. Voyageur Press. pp. 15, 30–31.
6568:. McGraw-Hill Education. p. 252.
6323:Top R&B/Hip-Hop Singles: 1942–2004
5932:Encyclopedia of African American Music
5370:Doo Wop: The Music, the Times, the Era
4691:The Life and Times of the Motown Stars
4640:. Pearson Prentice Hall. p. 209.
3203:Virginia Dellenbaugh (30 March 2017).
3123:Historical Dictionary of Popular Music
2724:Encyclopedia of African American Music
2446:Benedum Center for the Performing Arts
2309:
8025:
7986:Iola, Wisconsin: Krause Publications.
7682:Applebome, Peter (29 February 2012).
7591:. Bloomsbury Publishing. p. 28.
7547:
7389:. Taylor & Francis. p. 591.
7194:Swing City: Newark Nightlife, 1925-50
6983:. In Amalia Ran; Moshe Morad (eds.).
6731:Richie Unterberger (September 2017).
6206:Donald Tricarico (24 December 2018).
6185:. Taylor & Francis. p. 580.
6120:John A. Jackson (23 September 2004).
5775:Donald Tricarico (24 December 2018).
5244:. Chicago Review Press. p. 126.
5241:Lightnin' Hopkins: His Life and Blues
4936:
3872:
3658:. Schirmer Trade Books. p. 200.
2421:", a clear tribute to doo-wop music.
1868:at 1619), offered Greenberg a song, "
482:
251:
8051:
7877:
7779:
7658:Billy Joel: The Definitive Biography
7446:
7251:. Chicago Review Press. p. 16.
7224:. Chicago Review Press. p. 43.
7097:. Taylor & Francis. p. 43.
6393:You Only Rock Once: My Life in Music
5901:. Rutgers University. Archived from
5265:Shirelle Phelps, ed. (August 1999).
5054:. Psychology Press. pp. 95–96.
4248:. Taylor & Francis. p. 20.
4212:
3543:"Shep & the Limelites Biography"
3500:
3400:. Taylor & Francis. p. 31.
2314:Other pop R&B groups, including
2192:", released on 3 November. In 1956,
1828:Jewish influence in rhythm and blues
1517:acquired the rights to "Get a Job",
367:, by keeping time with a swing-like
7572:University of North Texas Libraries
7383:Ellen Koskoff (25 September 2017).
6533:"Jamaican records fill R&B gap"
5604:. P. Dee Enterprises. p. 130.
5432:. Infobase Publishing. p. 38.
4937:Webre, Jude P. (14 February 2020).
4799:Anthony Macías (11 November 2008).
4578:M. L. Liebler; S.R. Boland (2016).
4390:www.encyclopedia.chicagohistory.org
4099:Chuck Mancuso; David Lampe (1996).
3958:Michael Olesker (1 November 2013).
3528:University of North Texas Libraries
3262:Deena Weinstein (27 January 2015).
2497:. Soul group the Trammps recorded "
1890:Some record company owners such as
1723:In 1959, while he was a student at
1593:tuned in to his 6–10 p.m. program.
790:", which served as a school of the
723:, who had major hits in 1957 with "
24:
7873:
7854:The Cambridge Companion to Singing
7786:McNeir, D. Kevin (26 April 2012).
7655:Fred Schruers (17 November 2015).
7329:Peter Doggett (25 November 2013).
6839:David M. Jones (6 February 2020).
6177:John Gennari (27 September 2017).
5652:Arthur Crier (25 September 2015).
5625:Carolyn McLaughlin (21 May 2019).
5459:. Simon and Schuster. p. 56.
5429:Rhythm and Blues, Rap, and Hip-hop
4973:Albrecht, Robert (15 March 2019).
4183:Stuart L. Goosman (9 March 2010).
4126:Lawrence Pitilli (2 August 2016).
3679:Lawrence Pitilli (2 August 2016).
3344:Lawrence Pitilli (2 August 2016).
3317:Lawrence Pitilli (2 August 2016).
3293:"Where'd We Get the Name Doo-wop?"
3176:Lawrence Pitilli (2 August 2016).
2949:Lawrence Pitilli (2 August 2016).
2842:Stuart L. Goosman (17 July 2013).
2774:Lawrence Pitilli (2 August 2016).
2747:Stuart L. Goosman (17 July 2013).
2556:. It reached number 7 on the U.S.
2499:Zing! Went the Strings of My Heart
2470:Cruising with Ruben & the Jets
2045:(1987), with doo-wop stylings and
1638:reached the number two spot with "
1342:began as a trio of schoolmates at
1320:, where they were trained to sing
598:' "I Only Have Eyes for You", and
335:Hit songs by black groups such as
25:
8367:
8341:African-American cultural history
7763:Newman, Steve (13 January 2010).
7643:The Billboard Book of Top 40 Hits
7612:Philip Lambert (7 October 2016).
7530:The Billboard Book of Top 40 Hits
7500:The Billboard Book of Top 40 Hits
7302:Evan Rapport (24 November 2020).
7064:Ken Emerson (26 September 2006).
6595:. Cengage Learning. p. 339.
6562:David Lee Joyner (27 June 2008).
5403:Marv Goldberg's R&B Notebooks
5298:. Visible Ink Press. p. 46.
5212:David Hinckley (8 January 2011).
5048:"New York and the Doo-wop Groups"
4772:Carolina Beach Music Encyclopedia
4500:. Psychology Press. p. 555.
4072:Steve Sullivan (4 October 2013).
4048:Carolina Beach Music Encyclopedia
3988:The Encyclopedia of Popular Music
3789:Hinckley, David (29 April 2013).
3706:Steve Sullivan (4 October 2013).
3652:Brock Helander (1 January 2001).
3394:Georgina Gregory (3 April 2019).
3120:Norman Abjorensen (25 May 2017).
3053:Gage Averill (20 February 2003).
2528:'s 1978 hit "My Angel Baby", and
2401:used on part of their early hit "
2235:in 1957 with "Tonight, Tonight",
1597:Cameo Records and Parkway Records
412:it is vocal music made by groups;
7882:
7850:"4 The evolving language of rap"
7810:
7703:
7675:
7661:. Crown Archetype. p. 172.
7632:
7585:Philip Lambert (19 March 2007).
7533:. Billboard Books. p. 880.
7503:. Billboard Books. p. 190.
7464:
7412:
7403:
7008:Jonathan Karp (20 August 2012).
6706:"Roy Black Column: Dobby Dobson"
6673:Sean O'Hagan (12 October 2020).
6531:Clinton Lindsay (20 July 2014).
6444:from the original on 15 May 2021
6015:. Scarecrow Press. p. 238.
6009:Bob Leszczak (10 October 2013).
4467:Lars Bjorn; Jim Gallert (2001).
4078:. Scarecrow Press. p. 379.
3937:. Backbeat Books. p. 1306.
3712:. Scarecrow Press. p. 616.
2652:
2638:
2223:Up tempo doo-wop groups such as
1487:The Silhouettes' crossover hit "
1224:Frankie Lymon, lead vocalist of
1120:
1047:and Rex Middleton's Hi-Fis, had
357:You Always Hurt the One You Love
8006:McCutcheon, Lynn Ellis (1971).
7710:Levinson, Paul (4 March 2012).
7419:Holden, Stephen (29 May 1994).
7362:. Backbeat Books. p. 942.
6979:Ari Katorza (21 January 2016).
6764:. Backbeat Books. p. 361.
6390:Jerry Blavat (13 August 2013).
6325:. Record Research. p. 484.
6291:Julia Hatmaker (15 June 2017).
5984:"The Turbans on Herald Records"
5832:Simone Cinotto (1 April 2014).
5715:Mark Naison (29 January 2019).
5683:Simone Cinotto (1 April 2014).
5339:
5319:Peter Besel (2 December 2018).
4832:. Scarecrow Press. p. 45.
4363:. Bloomsbury USA. p. 106.
4357:John Collis (15 October 1998).
4334:
4298:
4289:
4240:Johnny Keys (15 January 2019).
4051:. McFarland. pp. 259–260.
3875:"Comeback On 'Chitlin Circuit'"
3762:Simone Cinotto (1 April 2014).
3625:Simone Cinotto (1 April 2014).
3562:
3535:
3364:
3100:
3001:. McFarland. pp. 190–191.
2969:
2536:". Soul and funk bands such as
2381:groups of the 1960s, including
2107:hits by vocal harmony groups, "
1989:, which was double-billed with
1438:
396:Elements of doo-wop vocal style
235:, a melodramatically heartfelt
54:Frankie Lymon and the Teenagers
27:Style of rhythm and blues music
8001:The New Haven Sound 1946–1976.
7037:John Michael Runowicz (2010).
6987:. Brill. pp. 83, 86, 88.
6704:Roy Black (22 February 2015).
6592:Rock and Roll: An Introduction
6396:. Running Press. p. 157.
5956:Nick Talevski (7 April 2010).
5802:John Gennari (18 March 2017).
5746:John Gennari (18 March 2017).
5453:Sheila Weller (8 April 2008).
5102:John Eligon (21 August 2007).
4859:. Backbeat Books. p. 33.
4769:Rick Simmons (8 August 2018).
4742:Bill Dahl (28 February 2011).
4667:. Pierian Press. p. 169.
4521:John Broven (11 August 2011).
4045:Rick Simmons (8 August 2018).
3904:John Michael Runowicz (2010).
3845:Joe Sasfy (21 November 1984).
3733:Greg Bower (27 January 2014).
2995:James A. Cosby (19 May 2016).
2919:
2700:
1274:. It reached number 11 on the
995:
741:Sorry (I Ran All the Way Home)
644:made their name in 1960 with "
535:
428:it has simple words and music.
13:
1:
7905:and help improve the section.
7335:. Omnibus Press. p. 46.
6791:. ABC-CLIO. pp. xi–xii.
6785:Bob Gulla (16 January 2008).
6474:. NYU Press. pp. 67–69.
5748:"Who Put the Wop in Doo-wop?"
4991:10.1080/03007766.2017.1414663
4384:Clark "Bucky" Halker (2004).
3991:. Omnibus Press. p. 31.
3964:. JHU Press. pp. 39–40.
3592:Reiland Rabaka (3 May 2016).
2694:
2218:I'm Not a Juvenile Delinquent
2173:(number 2). Music historian
2052:
1962:The Ramones in Toronto (1976)
1495:", and "Try the Impossible".
1477:West Philadelphia High School
7848:David Toop (13 April 2000).
7817:Mikael Wood (28 July 2013).
7332:Lou Reed: The Defining Years
7094:Jews, Race and Popular Music
7091:Jon Stratton (5 July 2017).
6958:. Baker Books. p. 139.
6898:Michael T. Bertrand (2000).
6815:Whiteness: A Critical Reader
6761:Reggae & Caribbean Music
6266:philadelphiaencyclopedia.org
6233:John Jackson (3 June 1999).
6212:. Springer. pp. 37–38.
6063:John Jackson (3 June 1999).
5899:philadelphiaencyclopedia.org
5268:Contemporary Black Biography
5153:Albin Zak (4 October 2012).
5022:The Complete Book of Doo-wop
4607:Andrew Flory (30 May 2017).
4411:Marsha Music (5 June 2017).
4392:. Chicago Historical Society
4317:The Complete Book of Doo-Wop
4015:Albin Zak (4 October 2012).
3985:Colin Larkin (27 May 2011).
3453:The Complete Book of Doo-Wop
3108:The Complete Book of Doo-Wop
2092:, and "Shouldn't I Know" by
1781:Doo-wop and racial relations
1453:Lee Andrews & the Hearts
1285:, best known for their 1957
761:
451:arrangements, used wordless
402:The Complete Book of Doo-Wop
265:
7:
6925:Amy Absher (16 June 2014).
6431:Social and Economic Studies
5962:. Music Sales. p. 19.
4913:. Grove Press. p. 71.
4244:. In Theo Cateforis (ed.).
3600:. Lexington Books. p.
2631:
2481:performing as a fictitious
2424:
2078:Billy Ward and His Dominoes
1822:Jewish influence in doo-wop
1630:had a number-one hit with "
1570:, the lone white deejay at
1360:Little Jimmy & the Tops
1314:St. Anthony of Padua School
10:
8372:
7977:White and Still All Right.
7970:The Sound of Philadelphia.
7950:Baptista, Todd R. (2000).
7935:Baptista, Todd R. (1996).
7245:Steven Lee Beeber (2006).
7218:Steven Lee Beeber (2006).
7124:. JHU Press. p. 281.
7012:. In RebeccaKobrin (ed.).
6818:. NYU Press. p. 138.
5480:Clay Cole (October 2009).
5426:Frank W. Hoffmann (2005).
5081:. Macmillan. p. xix.
4775:. McFarland. p. 234.
4580:"3: The Pre-Motown Sounds"
4548:Brian Ward (6 July 1998).
4360:The Story of Chess Records
3741:. Routledge. p. 179.
3207:. In Julia Merrill (ed.).
2548:, a doo-wop adaptation of
2206:Why Do Fools Fall in Love?
1856:. The songwriting team of
1825:
1773:, as a single produced by
1681:and doo-wop vocal groups.
1659:
1401:Vito & the Salutations
1066:released one of the first
932:
885:
717:Why Do Fools Fall in Love?
646:There's a Moon Out Tonight
243:
29:
8211:
8118:
8072:
8061:
8003:New Haven, Connecticut: .
7765:"Four Quarters on a roll"
7191:Barbara J. Kukla (2002).
5935:. ABC-CLIO. p. 727.
5486:. Wordclay. p. 208.
4979:Popular Music and Society
4497:Encyclopedia of the Blues
4494:Edward M. Komara (2006).
4272:Doowop: The Chicago Scene
3235:Doowop: The Chicago Scene
2908:, Ed. by Ralf von Appen,
2726:. ABC-CLIO. p. 298.
2668:List of doo-wop musicians
2604:Rock, Rhythm, and Doo Wop
2584:Doo-wop is popular among
1996:Rock 'n' Roll High School
1870:Will You Love Me Tomorrow
1622:had a regional hit with "
1576:Douglas "Jocko" Henderson
1242:Why Do Fools Fall In Love
979:Motown Record Corporation
526:In the Still of the Night
501:to categorize the music.
281:doo-wop chord progression
218:music that originated in
190:
185:
142:
137:
91:
76:
60:
46:
41:
8346:Italian-American culture
8197:Urban adult contemporary
8090:British rhythm and blues
8017:New York: Da Capo Press.
6952:David A. Rausch (1996).
5990:. Internet Archive. 2011
5781:. Springer. p. 38.
5538:The Book of Golden Discs
5534:Joseph Murrells (1978).
5238:Alan B. Govenar (2010).
3211:. Springer. p. 76.
2479:the Mothers of Invention
2440:performing Kathy's hit "
2298:) and the songwriters ("
1344:James Monroe High School
735:" appeared in 1958, and
650:Randy & the Rainbows
491:' song, "Blue Moon", in
441:singing the intro and a
32:Doo Wop (disambiguation)
8326:Rhythm and blues genres
7156:Journal of Jazz Studies
6843:. In Ian Peddie (ed.).
6812:Mike Hill (July 1997).
5569:Socialism and Democracy
5025:. Krause. p. 136.
4853:Barney Hoskyns (2009).
4826:Mitch Rosalsky (2002).
4721:. Virgin. p. 309.
4688:Alex MacKenzie (2009).
4415:. In Joel Stone (ed.).
4320:. Krause. p. 136.
4246:The Rock History Reader
3080:Larry Birnbaum (2013).
2546:Huey Lewis and the News
2510:The Lion Sleeps Tonight
1628:Danny & the Juniors
1427:, and the Moonglows on
1199:". It reached no. 1 on
1074:, on his record label,
512:. It is heard later in
270:download the audio file
8336:African-American music
7767:. YourOttawaRegion.com
6758:Dave Thompson (2002).
6616:Robert Witmer (1987).
6565:American Popular Music
6422:Paul Kauppila (2006).
6260:Jack McCarthy (2016).
5893:Jack McCarthy (2016).
4440:Tony Fletcher (2017).
4304:Pruter 1996, pp. 2, 17
4295:Pruter 1996, pp. 2, 10
4269:Robert Pruter (1996).
3873:Staff (12 June 1985).
3232:Robert Pruter (1996).
2718:Philip Gentry (2011).
2629:
2540:released the single ("
2457:
2409:' 1961 number 7 hit, "
2356:(You Can) Depend on Me
2245:Since I Don't Have You
2080:, "Where Are You?" by
2069:
1963:
1755:sang high harmony and
1642:", about teenagers in
1393:Nino and the Ebb Tides
1228:, was the first black
731:", the Crests, whose "
711:thought that newcomer
696:
545:
7996:Chicago: Vesti Press.
7972:London: Eyre Methuen.
7275:Evan Rapport (2020).
7169:10.14713/JJS.V10I1.84
6901:Race, Rock, and Elvis
6369:. MUZE. p. 175.
6363:Colin Larkin (2000).
6299:. Advance Local Media
5598:Philip Groia (1983).
5183:Dave Headlam (2002).
4715:Colin Larkin (1997).
3456:. Krause. p. 7.
2624:
2590:collegiate a cappella
2571:Dion and the Belmonts
2524:" in the late 1970s,
2432:
2210:I Promise to Remember
2060:
1961:
1665:station at the time,
1644:Bristol, Pennsylvania
1260:Church Bells May Ring
1197:It's Too Soon to Know
782:in Baltimore and the
694:
626:Dion and the Belmonts
543:
506:the Delta Rhythm Boys
473:It's Too Soon to Know
292:(in their 1934 song "
192:50s chord progression
8121:Contemporary R&B
8013:Warner, Jay (1992).
8010:Arlington, Virginia.
7999:Lepri, Paul (1977).
6466:Grant Fared (1998).
6437:(1 & 2): 78–83.
5905:on 21 September 2020
5563:Mark Naison (2004).
5128:Christopher Morris.
5075:Arnold Shaw (1978).
4941:. In Guzmán, Romeo;
4907:Barry Miles (1970).
4213:Ward, Brian (1998).
2646:United States portal
2508:'s 1972 version of "
2147:the Fontaine Sisters
1626:" in 1954. In 1958,
1605:R&B Best Sellers
1521:began to play it on
1111:Memories of El Monte
1084:El Monte, California
1072:Memories of El Monte
1037:the Hollywood Flames
494:The Chicago Defender
477:Crying in the Chapel
345:best selling singles
30:For other uses, see
8130:Alternative R&B
8105:New Orleans R&B
7455:interviewed on the
6712:. Kingston, Jamaica
6537:jamaica-gleaner.com
6336:Jay Warner (2006).
6036:Jay Warner (2006).
5861:Jay Warner (2006).
5579:on 13 February 2020
5575:(2). Archived from
5507:Jay Warner (2006).
5218:New York Daily News
5142:on 15 January 2011.
4661:Lee Cotten (1989).
4413:"Joe's Record Shop"
4156:Jay Warner (2006).
3852:The Washington Post
3795:New York Daily News
3421:Jay Warner (2006).
3147:Jay Warner (2006).
2393:performers such as
2310:Doo-wop's influence
2190:The Great Pretender
2163:the McGuire Sisters
2036:Rockin' and Romance
1548:American Bandstand'
1532:American Bandstand'
1451:, the Turbans, and
1297:in the late 1950s.
1266:, then a member of
1010:Fremont High School
794:for blacks who had
544:The Moonglows, 1956
390:Cats and the Fiddle
8219:Adult contemporary
8192:Urban contemporary
8177:Rhythm & grime
7975:Engel, Ed (1977).
7798:on 28 January 2013
7689:The New York Times
7425:The New York Times
6871:(14 August 2006).
6685:on 12 October 2020
6512:on 17 October 2000
5727:on 6 November 2020
5327:on 7 November 2020
5108:The New York Times
4943:Fragoza, Carribean
3879:The New York Times
2708:- Encyclopedia.com
2563:Adult contemporary
2495:Woodstock Festival
2487:Ruben and the Jets
2458:
2165:(number 1), and "
2070:
2019:By 1963 and 1964,
1993:' B-movie feature
1964:
1848:, who started the
1846:Florence Greenberg
1815:racial segregation
1761:A Teenager in Love
1552:American Bandstand
1524:American Bandstand
1493:Long Lonely Nights
1094:for radio station
1014:Watts neighborhood
892:recording industry
697:
546:
483:Origin of the name
420:nonsense syllables
380:barbershop quartet
349:the Mills Brothers
288:Such composers as
252:Musical precedents
229:no instrumentation
8308:
8307:
8207:
8206:
8095:Christian R&B
8008:Rhythm and Blues.
7931:
7930:
7923:
7863:978-0-521-62709-2
7823:Los Angeles Times
7749:978-0-520-96966-7
7712:"Doo Wop Forever"
7668:978-0-8041-4021-8
7625:978-0-472-11995-0
7598:978-1-4411-0748-0
7540:978-0-8230-8554-5
7510:978-0-8230-8554-5
7396:978-1-351-54414-6
7369:978-0-87930-653-3
7342:978-1-78323-084-6
7315:978-1-4968-3123-1
7288:978-1-4968-3123-1
7258:978-1-55652-613-8
7231:978-1-55652-613-8
7204:978-0-8135-3116-8
7131:978-1-4214-2452-1
7104:978-1-351-56170-9
7077:978-1-101-15692-6
7050:978-1-55849-824-2
7023:978-0-8135-5329-0
6994:978-90-04-20477-5
6965:978-0-8010-1119-1
6938:978-0-472-11917-2
6911:978-0-252-02586-0
6884:978-0-19-979593-2
6854:978-1-5013-4537-1
6825:978-0-8147-3545-9
6798:978-0-313-34044-4
6771:978-0-87930-655-7
6744:978-0-7603-5241-0
6602:978-1-111-79453-8
6575:978-0-07-352657-7
6500:Brad Fredericks.
6481:978-0-8147-3084-3
6403:978-0-7624-5018-3
6376:978-0-19-531373-4
6349:978-0-634-09978-6
6246:978-0-19-028490-9
6219:978-3-030-03293-7
6192:978-1-135-04670-5
6160:978-0-8153-0380-0
6133:978-0-19-514972-2
6103:978-0-520-95160-0
6076:978-0-19-028490-9
6049:978-0-634-09978-6
6022:978-0-8108-8867-8
5969:978-0-85712-117-2
5942:978-0-313-34200-4
5874:978-0-634-09978-6
5847:978-0-8232-5626-6
5815:978-0-226-42832-1
5788:978-3-030-03293-7
5761:978-0-226-42832-1
5721:Occasional Essays
5698:978-0-8232-5626-6
5638:978-0-520-96380-1
5611:978-0-9612058-0-5
5520:978-0-634-09978-6
5493:978-1-60037-638-2
5466:978-1-4165-6477-5
5439:978-0-8160-6980-4
5380:978-1-4027-4276-7
5305:978-1-57859-424-5
5278:978-0-7876-2419-4
5251:978-1-55652-962-7
5198:978-0-521-00107-6
5166:978-0-472-03512-0
5088:978-0-02-610000-7
5061:978-0-415-97068-6
5052:Blues: The Basics
5032:978-0-87341-829-4
4956:978-1-978805-48-4
4893:978-0-520-96966-7
4866:978-0-87930-943-5
4839:978-0-8108-4592-3
4812:978-0-8223-8938-5
4782:978-1-4766-6767-6
4755:978-1-4402-2557-4
4728:978-0-7535-0149-8
4701:978-1-84226-014-2
4674:978-0-9646588-4-4
4647:978-0-13-193098-8
4620:978-0-472-03686-8
4593:978-0-8143-4122-3
4561:978-0-520-21298-5
4534:978-0-252-09401-9
4507:978-0-415-92699-7
4453:978-0-19-025294-6
4426:978-0-8143-4304-3
4370:978-1-58234-005-0
4327:978-0-87341-829-4
4282:978-0-252-06506-4
4255:978-1-315-39480-0
4196:978-0-8122-2108-4
4169:978-0-634-09978-6
4139:978-1-4422-4430-6
4112:978-0-8403-9088-2
4085:978-0-8108-8296-6
4058:978-1-4766-6767-6
4028:978-0-472-03512-0
3998:978-0-85712-595-8
3971:978-1-4214-1161-3
3944:978-0-87930-653-3
3917:978-1-55849-824-2
3847:"Doo-Wop Harmony"
3775:978-0-8232-5626-6
3748:978-1-135-92946-6
3719:978-0-8108-8296-6
3692:978-1-4422-4430-6
3665:978-0-85712-811-9
3638:978-0-8232-5626-6
3611:978-1-4985-3179-5
3493:978-0-02-865820-9
3463:978-0-87341-829-4
3436:978-0-634-09978-6
3407:978-0-429-64845-8
3371:The Five Satins.
3357:978-1-4422-4430-6
3330:978-1-4422-4430-6
3275:978-1-4426-0018-8
3245:978-0-252-06506-4
3218:978-3-658-17740-9
3189:978-1-4422-4430-6
3162:978-0-634-09978-6
3133:978-1-5381-0215-2
3093:978-0-8108-8638-4
3066:978-0-19-028347-6
3039:978-0-8264-6322-7
3008:978-1-4766-6229-9
2962:978-1-4422-4430-6
2855:978-0-8122-0204-5
2809:(1). Wiley: 105.
2787:978-1-4422-4430-6
2760:978-0-8122-0204-5
2733:978-0-313-34199-1
2522:Come Back My Love
2399:chord progression
2300:Who Put the Bomp?
2268:Lovers Who Wander
2214:The ABC's of Love
2103:era when two big
2086:The Glory of Love
2031:the Modern Lovers
1974:American Graffiti
1910:New York rockers
1800:call-and-response
1790:, a reporter for
1473:secondary schools
1461:metropolitan area
1431:'s radio show on
1416:deterritorialized
1179:Red Robin Records
1152:built environment
563:Delta Rhythm Boys
522:Red Robin Records
376:four-part harmony
314:chord progression
274:
197:
196:
61:Stylistic origins
16:(Redirected from
8363:
8331:Pop music genres
8122:
8070:
8069:
8065:
8055:
8054:Rhythm and blues
8046:
8039:
8032:
8023:
8022:
7926:
7919:
7915:
7912:
7906:
7901:Please read the
7897:may need cleanup
7886:
7885:
7878:
7868:
7867:
7845:
7839:
7838:
7836:
7834:
7814:
7808:
7807:
7805:
7803:
7794:. Archived from
7783:
7777:
7776:
7774:
7772:
7760:
7754:
7753:
7733:
7727:
7726:
7724:
7722:
7716:Infinite Regress
7707:
7701:
7700:
7698:
7696:
7679:
7673:
7672:
7652:
7646:
7636:
7630:
7629:
7609:
7603:
7602:
7582:
7576:
7575:
7563:
7551:
7545:
7544:
7521:
7515:
7514:
7491:
7485:
7484:
7482:
7480:
7468:
7462:
7450:
7444:
7443:
7441:
7439:
7416:
7410:
7407:
7401:
7400:
7380:
7374:
7373:
7353:
7347:
7346:
7326:
7320:
7319:
7299:
7293:
7292:
7272:
7263:
7262:
7242:
7236:
7235:
7215:
7209:
7208:
7188:
7182:
7181:
7171:
7147:
7136:
7135:
7115:
7109:
7108:
7088:
7082:
7081:
7061:
7055:
7054:
7034:
7028:
7027:
7005:
6999:
6998:
6976:
6970:
6969:
6949:
6943:
6942:
6922:
6916:
6915:
6895:
6889:
6888:
6869:Richard Taruskin
6865:
6859:
6858:
6836:
6830:
6829:
6809:
6803:
6802:
6782:
6776:
6775:
6755:
6749:
6748:
6728:
6722:
6721:
6719:
6717:
6701:
6695:
6694:
6692:
6690:
6670:
6661:
6660:
6658:
6656:
6613:
6607:
6606:
6586:
6580:
6579:
6559:
6553:
6552:
6550:
6548:
6539:. Archived from
6528:
6522:
6521:
6519:
6517:
6508:. Archived from
6497:
6486:
6485:
6463:
6454:
6453:
6451:
6449:
6443:
6428:
6419:
6408:
6407:
6387:
6381:
6380:
6360:
6354:
6353:
6333:
6327:
6326:
6315:
6309:
6308:
6306:
6304:
6288:
6282:
6281:
6279:
6277:
6272:on 19 March 2017
6257:
6251:
6250:
6230:
6224:
6223:
6203:
6197:
6196:
6174:
6165:
6164:
6144:
6138:
6137:
6117:
6108:
6107:
6087:
6081:
6080:
6060:
6054:
6053:
6033:
6027:
6026:
6006:
6000:
5999:
5997:
5995:
5980:
5974:
5973:
5953:
5947:
5946:
5926:
5915:
5914:
5912:
5910:
5890:
5879:
5878:
5858:
5852:
5851:
5829:
5820:
5819:
5799:
5793:
5792:
5772:
5766:
5765:
5743:
5737:
5736:
5734:
5732:
5712:
5703:
5702:
5680:
5674:
5673:
5671:
5669:
5649:
5643:
5642:
5622:
5616:
5615:
5595:
5589:
5588:
5586:
5584:
5560:
5554:
5553:
5541:
5531:
5525:
5524:
5504:
5498:
5497:
5477:
5471:
5470:
5450:
5444:
5443:
5423:
5417:
5416:
5411:
5409:
5399:"The Solitaires"
5391:
5385:
5384:
5364:
5358:
5357:
5355:
5353:
5343:
5337:
5336:
5334:
5332:
5323:. Archived from
5316:
5310:
5309:
5289:
5283:
5282:
5262:
5256:
5255:
5235:
5229:
5228:
5226:
5224:
5209:
5203:
5202:
5180:
5171:
5170:
5150:
5144:
5143:
5138:. Archived from
5125:
5119:
5118:
5116:
5114:
5099:
5093:
5092:
5072:
5066:
5065:
5043:
5037:
5036:
5016:
5010:
5009:
5007:
5005:
4970:
4961:
4960:
4934:
4925:
4924:
4904:
4898:
4897:
4877:
4871:
4870:
4850:
4844:
4843:
4823:
4817:
4816:
4796:
4787:
4786:
4766:
4760:
4759:
4739:
4733:
4732:
4712:
4706:
4705:
4685:
4679:
4678:
4658:
4652:
4651:
4631:
4625:
4624:
4604:
4598:
4597:
4575:
4566:
4565:
4545:
4539:
4538:
4518:
4512:
4511:
4491:
4485:
4484:
4464:
4458:
4457:
4437:
4431:
4430:
4408:
4402:
4401:
4399:
4397:
4381:
4375:
4374:
4354:
4348:
4338:
4332:
4331:
4311:
4305:
4302:
4296:
4293:
4287:
4286:
4266:
4260:
4259:
4237:
4231:
4230:
4210:
4201:
4200:
4180:
4174:
4173:
4153:
4144:
4143:
4123:
4117:
4116:
4096:
4090:
4089:
4069:
4063:
4062:
4042:
4033:
4032:
4012:
4003:
4002:
3982:
3976:
3975:
3955:
3949:
3948:
3928:
3922:
3921:
3901:
3890:
3889:
3887:
3885:
3870:
3864:
3863:
3861:
3859:
3842:
3836:
3835:
3819:
3809:
3803:
3802:
3797:. Archived from
3786:
3780:
3779:
3759:
3753:
3752:
3730:
3724:
3723:
3703:
3697:
3696:
3676:
3670:
3669:
3649:
3643:
3642:
3622:
3616:
3615:
3599:
3589:
3583:
3582:
3580:
3578:
3566:
3560:
3559:
3557:
3555:
3539:
3533:
3531:
3519:
3507:
3498:
3497:
3477:
3468:
3467:
3447:
3441:
3440:
3428:
3418:
3412:
3411:
3391:
3385:
3384:
3382:
3380:
3368:
3362:
3361:
3341:
3335:
3334:
3314:
3308:
3307:
3305:
3303:
3297:electricearl.com
3289:
3280:
3279:
3259:
3250:
3249:
3229:
3223:
3222:
3200:
3194:
3193:
3173:
3167:
3166:
3154:
3144:
3138:
3137:
3117:
3111:
3104:
3098:
3097:
3077:
3071:
3070:
3050:
3044:
3043:
3023:
3017:
3016:
2992:
2983:
2973:
2967:
2966:
2946:
2940:
2939:
2937:
2935:
2923:
2917:
2916:. Vol. 13, p. 6.
2898:
2892:
2891:
2879:
2869:
2860:
2859:
2839:
2830:
2829:
2798:
2792:
2791:
2771:
2765:
2764:
2744:
2738:
2737:
2715:
2709:
2704:
2662:
2657:
2656:
2655:
2648:
2643:
2642:
2641:
2608:the Earth Angels
2534:The Longest Time
2493:appeared at the
2442:A Thousand Stars
2438:the Earth Angels
2419:The Longest Time
2383:the Four Seasons
2352:Who's Loving You
2292:self-referential
2200:appeared on the
2151:At My Front Door
2105:rhythm and blues
2074:Sixty Minute Man
2042:Modern Lovers 88
2033:, cut the album
2027:Jonathan Richman
1936:Pickwick Records
1900:the Jive Bombers
1886:
1751:sang lead while
1725:Kingston College
1654:the Four Seasons
1334:
1322:Gregorian Chants
1276:US R&B chart
1193:Deborah Chessler
1100:Sunset Boulevard
1002:Dootsie Williams
927:the Magnificents
855:the Four Buddies
756:the Tune Weavers
729:Whispering Bells
634:Teenager in Love
618:Italian-American
457:Count Every Star
386:The Four Knights
341:If I Didn't Care
304:(in their 1938 "
298:Hoagy Carmichael
290:Rodgers and Hart
220:African-American
216:rhythm and blues
92:Derivative forms
82:African American
77:Cultural origins
68:Rhythm and blues
51:
39:
38:
21:
8371:
8370:
8366:
8365:
8364:
8362:
8361:
8360:
8311:
8310:
8309:
8304:
8203:
8120:
8114:
8063:
8057:
8053:
8050:
8020:
7927:
7916:
7910:
7907:
7900:
7893:Further reading
7887:
7883:
7876:
7874:Further reading
7871:
7864:
7846:
7842:
7832:
7830:
7815:
7811:
7801:
7799:
7792:The Miami Times
7784:
7780:
7770:
7768:
7761:
7757:
7750:
7734:
7730:
7720:
7718:
7708:
7704:
7694:
7692:
7680:
7676:
7669:
7653:
7649:
7637:
7633:
7626:
7610:
7606:
7599:
7583:
7579:
7561:
7555:Gilliland, John
7552:
7548:
7541:
7522:
7518:
7511:
7492:
7488:
7478:
7476:
7471:The Monotones.
7469:
7465:
7451:
7447:
7437:
7435:
7417:
7413:
7408:
7404:
7397:
7381:
7377:
7370:
7354:
7350:
7343:
7327:
7323:
7316:
7300:
7296:
7289:
7273:
7266:
7259:
7243:
7239:
7232:
7216:
7212:
7205:
7189:
7185:
7148:
7139:
7132:
7116:
7112:
7105:
7089:
7085:
7078:
7062:
7058:
7051:
7035:
7031:
7024:
7006:
7002:
6995:
6977:
6973:
6966:
6950:
6946:
6939:
6923:
6919:
6912:
6896:
6892:
6885:
6866:
6862:
6855:
6837:
6833:
6826:
6810:
6806:
6799:
6783:
6779:
6772:
6756:
6752:
6745:
6729:
6725:
6715:
6713:
6702:
6698:
6688:
6686:
6671:
6664:
6654:
6652:
6614:
6610:
6603:
6587:
6583:
6576:
6560:
6556:
6546:
6544:
6543:on 20 July 2014
6529:
6525:
6515:
6513:
6498:
6489:
6482:
6464:
6457:
6447:
6445:
6441:
6426:
6420:
6411:
6404:
6388:
6384:
6377:
6361:
6357:
6350:
6334:
6330:
6316:
6312:
6302:
6300:
6289:
6285:
6275:
6273:
6258:
6254:
6247:
6231:
6227:
6220:
6204:
6200:
6193:
6175:
6168:
6161:
6145:
6141:
6134:
6118:
6111:
6104:
6088:
6084:
6077:
6061:
6057:
6050:
6034:
6030:
6023:
6007:
6003:
5993:
5991:
5982:
5981:
5977:
5970:
5954:
5950:
5943:
5927:
5918:
5908:
5906:
5891:
5882:
5875:
5859:
5855:
5848:
5830:
5823:
5816:
5800:
5796:
5789:
5773:
5769:
5762:
5744:
5740:
5730:
5728:
5713:
5706:
5699:
5681:
5677:
5667:
5665:
5664:on 20 June 2020
5650:
5646:
5639:
5623:
5619:
5612:
5596:
5592:
5582:
5580:
5561:
5557:
5550:
5532:
5528:
5521:
5505:
5501:
5494:
5478:
5474:
5467:
5451:
5447:
5440:
5424:
5420:
5407:
5405:
5392:
5388:
5381:
5365:
5361:
5351:
5349:
5345:
5344:
5340:
5330:
5328:
5317:
5313:
5306:
5290:
5286:
5279:
5263:
5259:
5252:
5236:
5232:
5222:
5220:
5210:
5206:
5199:
5181:
5174:
5167:
5151:
5147:
5126:
5122:
5112:
5110:
5100:
5096:
5089:
5073:
5069:
5062:
5044:
5040:
5033:
5017:
5013:
5003:
5001:
4971:
4964:
4957:
4935:
4928:
4921:
4905:
4901:
4894:
4878:
4874:
4867:
4851:
4847:
4840:
4824:
4820:
4813:
4797:
4790:
4783:
4767:
4763:
4756:
4740:
4736:
4729:
4713:
4709:
4702:
4686:
4682:
4675:
4659:
4655:
4648:
4632:
4628:
4621:
4605:
4601:
4594:
4576:
4569:
4562:
4546:
4542:
4535:
4519:
4515:
4508:
4492:
4488:
4481:
4465:
4461:
4454:
4438:
4434:
4427:
4409:
4405:
4395:
4393:
4382:
4378:
4371:
4355:
4351:
4339:
4335:
4328:
4312:
4308:
4303:
4299:
4294:
4290:
4283:
4267:
4263:
4256:
4238:
4234:
4227:
4211:
4204:
4197:
4181:
4177:
4170:
4154:
4147:
4140:
4124:
4120:
4113:
4097:
4093:
4086:
4070:
4066:
4059:
4043:
4036:
4029:
4013:
4006:
3999:
3983:
3979:
3972:
3956:
3952:
3945:
3929:
3925:
3918:
3902:
3893:
3883:
3881:
3871:
3867:
3857:
3855:
3843:
3839:
3832:
3810:
3806:
3787:
3783:
3776:
3760:
3756:
3749:
3731:
3727:
3720:
3704:
3700:
3693:
3677:
3673:
3666:
3650:
3646:
3639:
3623:
3619:
3612:
3590:
3586:
3576:
3574:
3569:The Jive Five.
3567:
3563:
3553:
3551:
3541:
3540:
3536:
3517:
3511:Gilliland, John
3508:
3501:
3494:
3478:
3471:
3464:
3448:
3444:
3437:
3419:
3415:
3408:
3392:
3388:
3378:
3376:
3369:
3365:
3358:
3342:
3338:
3331:
3315:
3311:
3301:
3299:
3291:
3290:
3283:
3276:
3260:
3253:
3246:
3230:
3226:
3219:
3201:
3197:
3190:
3174:
3170:
3163:
3145:
3141:
3134:
3118:
3114:
3105:
3101:
3094:
3078:
3074:
3067:
3051:
3047:
3040:
3024:
3020:
3009:
2993:
2986:
2974:
2970:
2963:
2947:
2943:
2933:
2931:
2926:The Ink Spots.
2924:
2920:
2899:
2895:
2888:
2870:
2863:
2856:
2840:
2833:
2799:
2795:
2788:
2772:
2768:
2761:
2745:
2741:
2734:
2716:
2712:
2705:
2701:
2697:
2683:50s progression
2658:
2653:
2651:
2644:
2639:
2637:
2634:
2575:Thomas Brenneck
2550:the Impressions
2427:
2324:the Midnighters
2312:
2233:The Mello-Kings
2229:the Silhouettes
2143:Hearts of Stone
2082:the Mello-Moods
2055:
1949:the Marvelettes
1944:
1892:Herman Lubinsky
1884:
1839:Fortune Records
1830:
1824:
1783:
1766:Wailing Wailers
1741:the Impressions
1695:The opening by
1662:
1511:the Silhouettes
1449:the Silhouettes
1441:
1421:Sixteen Candles
1403:from Brooklyn.
1332:
1234:Herman Santiago
1207:The Du Droppers
1156:social cohesion
1140:Great Migration
1123:
1041:the Meadowlarks
998:
964:Smokey Robinson
960:Clyde McPhatter
947:Fortune Records
935:
911:Vee-Jay Records
888:
843:the Marylanders
811:Jubilee Records
792:performing arts
788:Chitlin Circuit
764:
725:Come Go With Me
721:the Del-Vikings
701:Herman Santiago
538:
530:the Five Satins
485:
398:
326:50s progression
286:
285:
284:
277:
276:
275:
273:
254:
246:
181:
138:Regional scenes
133:
72:
56:
35:
28:
23:
22:
15:
12:
11:
5:
8369:
8359:
8358:
8356:1960s in music
8353:
8351:1950s in music
8348:
8343:
8338:
8333:
8328:
8323:
8306:
8305:
8303:
8302:
8297:
8296:
8295:
8290:
8285:
8280:
8278:Blue-eyed soul
8270:
8265:
8260:
8255:
8250:
8249:
8248:
8238:
8237:
8236:
8226:
8221:
8215:
8213:
8212:Related topics
8209:
8208:
8205:
8204:
8202:
8201:
8200:
8199:
8189:
8184:
8179:
8174:
8169:
8164:
8159:
8157:New jack swing
8154:
8149:
8144:
8139:
8138:
8137:
8126:
8124:
8116:
8115:
8113:
8112:
8107:
8102:
8097:
8092:
8087:
8082:
8076:
8074:
8067:
8059:
8058:
8049:
8048:
8041:
8034:
8026:
8019:
8018:
8011:
8004:
7997:
7987:
7980:
7973:
7966:Cummings, Tony
7963:
7948:
7932:
7929:
7928:
7890:
7888:
7881:
7875:
7872:
7870:
7869:
7862:
7840:
7809:
7778:
7755:
7748:
7728:
7702:
7674:
7667:
7647:
7639:Whitburn, Joel
7631:
7624:
7604:
7597:
7577:
7567:Pop Chronicles
7546:
7539:
7516:
7509:
7486:
7463:
7458:Pop Chronicles
7445:
7411:
7402:
7395:
7375:
7368:
7348:
7341:
7321:
7314:
7294:
7287:
7264:
7257:
7237:
7230:
7210:
7203:
7183:
7137:
7130:
7110:
7103:
7083:
7076:
7056:
7049:
7029:
7022:
7000:
6993:
6971:
6964:
6944:
6937:
6917:
6910:
6890:
6883:
6860:
6853:
6831:
6824:
6804:
6797:
6777:
6770:
6750:
6743:
6723:
6696:
6662:
6634:10.2307/948066
6608:
6601:
6581:
6574:
6554:
6523:
6506:debate.uvm.edu
6487:
6480:
6468:"Wailin; Soul"
6455:
6409:
6402:
6382:
6375:
6355:
6348:
6328:
6310:
6283:
6252:
6245:
6225:
6218:
6198:
6191:
6166:
6159:
6139:
6132:
6109:
6102:
6082:
6075:
6055:
6048:
6028:
6021:
6001:
5975:
5968:
5948:
5941:
5916:
5880:
5873:
5853:
5846:
5821:
5814:
5794:
5787:
5767:
5760:
5738:
5704:
5697:
5675:
5658:Oral Histories
5644:
5637:
5617:
5610:
5590:
5555:
5548:
5526:
5519:
5499:
5492:
5472:
5465:
5445:
5438:
5418:
5386:
5379:
5359:
5338:
5311:
5304:
5284:
5277:
5257:
5250:
5230:
5204:
5197:
5172:
5165:
5145:
5120:
5094:
5087:
5067:
5060:
5038:
5031:
5011:
4962:
4955:
4926:
4919:
4899:
4892:
4872:
4865:
4845:
4838:
4818:
4811:
4788:
4781:
4761:
4754:
4734:
4727:
4707:
4700:
4680:
4673:
4653:
4646:
4626:
4619:
4599:
4592:
4567:
4560:
4540:
4533:
4513:
4506:
4486:
4479:
4459:
4452:
4432:
4425:
4403:
4376:
4369:
4349:
4341:Whitburn, Joel
4333:
4326:
4306:
4297:
4288:
4281:
4261:
4254:
4232:
4225:
4202:
4195:
4175:
4168:
4145:
4138:
4118:
4111:
4091:
4084:
4064:
4057:
4034:
4027:
4004:
3997:
3977:
3970:
3950:
3943:
3923:
3916:
3891:
3865:
3837:
3830:
3804:
3801:on 3 May 2013.
3781:
3774:
3754:
3747:
3725:
3718:
3698:
3691:
3671:
3664:
3644:
3637:
3617:
3610:
3584:
3561:
3534:
3523:Pop Chronicles
3499:
3492:
3469:
3462:
3442:
3435:
3413:
3406:
3386:
3363:
3356:
3336:
3329:
3309:
3281:
3274:
3251:
3244:
3224:
3217:
3195:
3188:
3168:
3161:
3139:
3132:
3112:
3099:
3092:
3072:
3065:
3045:
3038:
3018:
3007:
2984:
2976:Whitburn, Joel
2968:
2961:
2941:
2918:
2910:André Doehring
2893:
2886:
2861:
2854:
2831:
2793:
2786:
2766:
2759:
2739:
2732:
2710:
2698:
2696:
2693:
2692:
2691:
2686:
2680:
2675:
2670:
2664:
2663:
2649:
2633:
2630:
2616:Meghan Trainor
2586:barbershoppers
2579:Daptone Record
2426:
2423:
2395:the Beach Boys
2311:
2308:
2288:the Rivingtons
2243:in 1959 with "
2167:Little Darlin'
2157:(number 7), "
2149:(number 1), "
2066:Benedum Center
2054:
2051:
1943:
1940:
1866:Brill Building
1826:Main article:
1823:
1820:
1782:
1779:
1718:proving ground
1711:The Four Coins
1661:
1658:
1624:God Only Knows
1591:listening area
1503:the Sensations
1481:Herald Records
1440:
1437:
1368:Laurie Records
1283:the Solitaires
1268:the Linc-Tones
1238:Jimmy Merchant
1219:R&B charts
1185:Arthur Godfrey
1175:Apollo Theater
1163:Bobby Robinson
1122:
1119:
1088:the Medallions
1080:Legion Stadium
1076:Original Sound
1070:compilations,
997:
994:
934:
931:
923:the El Dorados
887:
884:
763:
760:
709:George Goldner
678:Johnny Maestro
537:
534:
484:
481:
475:" (1948) and "
430:
429:
426:
423:
416:
413:
397:
394:
343:", one of the
306:Heart and Soul
278:
267:
264:
261:
260:
259:
253:
250:
245:
242:
202:(also spelled
195:
194:
188:
187:
183:
182:
180:
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174:
169:
164:
159:
154:
149:
143:
140:
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126:
121:
116:
111:
109:Brill Building
106:
101:
95:
93:
89:
88:
78:
74:
73:
71:
70:
64:
62:
58:
57:
52:
44:
43:
26:
9:
6:
4:
3:
2:
8368:
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8337:
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8210:
8198:
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8194:
8193:
8190:
8188:
8185:
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8180:
8178:
8175:
8173:
8170:
8168:
8165:
8163:
8160:
8158:
8155:
8153:
8152:Latin R&B
8150:
8148:
8145:
8143:
8140:
8136:
8133:
8132:
8131:
8128:
8127:
8125:
8123:
8117:
8111:
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8106:
8103:
8101:
8098:
8096:
8093:
8091:
8088:
8086:
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8081:
8078:
8077:
8075:
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8068:
8066:
8060:
8056:
8047:
8042:
8040:
8035:
8033:
8028:
8027:
8024:
8016:
8012:
8009:
8005:
8002:
7998:
7995:
7991:
7990:Keyes, Johnny
7988:
7985:
7981:
7978:
7974:
7971:
7967:
7964:
7961:
7960:0-9706852-0-3
7957:
7953:
7949:
7946:
7945:0-9631722-5-5
7942:
7938:
7934:
7933:
7925:
7922:
7914:
7904:
7903:editing guide
7898:
7894:
7889:
7880:
7879:
7865:
7859:
7855:
7851:
7844:
7828:
7824:
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7608:
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7589:
7581:
7573:
7569:
7568:
7560:
7556:
7550:
7542:
7536:
7532:
7531:
7526:
7525:Joel Whitburn
7520:
7512:
7506:
7502:
7501:
7496:
7495:Joel Whitburn
7490:
7474:
7467:
7460:
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6378:
6372:
6368:
6367:
6359:
6351:
6345:
6341:
6340:
6332:
6324:
6320:
6319:Joel Whitburn
6314:
6298:
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6271:
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5395:Marv Goldberg
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2552:' 1963 Top 5
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2532:'s 1984 hit "
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2360:Ooo Baby Baby
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2260:Runaround Sue
2257:
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2241:the Skyliners
2238:
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2226:
2225:the Monotones
2221:
2219:
2215:
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2207:
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2202:Frankie Laine
2199:
2198:the Teenagers
2195:
2194:Frankie Lymon
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2101:rock and roll
2097:
2095:
2094:the Cardinals
2091:
2090:the Five Keys
2087:
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2079:
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2063:
2062:The Cleftones
2059:
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2017:
2015:
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1939:
1938:in New York.
1937:
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1904:Robert Cherry
1901:
1897:
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1854:the Shirelles
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1640:Bristol Stomp
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1616:chart-toppers
1612:
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1537:Georgie Woods
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1445:the Castelles
1436:
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1425:the Harptones
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1307:
1306:the Bobbettes
1303:
1298:
1296:
1292:
1291:Walking Along
1288:
1284:
1279:
1277:
1273:
1269:
1265:
1262:", featuring
1261:
1257:
1253:
1251:
1247:
1243:
1239:
1235:
1231:
1227:
1226:the Teenagers
1222:
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1208:
1204:
1202:
1198:
1194:
1190:
1189:Talent Scouts
1186:
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1171:Eighth Avenue
1168:
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1121:New York City
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1003:
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982:
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976:
975:Tamla Records
972:
967:
965:
961:
957:
953:
948:
943:
940:
930:
928:
924:
920:
916:
915:Chess Records
912:
908:
904:
902:
901:record labels
897:
893:
883:
881:
877:
873:
872:Ahmet Ertegun
869:
864:
858:
856:
852:
851:the Blentones
848:
847:the Cardinals
844:
839:
837:
831:
828:
823:
820:
816:
812:
807:
805:
801:
797:
793:
789:
785:
781:
780:Royal Theatre
777:
773:
769:
768:the Cardinals
759:
757:
753:
749:
748:Lillian Leach
744:
742:
738:
734:
730:
726:
722:
718:
714:
713:Frankie Lymon
710:
706:
705:the Teenagers
702:
693:
689:
687:
683:
679:
675:
671:
667:
663:
659:
655:
651:
647:
643:
639:
638:Where or When
635:
631:
628:scored with "
627:
622:
619:
614:
612:
607:
605:
604:My True Story
601:
600:the Jive Five
597:
596:the Flamingos
593:
589:
585:
581:
580:the Moonglows
577:
573:
569:
564:
560:
556:
555:the Five Keys
552:
542:
533:
531:
527:
523:
519:
515:
511:
510:backing vocal
507:
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346:
342:
338:
337:the Ink Spots
333:
331:
330:Tin Pan Alley
327:
323:
319:
315:
311:
307:
303:
302:Frank Loesser
299:
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258:
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147:New York City
145:
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136:
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120:
117:
115:
112:
110:
107:
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102:
100:
97:
96:
94:
90:
87:
83:
80:1940s–1950s,
79:
75:
69:
66:
65:
63:
59:
55:
50:
45:
40:
37:
33:
19:
8283:British soul
8147:Hip hop soul
8099:
8014:
8007:
8000:
7993:
7983:
7976:
7969:
7951:
7936:
7917:
7908:
7896:
7853:
7843:
7831:. Retrieved
7822:
7812:
7800:. Retrieved
7796:the original
7791:
7781:
7769:. Retrieved
7758:
7738:
7731:
7719:. Retrieved
7715:
7705:
7693:. Retrieved
7687:
7677:
7657:
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7642:
7634:
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7587:
7580:
7565:
7549:
7529:
7519:
7499:
7489:
7477:. Retrieved
7466:
7456:
7448:
7438:26 September
7436:. Retrieved
7424:
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7385:
7378:
7358:
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6787:
6780:
6760:
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6733:
6726:
6714:. Retrieved
6709:
6699:
6687:. Retrieved
6683:the original
6679:The Guardian
6678:
6653:. Retrieved
6625:
6621:
6611:
6591:
6584:
6564:
6557:
6545:. Retrieved
6541:the original
6536:
6526:
6514:. Retrieved
6510:the original
6505:
6471:
6446:. Retrieved
6434:
6430:
6392:
6385:
6365:
6358:
6338:
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6313:
6301:. Retrieved
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6270:the original
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6065:
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6038:
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5987:
5978:
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5903:the original
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5837:
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5741:
5729:. Retrieved
5725:the original
5720:
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5662:the original
5657:
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5627:
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5600:
5593:
5581:. Retrieved
5577:the original
5572:
5568:
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5537:
5529:
5509:
5502:
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5475:
5455:
5448:
5428:
5421:
5413:
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5402:
5389:
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5350:. Retrieved
5341:
5329:. Retrieved
5325:the original
5314:
5294:
5287:
5267:
5260:
5240:
5233:
5221:. Retrieved
5217:
5207:
5188:
5155:
5148:
5140:the original
5133:
5123:
5111:. Retrieved
5107:
5097:
5077:
5070:
5051:
5041:
5021:
5014:
5002:. Retrieved
4982:
4978:
4946:
4909:
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4882:
4875:
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4516:
4496:
4489:
4469:
4462:
4442:
4435:
4416:
4406:
4394:. Retrieved
4389:
4386:"Rock Music"
4379:
4359:
4352:
4344:
4336:
4316:
4309:
4300:
4291:
4271:
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4094:
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4067:
4047:
4017:
3987:
3980:
3960:
3953:
3933:
3926:
3906:
3882:. Retrieved
3878:
3868:
3856:. Retrieved
3850:
3840:
3815:
3807:
3799:the original
3794:
3784:
3764:
3757:
3738:
3728:
3708:
3701:
3681:
3674:
3654:
3647:
3627:
3620:
3595:
3587:
3575:. Retrieved
3564:
3552:. Retrieved
3546:
3537:
3521:
3482:
3452:
3445:
3424:
3416:
3396:
3389:
3377:. Retrieved
3366:
3346:
3339:
3319:
3312:
3300:. Retrieved
3296:
3264:
3234:
3227:
3208:
3198:
3178:
3171:
3150:
3142:
3122:
3115:
3107:
3102:
3082:
3075:
3055:
3048:
3028:
3021:
3012:
2997:
2979:
2971:
2951:
2944:
2932:. Retrieved
2921:
2905:
2896:
2875:
2844:
2826:
2806:
2802:
2796:
2776:
2769:
2749:
2742:
2723:
2713:
2702:
2673:Scat singing
2660:Music portal
2625:
2620:
2603:
2599:
2593:
2583:
2566:
2557:
2503:
2468:
2467:
2459:
2454:Pennsylvania
2389:, and vocal
2376:
2336:the Miracles
2328:the Platters
2320:the Drifters
2316:the Coasters
2313:
2306:), in 1961.
2264:The Wanderer
2253:
2237:the Diamonds
2222:
2186:the Platters
2179:
2171:the Diamonds
2133:
2125:crossed over
2098:
2071:
2040:
2034:
2025:
2018:
2003:
2001:
1994:
1984:
1978:
1972:
1965:
1953:the Supremes
1945:
1920:Tommy Ramone
1909:
1889:
1881:
1878:
1873:
1843:
1835:
1831:
1812:
1807:
1805:
1796:
1791:
1788:Jerry Wexler
1784:
1775:Coxsone Dodd
1764:
1753:Bunny Wailer
1737:the Drifters
1734:
1729:Dobby Dobson
1722:
1715:
1706:the Platters
1702:Rosco Gordon
1694:
1683:
1663:
1650:Jerry Blavat
1648:
1613:
1595:
1584:
1561:
1551:
1547:
1545:
1540:
1531:
1529:
1522:
1499:Kae Williams
1497:
1486:
1465:
1457:
1442:
1439:Philadelphia
1412:gang battles
1409:
1405:
1389:
1372:
1364:He's So Fine
1340:the Chiffons
1337:
1329:
1302:the Chantels
1299:
1280:
1254:
1223:
1216:
1205:
1200:
1183:
1167:125th Street
1161:
1149:
1135:
1124:
1104:
1071:
1061:
1056:
1053:
1045:the Platters
1018:
1006:John Dolphin
999:
990:the Miracles
983:
968:
944:
938:
936:
909:
905:
895:
889:
868:Jerry Wexler
863:King Records
859:
840:
835:
832:
824:
818:
815:Talent Scout
814:
808:
776:the Swallows
765:
745:
698:
666:the Elegants
630:I Wonder Why
623:
615:
610:
608:
592:Daddy's Home
588:the Penguins
567:
559:the Spaniels
547:
503:
492:
486:
453:onomatopoeia
446:
431:
418:it includes
405:
401:
399:
384:
373:
334:
321:
287:
255:
247:
207:
203:
199:
198:
186:Other topics
152:Philadelphia
36:
8268:Smooth jazz
8167:Quiet storm
8142:Crunk&B
6716:16 November
6710:The Gleaner
6689:16 November
6655:15 November
6547:15 November
6516:15 November
6448:15 November
6303:12 November
6276:12 November
6262:"Radio DJs"
5994:11 November
5988:archive.org
3884:17 November
3858:17 November
2506:Robert John
2501:" in 1972.
2475:Frank Zappa
2434:Kathy Young
2411:Barbara Ann
2407:the Regents
2403:Surfer Girl
2387:girl groups
2340:answer song
2284:the Marcels
2276:the Marcels
1991:the Ramones
1932:proto-punks
1924:Chris Stein
1896:the Falcons
1747:, in which
1745:the Wailers
1679:Fats Domino
1636:the Dovells
1601:Silhouettes
1556:moral panic
1515:Ember label
1385:the Mellows
1376:Morrissania
1356:Ronnie Mack
1335:s Hot 100.
1264:Neil Sedaka
1256:The Willows
1246:Gee Records
1201:Billboard's
1173:, near the
1107:Frank Zappa
1092:disc jockey
996:Los Angeles
971:Berry Gordy
907:and blues.
772:the Orioles
737:the Impalas
686:the Regents
674:the Duprees
670:the Mystics
584:Earth Angel
551:the Orioles
536:Development
518:the Turbans
514:the Clovers
489:the Marcels
469:The Orioles
465:double bass
167:Los Angeles
99:Beach music
8315:Categories
8246:Jump blues
8187:Snap&B
7895:" section
7479:10 October
7475:. AllMusic
7162:(1): 1–4.
5909:3 November
5731:6 November
5668:7 November
5583:7 November
5331:7 November
5223:6 November
5113:7 November
5004:7 November
3577:10 October
3573:. AllMusic
3379:10 October
3375:. AllMusic
2934:10 October
2930:. AllMusic
2695:References
2612:Bruno Mars
2600:Doo Wop 51
2595:Doo Wop 50
2567:By the Way
2530:Billy Joel
2518:Daddy Cool
2450:Pittsburgh
2417:released "
2415:Billy Joel
2391:surf music
2332:soul music
2304:Barry Mann
2249:the Tokens
2175:Billy Vera
2121:the Chords
2053:Popularity
2047:Bo Diddley
2021:proto-punk
1980:Happy Days
1757:Peter Tosh
1749:Bob Marley
1697:Ken Khouri
1632:At the Hop
1620:the Capris
1607:chart and
1519:Dick Clark
1429:Alan Freed
1397:the Capris
1352:Judy Craig
1310:girl group
1287:hit single
1136:a cappella
1128:the Charts
1033:the Flairs
1029:the Robins
819:Billboard'
800:deep South
733:16 Candles
682:the Crests
662:the Chimes
642:the Capris
611:a cappella
568:a cappella
499:California
479:" (1953).
461:the Ravens
448:a cappella
439:high tenor
435:Bill Kenny
361:swing time
353:Paper Doll
308:") used a
283:in C major
279:A typical
237:recitative
177:Pittsburgh
172:Cincinnati
129:vocal surf
86:East Coast
8234:Nederbeat
8224:Afroswing
8110:Swamp pop
7433:0362-4331
7178:161459134
6642:0163-0350
6628:(1): 13.
5895:"Doo Wop"
5352:23 August
4999:191844795
4396:9 October
3735:"Doo-wop"
3554:10 August
3302:18 August
3014:Drifters.
2815:0021-8529
2720:"Doo-Wop"
2559:Billboard
2554:smash hit
2526:Toby Beau
2491:Sha Na Na
2344:Get a Job
2280:Blue Moon
2272:Ruby Baby
2159:Sincerely
2155:Pat Boone
2139:Crew Cuts
2134:Billboard
2129:pop music
2127:onto the
2113:the Crows
1999:in 1979.
1882:Billboard
1874:Billboard
1808:a capella
1792:Billboard
1609:Billboard
1564:promoters
1541:Bandstand
1530:Although
1507:Let Me In
1489:Get a Job
1469:falsettos
1381:the Halos
1348:the Bronx
1338:In 1960,
1330:Billboard
1318:the Bronx
1278:in 1956.
1250:pop chart
1230:teen idol
1221:in 1953.
1217:Billboard
1159:bridges.
1132:the Wrens
1105:In 1962,
1064:Art Laboe
1062:In 1960,
1057:a capella
1051:success.
1049:crossover
1025:Jefferson
939:Billboard
919:the Dells
880:producers
836:Billboard
809:In 1948,
804:Sonny Til
798:from the
762:Baltimore
739:, whose "
658:the Earls
576:Sincerely
322:I–vi–IV–V
318:hit songs
316:in those
310:I–vi–ii–V
294:Blue Moon
162:Baltimore
119:power pop
8293:Neo soul
8263:Slow jam
8253:Boogaloo
7992:(1987).
7968:(1975).
7911:May 2017
7827:Archived
7802:29 April
7771:29 April
7721:21 March
7557:(1969).
7527:(2010).
7497:(2010).
6439:Archived
6321:(2004).
6297:pennlive
5408:31 March
4985:(2): 3.
4242:"Du-Wop"
3548:AllMusic
3532:Track 5.
3513:(1969).
2823:23597540
2678:Vocalese
2632:See also
2577:for the
2425:Revivals
2358:", and "
2348:Bad Girl
2182:Only You
2009:vocables
1912:Lou Reed
1690:selector
1686:Kingston
1475:such as
1326:pop rock
1295:New York
986:Bad Girl
956:The Wind
796:migrated
654:"Denise"
636:", and "
369:off-beat
296:"), and
212:subgenre
114:pop rock
8321:Doo-wop
8172:Raï'n'B
8162:Pluggnb
8100:Doo-wop
8073:General
7994:Du-Wop.
7695:5 March
7562:(audio)
5135:Variety
3518:(audio)
2581:label.
2520:" and "
2483:Chicano
2326:, and
2270:" and "
2216:" and "
2117:Sh-Boom
2115:, and "
1969:WCBS-FM
1850:Scepter
1732:weeks.
1660:Jamaica
1509:", and
1115:singles
1021:Belmont
1012:in the
952:Diablos
933:Detroit
896:doo-wop
886:Chicago
752:R&B
727:" and "
332:songs.
244:Origins
225:harmony
210:) is a
208:doo wop
200:Doo-wop
157:Chicago
42:Doo-wop
18:Doo wop
8288:Motown
8182:RnBass
8085:Boogie
8064:Genres
7958:
7943:
7891:This "
7860:
7833:4 June
7746:
7665:
7622:
7595:
7537:
7507:
7461:(1969)
7431:
7393:
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7285:
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2602:, and
2463:Newark
2274:" and
2256:Dion's
2014:tropes
1986:Grease
1983:, and
1922:, and
1858:Goffin
1771:B-side
1568:Hy Lit
1272:chimes
1211:gospel
1145:Harlem
1068:oldies
1023:, and
784:Howard
778:. The
774:, and
684:, and
680:&
572:charts
557:, and
365:tempos
312:-loop
257:1940s.
233:bridge
204:doowop
8300:Urban
8241:Blues
8080:Beach
7174:S2CID
6646:JSTOR
6442:(PDF)
6427:(PDF)
4995:S2CID
4910:Zappa
2819:JSTOR
2514:Darts
2436:with
2372:blues
2346:"), "
2302:" by
2169:" by
2161:" by
2153:" by
2145:" by
2119:" by
2111:" by
2088:" by
2076:" by
1928:punks
1885:'
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1270:, on
876:demos
827:swing
586:" by
578:" by
459:" by
8273:Soul
8258:Funk
8229:Beat
8135:Alté
7956:ISBN
7941:ISBN
7858:ISBN
7835:2014
7804:2012
7773:2012
7744:ISBN
7723:2012
7697:2012
7663:ISBN
7620:ISBN
7593:ISBN
7535:ISBN
7505:ISBN
7481:2019
7440:2017
7429:ISSN
7391:ISBN
7364:ISBN
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6638:ISSN
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2196:and
1951:and
1930:and
1918:and
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1860:and
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1675:WINZ
1671:WLAC
1587:WIBG
1580:WDAS
1572:WHAT
1433:WINS
1383:and
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1169:and
1096:KPOP
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