Doo-Wop Dreams

Doo-wop (also spelled doowop and doo wop) is a genre of rhythm and blues music that originated in African-American communities during the 1940s, mainly in the large cities of the United States, including New York, Philadelphia, Pittsburgh, Chicago, Baltimore, Newark, Detroit, Washington, DC, and Los Angeles. It features vocal group harmony that carries an engaging melodic line to a simple beat with little or no instrumentation. Lyrics are simple, usually about love, sung by a lead vocal over background vocals, and often featuring, in the bridge, a melodramatically heartfelt recitative 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, but continued to influence performers in other genres.Hoffmann, F
Roots of Rock: Doo-Wop
In ''Survey of American Popular Music'', modified for the web by Robert Birkline. Retrieved 17 September 2011.

Origins

Doo-wop has complex musical, social, and commercial origins.

Musical precedents

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 1940s.

Such composers as Rodgers and Hart (in their 1934 song "Blue Moon"), and Hoagy Carmichael and Frank Loesser (in their 1938 " Heart and Soul") used a I–vi–ii–V-loop chord progression in those hit songs; composers of doo-wop songs varied this slightly but significantly to the chord progression I–vi–IV–V, so influential that it is sometimes referred to as the '50s progression. This characteristic harmonic layout was combined with the AABA chorus form typical for Tin Pan Alley songs.Ralf von Appen, Markus Frei-Hauenschild (2015)
"AABA, Refrain, Chorus, Bridge, Prechorus — Song Forms and their Historical Development"
In: ''Samples. Online Publikationen der Gesellschaft für Popularmusikforschung/German Society for Popular Music Studies e.V.'', Ed. by Ralf von Appen, André Doehring and Thomas Phleps. Vol. 13, p. 6.

Hit songs by black groups such as the Ink Spots ("If I Didn't Care", one of the best selling singles worldwide of all time, and "Address Unknown") and the Mills Brothers (" Paper Doll", "You Always Hurt the One You Love" and "Glow Worm") were generally slow songs in swing time with simple instrumentation. Doo-wop street singers generally performed without instrumentation, but made their musical style distinctive, whether using fast or slow tempos, by keeping time with a swing-like off-beat, while using the "doo-wop" syllables as a substitute for drums and a bass vocalist as a substitute for a bass instrument.

Doo-wop's characteristic vocal style was influenced by groups such as the Mills Brothers, whose close four-part harmony derived from the vocal harmonies of the earlier barbershop quartet.

The Four Knights' "Take Me Right Back to the Track" (1945), the Cats and the Fiddle'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.

Elements of doo-wop vocal style

In their book entitled "The Complete Book of Doo-Wop", co-authors Gribin and Schiff (who also wrote “Doo-Wop, the Forgotten Third of Rock 'n' Roll“), identify 5 features of doo-wop music: 1) it is vocal music made by groups; 2) it features a wide range of vocal parts, "usually from bass to falsetto"; 3) it includes nonsense syllables; 4) there is a simple beat and low key instrumentals; and 5) it has simple words and music. 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. Bill Kenny, lead singer of the Ink Spots, is often credited with introducing the "top and bottom" vocal arrangement featuring a high tenor singing the intro and a bass 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 ''a cappella'' arrangements, used wordless onomatopoeia to mimic musical instruments. For instance, "Count Every Star" by the Ravens (1950) includes vocalizations imitating the "doomph, doomph" plucking of a double bass. The Orioles helped develop the doo-wop sound with their hits " It's Too Soon to Know" (1948) and "Crying in the Chapel" (1953).

Origin of the name

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 the Marcels' song, "Blue Moon", in '' The Chicago Defender'', 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 California to categorize the music.

"Doo-wop" is itself a nonsense expression. In the Delta Rhythm Boys' 1945 recording, "Just A-Sittin' And A-Rockin", it is heard in the backing vocal. It is heard later in the Clovers' 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 the Turbans' 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 Red Robin Records; also a Washington, D.C. regional hit on Pilgrim 703); and in their 1956 national hit, " In the Still of the Night", the Five Satins sang across the bridge with a plaintive "doo-wop, doo-wah".

Development

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 songs in the vocal harmony group tradition were the Orioles, the Five Keys, and the Spaniels; 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 Delta Rhythm Boys 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 ''a cappella'' songs. Soon, other doo-wop groups entered the pop charts, particularly in 1955, which saw such cross-over doo-wop hits as " Sincerely" by the Moonglows, "Earth Angel" by the Penguins, the Cadillacs' "Gloria", the Heartbeats' "A Thousand Miles Away", Shep & the Limelites' "Daddy's Home", the Flamingos' "I Only Have Eyes for You", and the Jive Five's "My True Story".

Teenagers who could not afford musical instruments formed groups that sang songs ''a cappella'', 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.

Particularly productive doo-wop groups were formed by young Italian-American 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 home to groups that made successful records.

By the late 1950s and early 1960s, many Italian-American groups had national hits: Dion and the Belmonts scored with "I Wonder Why", "Teenager in Love", and "Where or When"; the Capris made their name in 1960 with "There's a Moon Out Tonight"; Randy & the Rainbows, who charted with their Top #10 1963 single "Denise". Other Italian-American doo-wop groups were the Earls, the Chimes, the Elegants, the Mystics, the Duprees, Johnny Maestro & the Crests, and the Regents.

Some doo-wop groups were racially mixed. Puerto Rican Herman Santiago, originally slated to be the lead singer of the Teenagers, 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 George Goldner thought that newcomer Frankie Lymon'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 " Why Do Fools Fall in Love?". Chico Torres was a member of the Crests, whose lead singer, Johhny Mastrangelo, would later gain fame under the name Johnny Maestro. Racially integrated groups with both black and white performers included the Del-Vikings, who had major hits in 1957 with " Come Go With Me" and " Whispering Bells", the Crests, whose "16 Candles" appeared in 1958, and the Impalas, whose "Sorry (I Ran All the Way Home)" was a hit in 1959.

Female doo-wop singers were much less common than males in the early days of doo-wop. Lillian Leach, lead singer of the Mellows from 1953 to 1958, helped pave the way for other women in doo-wop, soul and R&B. Margo Sylvia was the lead singer for the Tune Weavers.

Baltimore

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 the Cardinals, the Orioles, and the Swallows. The Royal Theatre in Baltimore and the Howard in Washington, D.C. were among the most prestigious venues for black performers on the so-called "Chitlin Circuit", which served as a school of the performing arts for blacks who had migrated from the deep South, 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, Sonny Til, 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.

In 1948, Jubilee Records signed the Orioles to a contract, following which they appeared on Arthur Godfrey's ''Talent Scout'' 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 ''Billboards "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 groups who named themselves after birds.

The sexual innuendo in the Orioles' songs was less disguised than in the vocal group music of the swing 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 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.

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 Mine", released in 1951, reached number 9 on the US ''Billboard'' R&B chart. In 1952, the Swallows released "Beside You", their second national hit, which peaked at number 10 on the R&B chart.

Some Baltimore doo-wop groups were connected with street gangs, and a few members were active in both scenes, such as Johnny Page of the Marylanders. 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 the Cardinals and the Blentones, while the West was home to the Orioles and the Four Buddies.

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 King Records 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; Jerry Wexler and Ahmet Ertegun auditioned the Cardinals at Azrael's. Some groups cut demos at local studios and played them for recording producers, with the aim of getting signed to a record deal.

Chicago

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 recording industry. 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 ''doo-wop'' 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 record labels, 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.

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 and blues.

Vee-Jay Records and Chess Records were the main labels recording doo-wop groups in Chicago. Vee-Jay signed the Dells, the El Dorados, the Magnificents, 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.

Detroit

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 ''Billboard'' 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 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.

Jack and Devora Brown, a Jewish couple, founded Fortune Records 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 Diablos, featuring the soaring tenor of lead vocalist Nolan Strong, a native of Alabama. The group's most notable hit was " The Wind". Strong, like other R&B and doo-wop tenors of the time, was profoundly influenced by Clyde McPhatter, lead singer of the Dominoes and later of the Drifters. Strong himself made a lasting impression on the young Smokey Robinson, who went out of his way to attend Diablo shows.

In late 1957, seventeen-year-old Robinson, fronting a Detroit vocal harmony group called the Matadors, met the producer Berry Gordy, 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 Tamla Records, founded several months before he established the Motown Record Corporation in January 1959, were of either blues or doo-wop performances.

" Bad Girl", a 1959 doo-wop single by Robinson's group, the Miracles, 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 #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.

Los Angeles

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 Dootsie Williams and John Dolphin 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 Fremont High School in the Watts neighborhood 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.

Most of the Los Angeles doo-wop groups came out of the Fremont, Belmont, and Jefferson high schools. All of them were influenced by the Robins, a successful R&B group of the late 1940s and the 1950s who formed in San Francisco, or by other groups including the Flairs, the Flamingos (not the Chicago group) and the Hollywood Flames. 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, the Meadowlarks

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