doo-wop

/dooh"wop'/, n. Popular Music.

a style of small-group vocal harmonizing, commercialized as a type of so-called street singing in the 1950s, in which words and nonsense syllables are chanted in rhythmic harmony to support the stylized melody of the lead singer.

[repr. the chanted syllables]

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▪ music

Introduction

 style of rhythm-and-blues (rhythm and blues) and rock-and-roll (rock and roll) vocal music popular in the 1950s and '60s. The structure of doo-wop music generally featured a tenor lead vocalist singing the melody of the song with a trio or quartet singing background harmony. The term doo-wop is derived from the sounds made by the group as they provided harmonic background for the lead singer.

      The roots of the doo-wop style can be found as early as the records of the Mills Brothers and the Ink Spots (Ink Spots, the) in the 1930s and '40s. The Mills Brothers (Mills Brothers, the) turned small-group harmony into an art form when, in many of their recordings, they used their vocal harmony to simulate the sound of string or reed sections. The Ink Spots (Ink Spots, the) established the preeminence of the tenor and bass singer as members of the pop vocal ensemble, and their influence can be heard in rhythm-and-blues music beginning in the 1940s (in records by the Ravens), throughout the '50s, and well into the '70s. This influence is best exhibited in the remakes of the Ink Spots' hit records “My Prayer” (1956) by the Platters (Platters, the) and “If I Didn't Care” (1970) by the Moments. In fact, Motown's premier male group of the 1960s and '70s, the Temptations (Temptations, the), had a vocal sound that was based in this classic doo-wop style, with the Ink Spots' tenor lead singer, Bill Kenny, and bass singer, Hoppy Jones, serving as inspiration for the Temptations' lead singers, Eddie Kendricks and David Ruffin, and their bass singer, Melvin Franklin. There also was a school of female doo-wop, best exemplified by the Chantels, the Shirelles (Shirelles, the), and Patti LaBelle and the Bluebelles.

      The popularity of doo-wop music among young singers in urban American communities of the 1950s such as New York City, Chicago, and Baltimore, Maryland, was due in large part to the fact that the music could be performed effectively a cappella. Many young enthusiasts in these communities had little access to musical instruments, so the vocal ensemble was the most popular musical performing unit. Doo-wop groups tended to rehearse in locations that provided echoes—where their harmonies could best be heard. They often rehearsed in hallways and high school bathrooms and under bridges; when they were ready for public performance, they sang on stoops and street corners, in community centre talent shows, and in the hallways of the . As a result many doo-wop records had such remarkably rich vocal harmonies that they virtually overwhelmed their minimalist instrumental accompaniment. Doo-wop's appeal for much of the public lay in its artistically powerful simplicity, but this “uncomplicated” type of record also was an ideal, low-budget investment for a small record company to produce. The absence of strings and horns (“sweetening”) in their production gave many of the doo-wop records of the early 1950s an almost haunting sparseness. The Orioles (Orioles, the)' “What Are You Doing New Years Eve?” (1949) and “Crying in the Chapel” (1953), the Harptones' “A Sunday Kind of Love” (1953), and the Penguins' “Earth Angel” (1954) are excellent examples of this effect.

      An unfortunate by-product of the poetic simplicity of doo-wop records was that it was relatively easy for major labels to cover (re-record) those records with greater production values (including the addition of strings and horns) and with a different vocal group. Consistent with the racial segregation of much of American society in the 1950s, the practice of major record labels producing cover records usually involved doo-wop records that were originally performed by African-American artists being re-created by white artists, the objective being to sell these covers to a broader, “pop” (white) audience. Among the legion of doo-wop records that suffered this fate were the Chords' “Sh-Boom” (covered by the Crew-Cuts in 1954) and the Moonglows (Moonglows, the)' “Sincerely” (covered by the McGuire Sisters in 1955). A number of white singing groups adopted the doo-wop style—particularly Italian-American ensembles who shared the same urban environment with the African Americans who originated doo-wop. Like the phenomenon of cover records, the advent of the “clean-cut” teen idols who prospered on , and the popularity of blue-eyed soul, this version of doo-wop further exemplified how black music was co-opted by the white recording industry. Prominent practitioners of the “white doo-wop” sound were the Elegants (“Little Star” [1958]), Dion and the Belmonts (“I Wonder Why” [1958]), and the Four Seasons (Four Seasons, the)' (“Sherry” [1962]). Ultimately, the musical power of doo-wop has flowed from the original groups through the Motown music of the 1960s and the Philly Sound of the '70s and continued into the urban contemporary music of the '90s.

Frederick Dennis Greene

Representative Works

● The Ink Spots, “If I Didn't Care” (1939)

● The Ravens, “Write Me a Letter” (1947)

● Sonny Til and the Orioles, “Crying in the Chapel” (1953)

● The Chords, “Sh-Boom” (1954)

● The Mills Brothers, Meet the Mills Brothers (1954)

● The Moonglows, “Sincerely” (1954)

● Frankie Lymon and the Teenagers, “Why Do Fools Fall in Love?” (1956)

● The Platters, The Fabulous Platters (1956)

● The Chantels, “Maybe” (1958)

● Dion and the Belmonts, “I Wonder Why” (1958)

● Little Anthony and the Imperials, “Tears on My Pillow” (1958)

● The Four Seasons, “Sherry” (1962)

● Patti LaBelle and the Bluebelles, The Apollo Presents the Bluebelles (1963)

● The Temptations, Temptations Sing Smokey (1965)

Additional Reading

Arnold Shaw, The Rockin' '50s: The Decade That Transformed the Pop Music Scene (1974, reprinted 1987), is a behind-the-scenes autobiographical narrative of the music business of the 1950s with candid reminiscences of the racial aspects of the industry, while Honkers and Shouters: The Golden Years of Rhythm and Blues (1978, reissued 1986), provides a history of the early days of rock and roll. Philip Groia, They All Sang on the Corner: A Second Look at New York City's Rhythm and Blues Vocal Groups (1983), presents a well-researched social history of the doo-wop scene in New York City. Robert Pruter, Doowop: The Chicago Scene (1996), offers authoritative analysis of the seminal doo-wop music world of Chicago, a city more traditionally identified with blues. Charlie Gillett, The Sound of the City: The Rise of Rock and Roll, 2nd ed., newly illustrated and expanded (1996), is a comprehensive examination of the rise of rock and roll as a multicultural phenomenon. Patti LaBelle, Don't Block the Blessings: Revelations of a Lifetime (1996), is an autobiographical narrative of the life and career of one of the greatest voices in rock music.

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