Doo-Wop is a related R&B form based on vocals using phonetic syllables in order to introduce rhythm and harmonic movements. It was introduced in the 1950’s in the streets of New York, Philadelphia, and Baltimore. It saw its beginning in the African American communities which also enjoyed rhythm and blues and became wildly popular in the mid 1950’s to the early 1960’s.
Often times acknowledged with street corner vocalists who saw in Doo-wop the perfect media to express their individual talents. Formed into groups of 4 or 5 teenagers, each had a role and singing talent to bring in to the group and as such they brought a carefree approach to the genre.
This particular attitude also meant that they could be manipulated and indeed taken advantages off by a variety of the music industry’s business people such as agents, and record companies’ contact people. It was even a common policy for label owners to list their own name (instead of the name of the musicians) as the actual composer of the music since he was already known in the music industry and would make the marketing of the record much easier, or so he told them.
The young musicians were also made to agree that they would be paid by session instead of being paid by the number of records sold and signed agreements that permitted their agents and record companies to pay studio and promotional costs directly from their own royalties.
As if this was not sufficient, all rights to the original songs had to be given to the record companies and the musician managers was paid 50 pc of the musicians’ own royalties. They were further rip-offs such as the musician having to do major shows for free, going as far as having to pay to feature on TV shows.
The irony in the above unsavory practices is that they were often times initiated by smaller record companies. These companies and the groups they badly represented might have survived if the musicians had not bee so cheated of mechanical and performance rights!
Some of doo wop groups included:
The Dubs and their most endearing ballad records “Could this be magic” released in 1957. Even though it was not an overwhelming hit at the time, it is still counted as one of doo wop classics.
The Duprees who in 1962 hit it big with their delightful doo wop harmonization of “you belong to me” which had previously been recorded by Patty Page, Jo Stafford, Dean Martin and Joni James.
Vito Picone and The Elegants achieved notoriety when in 1958, this white doo wop group released the chart topper “Little Star” They were a white group based in New York.
The Five Satins, formed by Fred Harris in 1954 release “In the Still of the Night” a true favorite amongst doo wop lovers. Created in the basement of a local church the single was release in the spring of 1956 and became a huge hit. Musician leader Harris was not in the US when this happened as by then he had already been drafted into the army.
Doo Wop was surpassed and its popularity at the time destroyed by the British Invasion, this very civilized and pacific take over of our popular culture of the time by British Rock and Roll groups. In spite of that, doo wop has endured into the hearts and souls many!
Doo Wop has an international and varied audience. Concerts and events are still being organized today and continue to enthrall an audience that combines both the older with their grand-kids they often times bring to see the show.