1. History of Rock and Roll Singing on the Street Corner: Doo-Wop in the 1950’s & 60’s

2. A Definition of Doo-Wop Doo-Wop: A genre of urban, African-American vocal harmony music, often a cappella, that grew out of the combination of R&B ballads and gospel group singing. Doo-wop experienced its height of popularity in mid 1950s. The term “doo-wop:” The actual term “doo-wop” was coined in the 1970s The actual term “doo-wop” was coined in the 1970s It comes from the nonsense syllables often employed by the singers who are backing the lead vocalist. It comes from the nonsense syllables often employed by the singers who are backing the lead vocalist.

3. Doo-Wop: Defining Vocal Characteristics Complicated, “arranged” harmonies over a distinctive lead singer Complicated, “arranged” harmonies over a distinctive lead singer Smooth, melodic singing style Smooth, melodic singing style Use of nonsense syllables, especially by background singers Use of nonsense syllables, especially by background singers Sung bass lines (as opposed to instrumental bass lines) Sung bass lines (as opposed to instrumental bass lines) “Blow harmonies” – when the background singers sing on a quickly-exhaled “Hooo” sound (as opposed to humming) “Blow harmonies” – when the background singers sing on a quickly-exhaled “Hooo” sound (as opposed to humming)

4. Doo-Wop: other characteristics Triplet rhythms over chord changes Triplet rhythms over chord changes Melody emphasized over rhythm Melody emphasized over rhythm A typical “chord progression” -- the “Heart and Soul” progression (for the musicians who have had some theory: a 1 - 6 - 4 - 5 OR 1 - 6 - 2 – 5 progression) A typical “chord progression” -- the “Heart and Soul” progression (for the musicians who have had some theory: a 1 - 6 - 4 - 5 OR 1 - 6 - 2 – 5 progression) Pop song structure (AABA – verse 1, verse 2, “bridge” with a different melody, verse 3) Pop song structure (AABA – verse 1, verse 2, “bridge” with a different melody, verse 3) Various themes, but mostly love topics; relatively innocent lyrics Various themes, but mostly love topics; relatively innocent lyrics

5. The Penguins: Earth Angel (1954) One of the first “pure” doo-wop songs: One of the first “pure” doo-wop songs: Recorded in the garage of Dootone Records owner Dootsie Williams Recorded in the garage of Dootone Records owner Dootsie Williams Eventually signed with Mercury Eventually signed with Mercury Listen for: Listen for: chord progression chord progression Triplets (piano) Triplets (piano)

6. The Platters: The Great Pretender (1955) The Platters - The “Ink Spots of the Rock era” The Platters - The “Ink Spots of the Rock era” This song was the first ever #1 pop chart hit for a black group This song was the first ever #1 pop chart hit for a black group NOTE: Only 8 recordings by black artists made it to #1 on the pop charts before 1959 – four our of them were by the Platters NOTE: Only 8 recordings by black artists made it to #1 on the pop charts before 1959 – four our of them were by the Platters Listen for: Listen for: Piano triplets Piano triplets background “riffs” background “riffs” drum backbeats drum backbeats New Orleans infuence New Orleans infuence Manager Buck Ram had been a songwriter for the Ink Spots

7. The Platters: Only You (1955) Note one of the singers is a woman - Zola Taylor Note one of the singers is a woman - Zola Taylor The tenor voice was handled by Tony Williams. The tenor voice was handled by Tony Williams. This song was considered “un-releaseable” by their record company, Federal. This song was considered “un-releaseable” by their record company, Federal. The Platters were inducted into the Rock ‘n’ Roll Hall of Fame in 1990, & the Vocal Group Hall of Fame in 1998. The Platters were inducted into the Rock ‘n’ Roll Hall of Fame in 1990, & the Vocal Group Hall of Fame in 1998.

8. The audience changes… As the audience for pop music grew younger, its presentation and lyrics were aimed at a younger teen audience. As the audience for pop music grew younger, its presentation and lyrics were aimed at a younger teen audience.

9. The audience changes…(continued) The younger audience also enjoyed a more uptempo, “dance-able” form of doo-wop Listen for: quicker tempo quicker tempo horn solos horn solos Music still has the doo-wop chord progression, Music still has the doo-wop chord progression, and the nonsense syllables and the nonsense syllables

10. FRANKIE LYMON & THE TEENAGERS: Why Do Fools Fall in Love (1956) Frankie Lymon & Teenagers were a huge success Frankie Lymon & Teenagers were a huge success cleaned up image cleaned up image letter-sweaters letter-sweaters “little Frankie” became the star “little Frankie” became the star Lymon left the teenagers to strike out on his own in 1957 Lymon left the teenagers to strike out on his own in 1957 Problems with drugs, other activities Problems with drugs, other activities Lymon’s career plummeted after his voice changed Lymon’s career plummeted after his voice changed He died of a heroin overdose at age 25 He died of a heroin overdose at age 25 Frankie Lymon & the Teenagers were a blueprint for later groups such as the Jackson 5.

11. One-Hit Wonders Many of these young doo-wop artists were “one-hit wonders.” Why? Many of these young doo-wop artists were “one-hit wonders.” Why? Very young and not business-savvy Very young and not business-savvy They got taken for rides by record companies They got taken for rides by record companies THE FIVE SATINS The Rays

12. The Five Satins: In the Still of the Night Released in 1956 Released in 1956 Recorded in the basement of a church Recorded in the basement of a church Listen for: Listen for: The famous “shoo-doot’n-shoo-bee-doo” vocal line The famous “shoo-doot’n-shoo-bee-doo” vocal line The production style The production style The way the vocalists each have a part that makes the song work The way the vocalists each have a part that makes the song work

13. The Rays: Silhouettes Released in 1957 Compare the much slicker production on this song Notice that it tells a story, and it has a “punch line” What other elements stand out?

14. The Performers Change… White Doo Wop Groups Another interesting development was the rise of white doo-wop groups, especially from Philadelphia or New York. Another interesting development was the rise of white doo-wop groups, especially from Philadelphia or New York. The trend was dominated by Italian-Americans. The trend was dominated by Italian-Americans. Examples: Dion & the Belmonts (NY) - Left The Diamonds (Toronto) Little Darlin’ (1957)

15. The Crests: 16 Candles (1958) From New York, The Crests were an integrated (White & African American members) doo-wop group. From New York, The Crests were an integrated (White & African American members) doo-wop group.

16. DION & THE BELMONTS: A Teenager in Love (1959) A New York Italian- American doo-wop group This song has all the elements of doo-wop: nonsense syllables in the background vocals nonsense syllables in the background vocals smooth vocal tone smooth vocal tone goofy “pop song” lyrics goofy “pop song” lyrics

17. Other Integrated or All-White Doo Wop Groups THE DELL-VIKINGS: Come and Go With Me (1957) SILHOUETTES: Get a Job (1958) THE MONOTONES: Book of Love (1958)

18. The Dell-Vikings: Come and Go With Me Released in 1957 Released in 1957 Recorded in a hotel room closet! Recorded in a hotel room closet! The Dell-Vikings were integrated group from New York City The Dell-Vikings were integrated group from New York City Listen for the strong ‘lead’ vocal Listen for the strong ‘lead’ vocal What instruments do you hear? What instruments do you hear?

19. The Silhouettes: Get A Job Released in 1958 Released in 1958 The subject matter is different from previous examples – this one is about a nagging woman The subject matter is different from previous examples – this one is about a nagging woman What instruments do you hear? What instruments do you hear? How many voices? How many voices?

20. The Monotones: Book of Love Released in 1958 Released in 1958 Listen for the loud THUD! Listen for the loud THUD! The drum beat was put there because of a kid threw a ball at the window at that EXACT moment…what luck! The drum beat was put there because of a kid threw a ball at the window at that EXACT moment…what luck! How many voices do you hear? How many voices do you hear? What about instruments? What about instruments?

21. The Marcels: Blue Moon Released in 1961 Released in 1961 This song was originally written by Broadway composer & lyricist Richard Rodgers & Lorenz Hart This song was originally written by Broadway composer & lyricist Richard Rodgers & Lorenz Hart Elvis covered this song as well Elvis covered this song as well Can you still hear the ‘doo-wop triplet rhythm? Can you still hear the ‘doo-wop triplet rhythm?

22. Doo Wop’s Influence Doo wop’s influence would be felt for another decade: Doo wop’s influence would be felt for another decade: on Motown on Motown on the “girl groups” of the 60s on the “girl groups” of the 60s on the “surf” rockers on the “surf” rockers and on a number of other early 60's pop vocalists. and on a number of other early 60's pop vocalists. THE MARCELS: Blue Moon (1961) THE MARCELS: Blue Moon (1961) Originally a ballad written by Broadway composer and lyricist team Richard Rodgers and Lorenz Hart Originally a ballad written by Broadway composer and lyricist team Richard Rodgers and Lorenz Hart

23. Doo Wop Evolves: Slicker arrangements & more sophisticated sounds LITTLE ANTHONY & THE IMPERIALS: Tears on My Pillow (1958) LITTLE ANTHONY & THE IMPERIALS: Tears on My Pillow (1958) THE SKYLINERS: Since I Don't Have You (1959) THE SKYLINERS: Since I Don't Have You (1959) THE FLAMINGOS: I Only Have Eyes for You (1959) THE FLAMINGOS: I Only Have Eyes for You (1959)

24. Little Anthony & the Imperials: Tears on My Pillow Released in 1958 Released in 1958 A great example of the more sophisticated arrangements that were becoming the norm in doo-wop songwriting A great example of the more sophisticated arrangements that were becoming the norm in doo-wop songwriting What does the vocal style remind you of? What does the vocal style remind you of? What instruments do you hear? What instruments do you hear? Can you still hear the ‘doo-wop triplet rhythm’? Can you still hear the ‘doo-wop triplet rhythm’?

25. The Skyliners: Since I Don’t Have You Released in 1959 Released in 1959 This was the first doo-wop record to feature an orchestra backing it up. This was the first doo-wop record to feature an orchestra backing it up. What other instruments do you hear? What other instruments do you hear? What about that “doo-wop triplet rhythm”? What about that “doo-wop triplet rhythm”? Can you think of another band that recorded this song? Can you think of another band that recorded this song?

26. The Flamingos: I Only Have Eyes For You Released in 1959 Released in 1959 The Flamingos continued to push doo-wop to greater heights with more complex arrangements The Flamingos continued to push doo-wop to greater heights with more complex arrangements Listen for the “d’bop sh’bop” vocal riffs Listen for the “d’bop sh’bop” vocal riffs What instruments do you hear? What instruments do you hear? Triplet rhythm? Triplet rhythm?

27. And the crowd goes wild… There was another, uptempo variety of doo-wop, a preview of which we heard a bit earlier in the example by Frankie Lymon and the Teenagers. There was another, uptempo variety of doo-wop, a preview of which we heard a bit earlier in the example by Frankie Lymon and the Teenagers. Listen for: faster tempos faster tempos “Dance” rhythms “Dance” rhythms a “bluesier” singing style a “bluesier” singing style less innocent lyrics less innocent lyrics different instrumentation different instrumentation jazzier (listen for sax solo) jazzier (listen for sax solo) Here’s an example… Here’s an example…

28. The Cadillacs: Speedo (1955) Great stage show: Great stage show: Impeccable dance routines Impeccable dance routines Fantastic harmonies Fantastic harmonies great clothes great clothes The Cadillacs were a major influence on the Motown acts like the Temptations who would come later.

29. Doo-Wop: Summary Began as an inner city, street phenomenon that was a combination of Gospel & R&B styles. Began as an inner city, street phenomenon that was a combination of Gospel & R&B styles. Originally, African American singers (a cappella), later with instruments (guitar, bass, drums, piano, strings). Originally, African American singers (a cappella), later with instruments (guitar, bass, drums, piano, strings). As the audience got younger, so too, did the performers. As the audience got younger, so too, did the performers. By the late 1950’s, these singing groups were becoming integrated, although all-white & all-black groups were still the norm. By the late 1950’s, these singing groups were becoming integrated, although all-white & all-black groups were still the norm. Got more sophisticated as it evolved from the early 1950’s, eventually incorporating slicker arrangements, more advanced recording techniques, & new instruments. Got more sophisticated as it evolved from the early 1950’s, eventually incorporating slicker arrangements, more advanced recording techniques, & new instruments. Popular into the 1960’s, Doo Wop provided a tremendous influence later pop styles, including: Popular into the 1960’s, Doo Wop provided a tremendous influence later pop styles, including: Motown male & female pop singers Motown male & female pop singers Surf music Surf music Ballad singers & songwriters Ballad singers & songwriters