| Influenced by rhythm and blues, doop-wop was a | | | | rights to the original songs had to be released to the |
| vocalized harmonized genre using phonetic syllables | | | | record companies, and agents took 50% of their |
| (doo-wop) without obvious meanings to bring in | | | | earnings. |
| rhythm and harmonic arrangements. Primarily an | | | | The tragedy in this is that in all likelihood, the groups |
| African American music genre, it became popular | | | | would have been able to survive and might have |
| throughout the 50's and the 60's as a separate genre. | | | | gone on to produce more music had they not been |
| Thinking about Doo Wop at the time, one had to | | | | so cheated by their own record companies. These |
| think also about street corner youngsters, who | | | | companies for the most part were startups |
| formed into groups of 5 or 6 individual and who | | | | themselves, and hence would have been more likely |
| would harmonize to the sounds of doo-wop for the | | | | to have benefited from relationships and practices |
| fun of it. These youngsters owed much of their | | | | that did not alienated the artists they were |
| music background to the teaching and music of the | | | | representing. |
| local black churches and as such were particularly | | | | Some of doo wop groups included: |
| adept at adapting to this new vocal genre. They | | | | The Dubs, who with lead vocalist Richard Blandon |
| brought fun and a carefree philosophy to music. | | | | released "could this be magic". Although it was not a |
| This particular attitude also meant that they could be | | | | huge hit back in 1957 when it was first released, it |
| manipulated and indeed taken advantages off by a | | | | nevertheless has endured as one of doo wop |
| variety of the music industry's business people such | | | | classics. |
| as agents, and record companies' contact people. It | | | | The Duprees, one of the finest Italian doo wop |
| was even a common policy for label owners to list | | | | made delightful doo wop harmonies, none more than |
| their own name (instead of the name of the | | | | the very successful "you belong to me" who had |
| musicians) as the actual composer of the music since | | | | previously been recorded by Patty Page, Jo Stafford, |
| he was already known in the music industry and | | | | Dean Martin and Joni James. |
| would make the marketing of the record much | | | | The Elegants, a New York doo wop music group that |
| easier, or so he told them. | | | | became famous for the most gorgeous "Little Star" |
| Record companies often times had these | | | | released in 1958. This title topped both R&B and |
| inexperienced youngster sign contracts allowing for | | | | Pop charts. They were a White ensemble led by Vito |
| the payment of studio and promotional costs to be | | | | Picone |
| met by the artists themselves! Furthermore, they | | | | "In the Still of the Night" is another doo wop gem, |
| also had to agree that they would be paid on a | | | | released in 1954 by The Five Satins. Known as a true |
| session basis rather than on the number of records | | | | classic of this music genre, "In the Still of the Night" |
| sold. | | | | was created in the basement of a local church. Fred |
| To make matter worse, musicians often times had | | | | Harris was the leader of the group and actually had |
| to perform for free on major shows and even had | | | | already been drafted by the army and was stationed |
| to pay in order to feature on TV shows. Also, all | | | | in Japan when his song hit the charts. |