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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.

Doo-wop is associated with street corner music groups of 4 or 5 youngsters who had their musical background from local black churches and or their home. As such, each member of the group brought his/her own talent and specialty and allowed the group as a whole to express its vocal qualities mixed in with harmonies and rhythm. As young people, they had a carefree attitude to the doo-wop and music industry.

This carefree attitude made them ideal victims to unscrupulous agents and record companies’ contacts. Indeed label owners had no difficulty in convincing them that his his own name should be listed as the music composer rather than the musicians themselves as “his own name was already known” but deejays.

In addition, these inexperienced youngsters were lead to believe that they would be paid by session, rather than by number of records sold. They were made to sign contracts that permitted studio and promotional costs to be paid directly from the artist’s own royalties.

To make matter worse, musicians often times had to perform for free on major shows and even had to pay in order to feature on TV shows. Also, all rights to the original songs had to be released to the record companies, and agents took 50% of their earnings.

The tragedy in this is that in all likelihood, the groups would have been able to survive and might have gone on to produce more music had they not been so cheated by their own record companies. These companies for the most part were startups themselves, and hence would have been more likely to have benefited from relationships and practices that did not alienated the artists they were representing.

Popular groups from the doo wop era include

The Dubs, who with lead vocalist Richard Blandon released “could this be magic”. Although it was not a huge hit back in 1957 when it was first released, it nevertheless has endured as one of doo wop classics.

1962 saw the re-release of “you belong to me” by the Duprees, a most gifted Italian Doo Wop music group. “you belong to me” had previously been recorded by Patty Page, Jo Stafford, Dean Martin and Joni James.

The Elegants, a New York doo wop music group that became famous for the most gorgeous “Little Star” released in 1958. This title topped both R&B and Pop charts. They were a White ensemble led by Vito Picone

The Five Satins, best known for “In the Still of the Night” who was a true classic and the only hit of this magnitude by the Five Satins. The group was led by Fred Parris in 1954 and he wrote their biggest hits “In the Still of the Night” in the basement of a local church. By the time the song scaled the charts, Parris had been drafted into the army.

Doo Wop music has held and continues to hold a special place in the hearts of music lovers everywhere. Known in some circles as the “Music of the Streets” its popularity diminished with the introduction of British early rock otherwise known as the British Invasion in the mid 1960’s.

To this day Doo wop music is still a favorite for a large and international audience. Music lovers from as far as Japan, Germany, France and many more countries contribute in maintaining its popularity. Concerts and shows are held on a regular basis and continue to charm and enthrall their audience.

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