doo wop groups of the 70s

WebPages in category "Doo-wop groups" The following 195 pages are in this category, out of 195 total. 1 on Billboard's national Most-Played Juke Box Race Records chart, and, in a first for a doo-wop song, the record crossed over to the mainstream pop chart, where it reached no. Perfect E Learn is committed to impart quality education through online mode of learning the future of education across the globe in an international perspective. [60], The Chicago doo-wop groups, like those in New York, started singing on street corners and practiced their harmonies in tiled bathrooms, hallways, and subways,[61] but because they came originally from the deep South, the home of gospel and blues music, their doo-wop sound was more influenced by gospel and blues. [170] This was followed by several other white artists covering doo-wop songs performed by black artists, all of which scored higher on the Billboard charts than did the originals. This list may not reflect recent changes. Other Italian-American doo-wop groups were the Earls, the Chimes, the Elegants, the Mystics, the Duprees, Johnny Maestro & the Crests, and the Regents. [17] While these features provide a helpful guide, they need not all be present in a given song for aficionados to consider it doo-wop, and the list does not include the aforementioned typical doo-wop chord progressions. Remember Me Baby - Cameo Parkway Vocal Groups Vol 1. Digital Forensics. These cultural commonalities allowed Italian Americans to appreciate the singing of black doo-woppers in deterritorialized spaces, whether on the radio, on records, at live concerts, or in street performances. Lillian Leach, lead singer of the Mellows from 1953 to 1958, helped pave the way for other women in doo-wop, soul and R&B. [118], Jerry Blavat, a half-Jewish, half-Italian, popular deejay on Philadelphia radio, built his career hosting dances and live shows and gained a devoted local following. Various Artists (Doo Wop Compilations) CD 11.70. [82], The Jaguars, from Fremont High School, was one of the first interracial vocal groups; it consisted of two African Americans, a Mexican American, and a Polish-Italian American. Online tuition for regular school students and home schooling children with clear options for high school completion certification from recognized boards is provided with quality content and coaching. In the Delta Rhythm Boys' 1945 recording, "Just A-Sittin' And A-Rockin", it is heard in the backing vocal. It included songs by local bands such as the Heartbeats and the Medallions. So, all things considered, this poll of doo-wop groups seeks toanswer the questions of "who are the best doo-wop bands of all time?" The doo wop era of the 1950s and 60s gave us so many memorable songs and famous groups. Baltimores Orioles (no pun intended) generally are considered the first of the doo-wop vocal groups, and, as such, obviously stand as one of the genres greats. WebThe Doo-Wop Groups. Vee-Jay signed the Dells, the El Dorados, the Magnificents, and the Spaniels, all of whom achieved national chart hits in the mid-1950s. [85], Early doo-wop music, dating from the late 1940s and early 1950s, was especially popular in the Northeast industrial corridor from New York to Philadelphia,[86] and New York City was the world capital of doo-wop. [161], Some record company owners such as Herman Lubinsky had a reputation for exploiting black artists. The group was established in the early 1950s by five students, all of them born in the Bronx,[102] who attended the Catholic St. Anthony of Padua School in the Bronx, where they were trained to sing Gregorian Chants. [20][21] For instance, "Count Every Star" by the Ravens (1950) includes vocalizations imitating the "doomph, doomph" plucking of a double bass. The Greatest Motown Artists Of All Time. Revival television shows and boxed CD sets such as the "Doo Wop Box" set 13 have rekindled interest in the music, the artists, and their stories. Gribin, Anthony J., and Matthew M. Shiff (1992). In the Beach Boys' case, doo-wop influence is evident in the chord progression used on part of their early hit "Surfer Girl". Gribin, Dr. Anthony j., and Dr. Matthew M. Schiff, The Doo-Wop Box I, Rhino Records Inc., liner notes by Bob Hyde, Billy Vera and others, 1993, Doo Wa Ditty (Blow That Thing)/A Touch of Jazz (Playin' Kinda Ruff Part II), "AABA, Refrain, Chorus, Bridge, Prechorus Song Forms and their Historical Development", "The Ink Spots | Biography, Albums, Streaming Links", "From Earth Angel to Electric Lucifer: Castrati, Doo Wop and the Vocoder", "The Five Satins | Biography, Albums, Streaming Links", "Show 11 Big Rock Candy Mountain: Early rock 'n' roll vocal groups & Frank Zappa", "The Jive Five | Biography, Albums, Streaming Links", "Lillian Leach Boyd, singer for The Mellows, dead at 76", "Memories of El Monte: Art Laboe's Charmed Life on the Air", "Doo-wop Italiano: Towards an understanding and appreciation of Italian-American vocal groups of the late 1950s and early 1960s", "An Old Record Shop May Fall Victim to Harlem's Success (Published 2007)", "Music entrepreneur Bobby Robinson dies at 93", "Appropriations of blues and gospel in popular music", "Harlem legend dead Bobby Robinson, owner of Happy House on 125th St", "Frankie Lymon and The Teenagers (19541957)", "The Willows, "Church Bells May Ring" Chart Positions", "From Doo Wop to Hip Hop: The Bittersweet Odyssey of African-Americans in the South Bronx | Socialism and Democracy", "Interview with the Bronx African American History Project", "Italian Doo-Wop: Sense of place, Politics of Style, and Racial Crossovers in Postwar New York City", "Italian Americans in Bronx Doo Wop-The Glory and the Paradox", "Groovin': A Riff on Italian Americans in Popular Music and Jazz", "25 memorable DJs and radio personalities from Philadelphia's past", "From Memphis to Kingston: An Investigation into the Origin of Jamaican Ska", "American Rhythm and Blues Influence on Early Jamaican Musical Style", "A thousand teardrops: how doo-wop kickstarted Jamaica's pop revolution", "23, "Bring It on Home": Constructions of Social Class in Rhythm and Blues and Soul Music, 1949-1980", "Walls of Sounds: Leiber & Stoller, Phil Spector, the Black-Jewish Alliance, and the "Enlarging" of America", "Blacks, Jews, and the Business of Race Music, 19451955", "Down to Business: Herman Lubinsky and the Postwar Music Industry", "POP VIEW; 'The Deep Forbidden Music': How Doo-Wop Casts Its Spell", Buck Ram (manager of Penguins and Platters), "The Monotones | Biography, Albums, Streaming Links", "Show 25 The Soul Reformation: Phase two, the Motown story. Another song from the By the Way sessions to feature a doo-wop influence was a cover of "Teenager In Love", originally recorded by Dion and the Belmonts. exams to Degree and Post graduation level. Doo-wop (also spelled doowop and doo wop) is a genre of rhythm and blues music that originated in African-American communities during the 1940s,[2] mainly in the large cities of the United States, including New York, Philadelphia, Pittsburgh, Chicago, Baltimore, Newark, Detroit, Washington, DC, and Los Angeles. Doo-wop's influence continued in soul, pop, and rock groups of the 1960s, including the Four Seasons, girl groups, and vocal surf music performers such as the Beach Boys. [141], Jamaicans who worked as migrant agricultural workers in the southern US returned with R&B records, which sparked an active dance scene in Kingston. This was one of the first songs written by Zappa, who had been listening to Laboe's compilation of doo-wop singles. Pages in category "Doo-wop groups" The following 195 pages are in this category, out of 195 total. [127][128][129], Dick Clark kept track of the national music scene through promoters and popular disc jockeys. [147], The synthesis of music styles that evolved into what is now called rhythm and blues, previously labeled "race music" by the record companies, found a broad youth audience in the postwar years and helped to catalyze changes in racial relations in American society. They rehearsed on street corners and apartment stoops,[31] as well as under bridges, in high school washrooms, and in hallways and other places with echoes:[13] these were the only spaces with suitable acoustics available to them. The Chantels were the second African-American girl group to enjoy nationwide success in the US. [50] The Orioles were perhaps the first of the many doo-wop groups who named themselves after birds. NIOS helped in fulfilling her aspiration, the Board has universal acceptance and she joined Middlesex University, London for BSc Cyber Security and The Crests were from the Lower East Side in Manhattan; Dion and the Belmonts, the Regents, and Nino and the Ebb Tides were from the Bronx; the Elegants from Staten Island; the Capris from Queens; the Mystics, the Neons, the Classics, and Vito & the Salutations from Brooklyn. Songwriters We Would Bring Back from the Dead, Who to See Before They (or You) Kick the Bucket. They'd gather anywhere and, you know, doo-wop doowah da dadada. Being effectively locked out of mainstream white society increased their social cohesion and encouraged creativity within the context of African American culture. Cameo Records and Parkway Records were major record labels based in Philadelphia from 1956 (Cameo) and 1958 (Parkway) to 1967 that released doo-wop records. [86] The large numbers of blacks who had migrated to New York City as part of the Great Migration came mostly from Georgia, Florida, and the Carolinas. By the late 1950s and early 1960s, many Italian-American groups had national hits: Dion and the Belmonts scored with "I Wonder Why", "Teenager in Love", and "Where or When";[37] the Capris made their name in 1960 with "There's a Moon Out Tonight"; Randy & the Rainbows, who charted with their Top #10 1963 single "Denise". [48][49] This was followed in 1953 by "Crying in the Chapel", their biggest hit, which went to number 1 on the R&B chart and number 11 on the pop chart. Doo-wop groups played a significant role in ushering in the rock and roll era when two big rhythm and blues hits by vocal harmony groups, "Gee" by the Crows, and "Sh-Boom" by the Chords, crossed over onto the pop music charts in 1954. The white power structure in American society and some executives in the corporately controlled entertainment industry saw rhythm and blues, rooted in black culture, as obscene,[153] and considered it a threat to white youth, among whom the genre was becoming increasingly popular. test, which makes it an ideal choice for Indians residing [72], A few other Jewish women were in the recording business, such as Florence Greenberg, who started the Scepter label in 1959, and signed the African American girl group, the Shirelles. [99][100], Although they never had a national chart hit, the Solitaires, best known for their 1957 hit single "Walking Along", were one of the most popular vocal groups in New York in the late 1950s. [8][9], Hit songs by black groups such as the Ink Spots[10] ("If I Didn't Care", one of the best selling singles worldwide of all time,[11] and "Address Unknown") and the Mills Brothers ("Paper Doll", "You Always Hurt the One You Love" and "Glow Worm")[12] were generally slow songs in swing time with simple instrumentation. [124], Although American Bandstand's programming came to rely on the musical creations of black performers, the show marginalized black teens with exclusionary admissions policies until it moved to Los Angeles in 1964. DEMO ANFRAGEN MEHR ALS 1.600 KUNDEN Doo-wop music is a genre that emanated from some of the biggest cities in the U.S. during the 1940s and 1950s. The Best Soul Singers/Groups of All BUILD BETTER HABITS. WebThe Best Of Do -Wop from the 50s & 60s - YouTube 0:00 / 1:30:20 The Best Of Do -Wop from the 50s & 60s Dan Casey 31K subscribers 6.5K 645K views 1 year ago The mid 50s Young people of other ethnicities were listening to rock 'n' roll, but it was Italian Americans who established themselves in performing and recording the music. Its second revival was in the early 70s. with temperatures near the mid-70s. The Four Coins, a Greek American doo-wop group from Pittsburgh, did a show in Kingston in 1958. high tenor lead singers and deep voiced talking bass parts. In Philadelphia, he listened to Hy Lit, the lone white deejay at WHAT, and African American disc jockeys Georgie Woods and Douglas "Jocko" Henderson on WDAS. All the courses are of global standards and recognized by competent authorities, thus He joined a group, the Premiers, and helped members Herman Santiago and Jimmy Merchant rewrite a song they had composed to create "Why Do Fools Fall In Love", which won the group an audition with Gee Records. During the early 1960s, Scepter was the most successful independent record label. Strong himself made a lasting impression on the young Smokey Robinson, who went out of his way to attend Diablo shows. Much of the album had a doo-wop flavor. Although the ultimate longevity of doo-wop has been disputed,[182][183] at various times in the 1970s1990s the genre saw revivals, with artists being concentrated in urban areas, mainly in New York City, Chicago, Philadelphia, Newark, and Los Angeles. Many of these vocal groups got together in secondary schools such as West Philadelphia High School, and performed at neighborhood recreation centers and teen dances. According to Bobby Robinson, a well-known producer of the period: Doo-wop originally started out as the black teenage expression of the '50s and rap emerged as the black teenage ghetto expression of the '70s. [95], Arthur Godfrey's long-running (19461958) morning radio show on CBS, Talent Scouts, was a New York venue from which some doo-wop groups gained national exposure. Thus they developed a form of group harmony based in the harmonies and emotive phrasing of black spirituals and gospel music. recommend Perfect E Learn for any busy professional looking to Employing stylistic conventions of 1950s and 1960s doowop and rock and roll to signify the period referenced, some punk bands used call-and-response background vocals and doo-wop style vocables in songs, with subject matter following the example set by rock and roll and doo-wop groups of that era: teenage romance, cars, and dancing. Some say doo wop is a form of The genre reached the self-referential stage, with songs about the singers ("Mr. Bass Man" by Johnny Cymbal) and the songwriters ("Who Put the Bomp?" [103] Their first recording was "He's Gone" (1958), which made them the first pop rock girl group to chart. Billboard Adult contemporary chart in June 1993. [58] The Chicago record companies took note of this trend and scouted for vocal groups from the city that they could sign to their labels. Love words? [130][131], The program director of WHAT, Charlie O'Donnell, hired Lit, who was Jewish, to deejay on the station in 1955, and Lit's career was launched. If you know enough about the genre, please vote based on the quality of the bands' music (albums and singles) instead of just voting for the most popular or famous doo-wop groups that you might've heard of, but never really listened to. After the nationally distributed Ember label acquired the rights to "Get a Job", Dick Clark began to play it on American Bandstand, and subsequently it sold over a million copies, topping the Billboard R&B singles chart and pop singles chart. [184] An early notable revival of "pure" doo-wop occurred when Sha Na Na appeared at the Woodstock Festival. WebIt contains 5 CD's with 70 Greatest Hits from the Doo Wop Era by the Original Artists, including The Capris, The Tokens, The Flamingos, The Kodaks, The Turbans and The [5] Gaining popularity in the 1950s, doo-wop was "artistically and commercially viable" until the early 1960s, but continued to influence performers in other genres.[6]. [73] Gordy wanted to promote a black style of music that would appeal to both the black and white markets, performed by black musicians with roots in gospel, R&B, or doo-wop. Doo-wop is popular among barbershoppers and collegiate a cappella groups due to its easy adaptation to an all-vocal form. Developing a conducive digital environment where students can pursue their 10/12 level, degree and post graduate programs from the comfort of their homes even if they are attending a regular course at college/school or working. Shop Various Artists's Golden memories of the past (doo-wop groups) LP for sale by therecordgroove at 20.35 on CDandLP - Ref:948239164 [157] It was the small independent record companies that recorded, marketed, and distributed doo-wop music. Various Artists (Doo Wop Compilations) CD 11.70. ", which was recorded by the Shirelles and rose to number 1 on the Billboard Hot 100 chart in 1961. Your reminders become cards that are easy to start and easy to finish. Generic terms such as "Brill Building music" obscure the roles of the black producers, writers, and groups like the Marvelettes and the Supremes, who were performing similar music and creating hits for the Motown label, but were categorized as soul. [166], Early punk rock adaptations of the 12-bar aab pattern associated with California surf or beach music, done within eight-, sixteen-, and twenty-four bar forms, were made by bands such as the Ramones, either as covers or as original compositions. Early doo-wop groups in the city included the Castelles, the Silhouettes, the Turbans, and Lee Andrews & the Hearts. On this Wikipedia the language links are at the top of the page across from the article title. Doo Prime is an international pre-eminent online broker that strives to provide professional investors with CFD trading brokerage services for global financial products. Had a great experience here. Soul and funk bands such as Zapp released the single ("Doo Wa Ditty (Blow That Thing)/A Touch of Jazz (Playin' Kinda Ruff Part II)"). Hundreds of thousands of southern African Americans migrated to the metropolitan area, bringing their secular and religious folk music with them. [116] Dozens of neighborhood Italian groups formed, some of which recorded songs at Cousins Records, a record shop turned label, on Fordham Road. I was already a teacher by profession and I was searching for some B.Ed. The style's influence is heard in the music of the Miracles, particularly in their early hits such as "Got A Job" (an answer song to "Get a Job"),[177] "Bad Girl", "Who's Loving You", "(You Can) Depend on Me", and "Ooo Baby Baby". [85], In 1962, Frank Zappa, with his friend Ray Collins, wrote the doo-wop song "Memories of El Monte". Mars says he has "a special place in [his] heart for old-school music".[187]. LITTLE WILLIE JOHN/GROUP 45RPM '59 KING NO REGRETS DOO WOP BALLAD PROMO M- VINYL . Doo Wop. [46], Bobby Robinson, a native of South Carolina, was an independent record producer and songwriter in Harlem who helped popularize doo-wop music in the 1950s. His style reflected the optimism of young black Americans in the postmigration era. [29] By the mid-1950s, vocal harmony groups had transformed the smooth delivery of ballads into a performance style incorporating the nonsense phrase[30][23] as vocalized by the bass singers, who provided rhythmic movement for a cappella songs. Doo-wop was a precursor to many of the African-American musical styles seen today. [3][4] It features vocal group harmony that carries an engaging melodic line to a simple beat with little or no instrumentation. Doo Wop Groups The Rivingtons Clockwise from left: Carl White, Rocky Wilson Jr., Al Frazier, Sonny Harris The Rivingtons were a Southern California vocal quartet of the early 60s that hit big with two novelty records. They, along with Bruce Tate and Curtis Williams, recorded the song "Earth Angel" (produced by Dootsie Williams), which rose to number one on the R&B charts in 1954. If you grew up in Philadelphia in the 50s, you danced to The Orioles, The Moonglows, The Penguins, The Five Satins and a lot more as the City of Brotherly Love along with its big brother, New York City became the home base for street-corner vocalization. It became known as doo-wop. [110], New York was also the capital of Italian doo-wop, and all its boroughs were home to groups that made successful records. [79] Written by Miracles lead singer Smokey Robinson and Motown Records' president Berry Gordy, "Bad Girl" was the first of several of the Miracles' songs performed in the doo-wop style during the late 1950s. Cruising with Ruben & the Jets, released in late 1968,[32] is a concept album of doo-wop music recorded by Frank Zappa and the Mothers of Invention performing as a fictitious Chicano doo-wop band called Ruben & the Jets. [137], The opening by Ken Khouri of Federal Studios, Jamaica's first recording facility, in 1954, marked the beginning of a prolific recording industry and a thriving rhythm and blues scene in Jamaica. develop their business skills and accelerate their career program. The songwriting team of Goffin and King, who worked for Don Kirshner's Aldon music at 1650 Broadway (near the famed Brill Building at 1619),[159] offered Greenberg a song, "Will You Love Me Tomorrow? A Daddy Cool Original Doo-Wop Ditty. Mixing vocal harmony with mainstream R&B, some of the best doo-wop artists were considered the very first pop vocalistsduring those early years. All of a sudden, everywhere you turned you'd hear kids rapping. [136][128], The history of modern Jamaican music is relatively short. [154], Jewish composers, musicians, and promoters had a prominent role in the transition to doo-wop and rock 'n' roll from jazz and swing in American popular music of the 1950s,[155] while Jewish businessmen founded many of the labels that recorded rhythm and blues during the height of the vocal group era. [35], Particularly productive doo-wop groups were formed by young Italian-American men who, like their black counterparts, lived in rough neighborhoods (e.g., the Bronx and Brooklyn), learned their basic musical craft singing in church, and would gain experience in the new style by singing on street corners. [158] For example, Jack and Devora Brown, a white Jewish couple in Detroit, founded Fortune Records in 1946, and recorded a variety of eccentric artists and sounds; in the mid-1950s they became champions of Detroit rhythm and blues, including the music of local doo-wop groups. in KSA, UAE, Qatar, Kuwait, Oman and Bahrain. Their lead singer, Sonny Til, had a soft, high-pitched tenor, and like the rest of the group, was still a teenager at the time. A sudden shift in its style began in the early 1950s with the importing of American rhythm and blues records to the island and the new availability of affordable transistor radios. helped me to continue my class without quitting job. [138] The Wailers recorded an homage to doo-wop in 1965 with their version of Dion and the Belmonts' "A Teenager in Love". Most of these groups had limited success, scoring only one or two hit songs on the R&B charts. Laboe had become a celebrity in the Los Angeles area as a disc jockey for radio station KPOP, playing doo-wop and rhythm and blues broadcast from the parking lot of Scriverner's Drive-In on Sunset Boulevard. But, our concern was whether she could join the universities of our preference in abroad. A few groups, such as the Platters and Rex Middleton's Hi-Fis, had crossover success. [165], The R&B and doo-wop music that informed early rock 'n' roll was racially appropriated in the 1970s just as blues-based rock had been in the 1950s and 1960s. The song quickly charted as the number one R&B song in the United States and reached number six on the pop chart in 1956,[96][97] becoming the number one pop hit in the United Kingdom as well. They signed with Herald Records and recorded "Let Me Show You (Around My Heart)" with its B side, "When We Dance", in 1955. [34], Teenagers who could not afford musical instruments formed groups that sang songs a cappella, performing at high school dances and other social occasions. It's kids to a great extent mixed-up and confused reaching out to express themselves. Crier was a founding member of a doo-wop group called the Five Chimes, one of several different groups with that name,[108] and sang bass with the Halos and the Mellows. [55] In 1952, the Swallows released "Beside You", their second national hit, which peaked at number 10 on the R&B chart. rising to no. [40] Racially integrated groups with both black and white performers included the Del-Vikings, who had major hits in 1957 with "Come Go With Me" and "Whispering Bells", the Crests, whose "16 Candles" appeared in 1958, and the Impalas, whose "Sorry (I Ran All the Way Home)" was a hit in 1959. WebDoo Wop music from the 1970s | Discogs All 2,384 Release 328 Master Artist Label Search Marketplace Exploring Doo Wop from the 1970s 1 50 of 2,712 Prev Next Sort Their Zappa took the song to Laboe, who recruited the lead vocalist of the Penguins, Cleve Duncan, for a new iteration of the group, recorded it, and released it as a single on his record label. Soul group the Trammps recorded "Zing! They had frequent personnel changes and often moved from label to label hoping to achieve another hit. HBO Max has just released a reimagined spinoff of the popular, long-running kids show "Scooby-Doo." According to ethnomusicologist Evan Rapport, before 1958 more than ninety percent of doo-wop performers were African-American, but the situation changed as large numbers of white groups began to enter the performance arena. They are considered as one of the pioneering doo-wop acts at that time, being the first black doo-wop a group to cross over the pop charts. These programs brought back, live on stage, some of the better known doo-wop groups of the past. The Doo Wop Groups The Danleers Top: l to r: Roosevelt Mays, Nat McCune Bottom (l to r) Willie Ephraim, Jimmy Weston, Johnny Lee The Danleers formed while teenagers in Brooklyn in 1958. It is heard later in the Clovers' 1953 release "Good Lovin'" (Atlantic Records 1000), and in the chorus of Carlyle Dundee & the Dundees' 1954 song "Never" (Space Records 201). Written by Mack, it was released on the Laurie Records label in 1963. Though the name was attributed to radio disc jockey Gus Gossert, he did not accept credit, stating that "doo-wop" was already in use in California to categorize the music. by the Mello-Moods, "The Glory of Love" by the Five Keys, and "Shouldn't I Know" by the Cardinals. doo / ( du) / noun a Scot word for dove 1, pigeon 1 QUIZ Question TAKE THE QUIZ TO FIND OUT Words nearby doo Don't put the cart before the horse, Don't throw out the baby with the [167], By 1963 and 1964, proto-punk rocker Lou Reed was working the college circuit, leading bands that played covers of three-chord hits by pop groups and "anything from New York with a classic doo-wop feel and a street attitude". The six girls in the Bobettes, aged eleven to fifteen, wrote and recorded "Mr. Lee", a novelty tune about a schoolteacher that was a national hit. program which is essential for my career growth. [87] There, African American groups such as the Ravens, the Drifters, the Dominoes, the Charts, and the so-called "bird groups", such as the Crows, the Sparrows, the Larks, and the Wrens, melded rhythm and blues with the gospel music they had grown up singing in church. In 1948, the Orioles, then known as the Vibra-Nairs, went to the city with Deborah Chessler, their manager and main songwriter, and appeared on the show. [77] "Bad Girl" was the group's first national chart hit,[78] reaching #93 on the Billboard Hot 100. In the late 1940s, the Orioles rose from the streets and made a profound impression on young chitlin' circuit audiences in Baltimore. $9.99 + $4.00 shipping . Learn more WHY doo Services Service portfolios according to your needs More Unique as standard From personalised communication with stakeholders to configurable reports, doo offers automated processes, according to your needs. Ralf von Appen, Markus Frei-Hauenschild (2015). The Wailers covered Harvey and the Moonglows' 1958 doo-wop hit, "Ten Commandments of Love", on their debut album, Wailing Wailers, released in late 1965. These were a major outlet for doo-wop performers to be discovered by record company talent scouts. It reached number 7 on the U.S. [119] The Turbans, Philadelphia's first nationally charting R&B group,[120] formed in 1953 when they were in their teens. The group was named the Chiffons when recording and releasing their first single, "He's So Fine". [94] Robinson founded or co-founded Red Robin Records, Whirlin' Disc Records, Fury Records, Everlast Records, Fire Records and Enjoy Records. [142] These developments were the principal means by which new American R&B records were introduced to a mass Jamaican audience. Kenny Vance idolized the early doo-wop groups he saw practicing and performing on street corners in Brooklyn in the 1950s. [105] Judy Craig, fourteen years old, was the lead singer, singing with Patricia Bennett and Barbara Lee, both thirteen. WebThe Capris The Cap-Tans The Cardinals The Casinos Jimmy Castor Gene Chandler The Channels The Chantels The Charms The Charts The Checkers The Chevrons The Chiffons The Chimes The Chips The Chordettes The Chords (US band) The Classics The Written by the group's manager Danny Welch it featured the lead voice of Jimmy Weston #122 of 1,902. This music was a vital source for the youth music called rock 'n' roll. The sound they helped develop, later called '"doo-wop", eventually became a "sonic bridge" to reach a white teen audience.

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