Born from the marriage of the African syncopated rates/rhythms and the religious anthems of the puritan White with the beginning of the year 1950, the doo-wop is a vocal style strongly influenced by the Gospel and the barbershops four-bit bytes (“quartets of hairdressing salon”).
He is interpreted by groups of black singers, generally four or five: a soloist, light tenor sings the melody, another tenor and a baritone follows the agreements with " ooh" " and of the " aah" stopped short caesuras of the " type; wop-wop" and baritone-low adds " doop-doop". They can be accompanied by a rhythmic base piano-guitar-low-battery, even a saxophone. The melodies are ballades built on the four agreements of the Anatole. The words of the doo-wop, generally sentimental, can also be humorous or with sexual connotation.
The precursors of this style are the Golden Spoils Four-bit byte, the Ink Spots and sutout the Orioles.
From 1950 to 1960, it is a true explosion: approximately 15000 vocal groups leave at least a disc doo-wop to the United States during this decade. Little of them shows creativity or of originality and those are then quickly imitated by the others. A true higher bid develops in the search for onomatopoeia complicated (for example the " Eh-toom-ah-your-toom-ah-your-toom-ah-to-doh" piece Why Do Fools Fall In Coils of Frankie Lymon & The Teenagers). Another practice sails about it in the doo-wop consists in giving to the groups of the names of birds ( bird groups ) like the Orioles, the Cardinals or Flamingos.
Among the largest success of the doo-wop, one can quote Only You and The Great Prentender of the Platters, Earth Angel of Penguins, Sh' boom of Chords, Work With Me Annie of the Midnighters and Sincerely of Moonglows.
The style doo-wop was extremely popular throughout the Années 1950, parallel to the beginnings of the Rock “roll, then was supplanted as from 1960 by the fashion of the " girl groups ".
Between 1960 and 1965, the Blacks started to sing drunk, but much of white groups like the Beach Boys, the Season Furnace, Dion and the Belmonts, Tokens made evolve/move the doo-wop under the influence of the British pop music, which will give the " West Coast" and the " The Mersey Beat".
From 1965 to 1980, some amateurs groups continued to sing doo-wop, for example the Rubettes, then the style fell into the lapse of memory.
Artists of doo-wop
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