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. The Best Soul Singers/Groups of All The Belmonts. Issued locally on the Motown Records label, it was licensed to and released nationally by Chess Records because the fledgling Motown Record Corporation did not, at that time, have national distribution. have discontinued my MBA as I got a sudden job opportunity after recommend Perfect E Learn for any busy professional looking to I was in search of an online course; Perfect e Learn We follow a systematic approach to the process of learning, examining and certifying. Grade 10 and 12 level courses are offered by NIOS, Indian National Education Board established in 1989 by the Ministry of Education (MHRD), India. [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. develop their business skills and accelerate their career program. Frequently, the backing vocalists sang nonsense words as rhythm, and the genre's name derives from this trait. [89], Blacks were forced by legal and social segregation, as well as by the constraints of the built environment, to live in certain parts of New York City of the early 1950s. Doo-wop street singers generally performed without instrumentation, but made their musical style distinctive, whether using fast or slow tempos, by keeping time with a swing-like off-beat,[13] while using the "doo-wop" syllables as a substitute for drums and a bass vocalist as a substitute for a bass instrument. [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. Some doo-wop groups were racially mixed. This music was a vital source for the youth music called rock 'n' roll. The Belmonts got there name from Belmont Avenue in the Bronx. Street singing was almost always a cappella; instrumental accompaniment was added when the songs were recorded. [145], The harmonizing of the American doo-wop groups the Drifters and the Impressions served as a vocal model for a newly formed (1963) group, the Wailers, in which Bob Marley sang lead while Bunny Wailer sang high harmony and Peter Tosh sang low harmony. Went the Strings of My Heart" in 1972. Early punk rockers sometimes portrayed these nostalgic 1950s tropes with irony and sarcasm according to their own lived experiences, but they still indulged the fantasies evoked by the images. Various Artists (Doo Wop Compilations) CD 11.70. [93] He used the tiny shop to launch a series of record labels which released many hits in the US. [139] In 1957, American performers including Rosco Gordon and the Platters performed in Kingston. by the Mello-Moods, "The Glory of Love" by the Five Keys, and "Shouldn't I Know" by the Cardinals. [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. [125][126], Broadcast from a warehouse on 46th and Market Street in West Philadelphia, most of American Bandstand's young dancers were Italian Americans who attended a nearby Catholic high school in South Philadelphia. Doo-wop music allowed these youths not only a means of entertaining themselves and others, but also a way of expressing their values and worldviews in a repressive white-dominated society, often through the use of innuendo and hidden messages in the lyrics. [42] Margo Sylvia was the lead singer for the Tune Weavers. 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 Even into the 70s and 80s, The Flamingos persisted, releasing albums and new songs, though the members of the group continued to change, with the Careys the only mainstays. 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. by Barry Mann), in 1961. This was one of the first songs written by Zappa, who had been listening to Laboe's compilation of doo-wop singles. 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. Born in the African-American neighborhoods of mostly northeastern cities in the 40s and 50s, doo I strongly Entdecke TJ Lubinsky prsentiert Original Masters DOO WOP GENERATIONEN 6-CD Set in groer Auswahl Vergleichen Angebote und Preise Online kaufen bei eBay Kostenlose Lieferung fr viele Artikel! It included songs by local bands such as the Heartbeats and the Medallions. For many, doo-wop music was and is the soundtrack of the city. Billboard Adult contemporary chart in June 1993. These were Philadelphia's two major black radio stations; they were black-oriented, but white-owned. During the Great Migration, the black population of Philadelphia increased to 250,000 by 1940. The nonsense string of syllables, "doo doo doo doo-wop", from which the name of the genre was later derived, is used repeatedly in the song "Just A Sittin' And A Rockin", recorded by the Delta Rhythm Boys in December 1945. Remember Me Baby - Cameo Parkway Vocal Groups Vol 1. Doo-wop was popular with California Mexican Americans, who were attracted in the 1950s to its a capella vocals; the romantic style of the doo-wop groups appealed to them, as it was reminiscent of the traditional ballads and harmonies of Mexican folk music. Hundreds of thousands of southern African Americans migrated to the metropolitan area, bringing their secular and religious folk music with them. 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?" WebPages in category "Doo-wop groups" The following 195 pages are in this category, out of 195 total. Your reminders become cards that are easy to start and easy to finish. We have booked Celebrity Artists from coast to coast in the United States as well as England, France, Belgium, Netherlands, Brazil, Germany, Canada, Australia, Japan and almost everywhere else.. He sought artists who understood that the music had to be updated to appeal to a broader audience and attain greater commercial success. 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. Welcome to Cape Entertainment Agency, Inc., the Premier Celebrity Talent Agency for Doo Wop, 50s, 60s, 70s and 80s for over 50 years. Freed's various radio and stage shows had a crucial role in creating a market for Italian doo-wop. It reached number 11 on the US R&B chart in 1956. 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? [178][179] The Beach Boys later acknowledged their debt to doo-wop by covering the Regents' 1961 #7 hit, "Barbara Ann" with their #2 cover of the song in 1966. [117] Italian American groups from the Bronx released a steady stream of doo-wop songs, including "Teenager In Love" and "I Wonder Why" by Dion and the Belmonts, and "Barbara Ann" by the Regents. [144], In 1959, while he was a student at Kingston College, Dobby Dobson wrote the doo-wop song "Cry a Little Cry" in honor of his shapely biology teacher, and recruited a group of his schoolmates to back him on a recording of the song under the name Dobby Dobson and the Deltas on the Tip-Top label. 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. [55] In 1952, the Swallows released "Beside You", their second national hit, which peaked at number 10 on the R&B chart. The Du Droppers formed in Harlem in 1952. test, which makes it an ideal choice for Indians residing The Flamingos - which went through the monikers of The Swallows, El [127][128][129], Dick Clark kept track of the national music scene through promoters and popular disc jockeys. [114] Similarities in language idioms, masculine norms, and public comportment[115] made it possible for African American and Italian American young men to mingle easily when societal expectations did not interfere. The city produced rhythm and blues innovators such as the Cardinals, the Orioles, and the Swallows. Web1940s1950s, African American communities across some major cities on the East Coast. Educational programs for all ages are offered through e learning, beginning from the online This characteristic harmonic layout was combined with the AABA chorus form typical for Tin Pan Alley songs. [65], In 1945,[66] Joe Von Battle opened Joe's Record Shop at 3530 Hastings Street in Detroit; the store had the largest selection of rhythm and blues records in the city, according to a 1954 Billboard business survey. Young singers formed groups and rehearsed their songs in public spaces: on street corners, apartment stoops, and subway platforms, in bowling alleys, school bathrooms, and pool halls, as well as at playgrounds and under bridges. Doo-wop groups achieved 1951 R&B chart hits with songs such as "Sixty Minute Man" by Billy Ward and His Dominoes, "Where Are You?" 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. Vocal harmony groups such as the Ink Spots embodied this style, the direct antecedent of doo-wop, which rose from inner city street corners in the mid-1950s and ranked high on the popular music charts between 1955 and 1959. Doo Wop. [119] The Turbans, Philadelphia's first nationally charting R&B group,[120] formed in 1953 when they were in their teens. [24][26] The Rainbows embellished the phrase as "do wop de wadda" in their 1955 "Mary Lee" (on Red Robin Records; also a Washington, D.C. regional hit on Pilgrim 703); and in their 1956 national hit, "In the Still of the Night", the Five Satins[27] sang across the bridge with a plaintive "doo-wop, doo-wah". "Only You" was released in June 1955 by pop group the Platters. This angered white supremacists, who considered rhythm and blues and rock and roll a danger to America's youth. Gribin, Anthony J., and Matthew M. Shiff (1992). The song they performed, "It's Too Soon to Know", often cited as the first doo-wop song,[47] went to number 1 on Billboard's "Race Records" chart, and number 13 on the pop charts, a crossover first for a black group. In addition to the Earth Angels, doo-wop acts in vogue in the second decade of the 2000s range from the Four Quarters[185] to Street Corner Renaissance. 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. They signed with Herald Records and recorded "Let Me Show You (Around My Heart)" with its B side, "When We Dance", in 1955. [121] "When We Dance" became a national hit, [112] While relationships between Italian Americans and African Americans in the Bronx were sometimes fraught, there were many instances of collaboration between them. Our Degree programs are offered by UGC approved Indian universities and recognized by competent authorities, thus successful learners are eligible for higher studies in regular mode and attempting PSC/UPSC exams. Our online courses offer unprecedented opportunities for people who would otherwise have limited access to education. All the courses are of global standards and recognized by competent authorities, thus [71] Strong, like other R&B and doo-wop tenors of the time, was profoundly influenced by Clyde McPhatter, lead singer of the Dominoes and later of the Drifters. 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). 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. [188], Audio playback is not supported in your browser. 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. 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. The Orioles helped develop the doo-wop sound with their hits "It's Too Soon to Know" (1948) and "Crying in the Chapel" (1953). [103] Their first recording was "He's Gone" (1958), which made them the first pop rock girl group to chart. 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. [104], In 1960, the Chiffons began as a trio of schoolmates at James Monroe High School in the Bronx. He supplied Syd Nathan with many blues and doo-wop masters recorded in his primitive back-of-the-store studio from 1948 to 1954. Danny Kennedy aka m4hdetroit (Founder) Katelyn Barrows (Co-Founder) Seth & the Janitors Danny & the [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. [46], In 1948, Jubilee Records signed the Orioles to a contract, following which they appeared on Arthur Godfrey's Talent Scout radio show. exams to Degree and Post graduation level. 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. 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. 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. 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 [67] Young aspiring performers would gather there in hopes of being discovered by the leading independent record company owners who courted Battle to promote and sell records, as well as to find new talent at his shop and studio. [72], In late 1957, seventeen-year-old Robinson, fronting a Detroit vocal harmony group called the Matadors, met the producer Berry Gordy, who was beginning to take up new styles, including doo-wop. [148], One style of rhythm and blues was mostly vocal, with instrumental backing that ranged from a full orchestra to none. Each card shows up in a stack instead of a list so you can focus on one thing at a time. [119] Featuring young whites dancing to music popularized by local deejays Georgie Woods and Mitch Thomas, with steps created by their black teenage listeners, Bandstand presented to its national audience an image of youth culture that erased the presence of black teenagers in Philadelphia's youth music scene. With excellent customer service, stable trading environment, competitive trading costs, best trade execution and a diverse range of trading products, Doo Prime is committed to becoming your personal and 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. [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. New York was the capital of Italian doo-wop, and all its boroughs were home to groups that made successful records.[36]. Doo wop is a subgenre of vocal group harmony. Whether existing IT infrastructure or event-specific components such as apps or event platforms - doo connects them all. Their second single, "Maybe" hit the charts, No. He became a teen sex symbol for black girls, who reacted by screaming and throwing pieces of clothing onto the stage when he sang. [51] Their song "Will You Be Mine", released in 1951, reached number 9 on the US Billboard R&B chart. [80][83], In 1960, Art Laboe released one of the first oldies compilations, Memories of El Monte, on his record label, Original Sound. 13.[50]. This list may not reflect recent changes. Many of the biggest doo-wop artists are among the most recognizable faces in music history. [94] Robinson founded or co-founded Red Robin Records, Whirlin' Disc Records, Fury Records, Everlast Records, Fire Records and Enjoy Records. Doo-wop (also spelled doowop and doo wop) is a genre of rhythm and blues music that He soon had his own independent radio show, on which he introduced many doo-wop acts in the 1960s to a wide audience, including the Four Seasons, an Italian American group from Newark, New Jersey. program.[132]. These included the Calvanes,[81] the Crescendos, the Cuff Linx, the Cubans, the Dootones, the Jaguars, the Jewels, the Meadowlarks, the Silks, the Squires, the Titans, and the Up-Fronts. Some groups cut demos at local studios and played them for recording producers, with the aim of getting signed to a record deal. 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. Up tempo doo-wop groups such as the Monotones",[174] the Silhouettes, and the Marcels had hits that charted on Billboard. Doo-wop is popular among barbershoppers and collegiate a cappella groups due to its easy adaptation to an all-vocal form. On this Wikipedia the language links are at the top of the page across from the article title. The group, formed in 1947, sang simple ballads in rhythm and blues harmony, with the standard arrangement of a high tenor singing over the chords of the blended mid-range voices and a strong bass voice. Usually, doo-wop groups consisted of black singersalong the East Coast who delicately balanced each other out vocally, with theirsongs consistingofhigh tenor lead singers and deep voiced talking bass parts. [7], Doo-wop's characteristic vocal style was influenced by groups such as the Mills Brothers,[14] whose close four-part harmony derived from the vocal harmonies of the earlier barbershop quartet.[15]. The group's only big hit "One Summer Night" came the summer of 1958. Most doo wop groups started as a cappella bands, performing without instrumental accompaniment. "He's So Fine" hit No. [137] In late August 1957, the doo-wop group Lewis Lymon and the Teenchords arrived in Kingston as part of the "Rock-a-rama" rhythm and blues troupe for two days of shows at the Carib Theatre. Battle's record labels included JVB, Von, Battle, Gone, and Viceroy;[68][69] he also had subsidiary arrangements with labels such as King and Deluxe. The group was named the Chiffons when recording and releasing their first single, "He's So Fine". ", but whether because he was ill or because producer George Goldner thought that newcomer Frankie Lymon's voice would be better in the lead,[39] Santiago's original version was not recorded. [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. His style reflected the optimism of young black Americans in the postmigration era. It reached number 7 on the U.S. All of a sudden, all you could hear was, hip hop hit the top don't stop. BOBBY HALL KINGS 45 'SUNDAY KIND OF LOVE' USA JAX 1953 DOO WOP R&B 70S REPRO M- $14.65 + $9.15 shipping . 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. When you think of doo-wop bands, however, some of the first singers that come to mind are The Platters, The Drifters, and of course, The Temptations. 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. [53][54], The Swallows began in the late 1940s as a group of Baltimore teenagers calling themselves the Oakaleers. Music historian Billy Vera points out that these recordings are not considered to be doo-wop.[171]. By 1948, RCA Victor was marketing black music under the name "Blues and Rhythm". [46] The Orioles were soon displaced by newer groups who imitated these pioneers as a model for success. [93] "Sh-Boom" is considered to have been the first rhythm-and-blues record to break into the top ten on the Billboard charts, reaching #5; a few months later, a white group from Canada, the Crew Cuts, released their cover of the song, which reached #1 and remained there for nine weeks. [44] The Royal Theatre in Baltimore and the Howard in Washington, D.C. were among the most prestigious venues for black performers on the so-called "Chitlin Circuit",[45] which served as a school of the performing arts for blacks who had migrated from the deep South, and even more so for their offspring. In the Delta Rhythm Boys' 1945 recording, "Just A-Sittin' And A-Rockin", it is heard in the backing vocal. Soul group the Trammps recorded "Zing! The following 195 pages are in this category, out of 195 total. A Daddy Cool Original Doo-Wop Ditty. Doo-wop's style is a mixture of precedents in composition, orchestration, and vocals that figured in American popular music created by songwriters and vocal groups, both black and white, from the 1930s to the 1940s. A few groups, such as the Platters and Rex Middleton's Hi-Fis, had crossover success. This list may not reflect recent changes. [144] Bunny Wailer cited Frankie Lymon and the Teenagers, the Platters, and the Drifters as early influences on the group. [150] Black and white young people both wanted to see popular doo-wop acts perform, and racially mixed groups of youths would stand on inner city street corners and sing doo-wop songs a capella. Chico Torres was a member of the Crests, whose lead singer, Johhny Mastrangelo, would later gain fame under the name Johnny Maestro. Bill Kenny, lead singer of the Ink Spots, is often credited with introducing the "top and bottom" vocal arrangement featuring a high tenor singing the intro and a bass spoken chorus. [136][128], The history of modern Jamaican music is relatively short. During the late 1940s and early 1950s, independent record labels gained control of the black record market from the major companies, and Chicago rose as one of the main centers for rhythm and blues music. As the pivotal recording mogul in the Detroit area, Battle was an important player in the independent label network. One of the members lived across the street from Sonny Til, who went on to lead the Orioles, and their success inspired the Oakaleers to rename themselves the Swallows. Digital Forensics. 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)"). Webin fact, motown s premier male group of the 1960s and 70s, the temptations, had a vocal sound that was based in this classic doo-wop style, with the ink spots tenor lead singer, 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. [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. Pennsylvania Avenue served as a boundary between East and West Baltimore, with the East producing the Swallows and the Cardinals and the Blentones, while the West was home to the Orioles and the Four Buddies. [59] The record labels, record distributors, and nightclub owners of Chicago all had a part in developing the vocal potential of the doo-wop groups, but Chicago doo-wop was "created and nourished" on the street corners of the city's lower-class neighborhoods. They had frequent personnel changes and often moved from label to label hoping to achieve another hit. 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. But, our concern was whether she could join the universities of our preference in abroad. The original lineup from Louisville included Bobby Lester, Harvey Fuqua, Alexander Graves, and Prentiss Barnes, with guitarist Billy Johnson. DEMO ANFRAGEN MEHR ALS 1.600 KUNDEN So the same thing started with rap groups around '76 or so. 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. [173] In 1956, Frankie Lymon and the Teenagers appeared on the Frankie Laine show in New York, which was televised nationally, performing their hit "Why Do Fools Fall in Love?". [101], The heyday of the girl group era began in 1957 with the success of two teen groups from the Bronx, the Chantels and the Bobbettes. It reached no. Doo-wop was a precursor to many of the African-American musical styles seen today. [166], This music was embraced by punk rockers in the 1970s, as part of a larger societal trend among white people in the US of romanticizing it as music that belonged to a simpler (albeit non-existent) time of racial harmony before the social upheaval of the 1960s. It's kids to a great extent mixed-up and confused reaching out to express themselves. [122], The Silhouettes' crossover hit "Get a Job", released in 1957, reached number one on the pop and R&B charts in February 1958, while Lee Andrews & the Hearts had hits in 1957 and 1958 with "Teardrops", "Long Lonely Nights", and "Try the Impossible". Picture They cut six sides, one of which was a doo-wop ballad written by Chessler called "It's Too Soon to Know". tuition and home schooling, secondary and senior secondary level, i.e. A King Records talent scout discovered the Swallows as they were rehearsing in Goldstick's record store. [164] A few years later, Reed worked as a staff songwriter writing bubblegum and doo-wop songs in the assembly-line operation at Pickwick Records in New York. and "who is the greatest doo-wop musician ever?" Like Charlie Brown and Yakety Yak by the Coasters, Smoke Gets in Your Eyes and The Great Pretender by the Platters, and Under the Boardwalk and On Broadway by the Drifters. Doo-wop (also spelled doowop and doo wop) is a genre of rhythm and blues music that originated among African-American youth in the 1940s, mainly in the large cities of the United States, including New York, Philadelphia, Chicago, Baltimore, Newark, Detroit, Washington DC, and Los Angeles. In 1957, songwriters Bob Crewe and also Frank Slay penciled a doo-wop ditty by the name of Daddy Cool. These programs brought back, live on stage, some of the better known doo-wop groups of the past. [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. 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. Enterprising deejays used mobile sound systems to create impromptu street parties. Are at the top of the past was an important player in the vocalists! 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