Daily Doo-Wop

What is the Daily Doo-Wop?

We are your time machine to the past....created by Terry & Jane Minogue. On each weekday we present a new piece, dating more or less from Eisenhower's first election in 1952 to The British Invasion in 1964. We go beyond Doo-Wop Style because in those days radio announcers said: "If it's a hit it plays." We follow the same code here....All Things Oldies! It's not history to us, really; it's current events.Please visit our Facebook page (click the link above) to see a "Today In History" post (published each weekday), some fun clips, and pictures of the singers. Thanks for stopping by The Daily Doo-Wop.

"Will You Still Love Me Tomorrow"

by The Shirelles

One never knows the future…The song, which is also known as “Will You Still Love Me Tomorrow,” was written by Gerry Goffin and Carole King. Shirley Alston, the lead singer of The Shirelles, initially thought the song was “too Country and Western” for a four-girl group from Passaic, New Jersey. Their producer Luther Dixon helped them do it in their style, with strings and more uptempo. Carole King played timpani on the recording. In 1960, the song reached #1 on the Billboard Hot 100 and #2 on the R&B Chart.

A doo-wop classic. In 1959, “Hushabye” spent nine weeks on the Billboard Hot 100 Chart, peaking at #20. The record features silky vocals, close harmonies, and a new phenomenon in the 1950s – an electric bass. DJ Alan Freed featured “Hushabye” as the closing tune for his Big Beat TV show.

The Mystics started in Brooklyn in 1957. The group was originally called The Overons and became The Mystics after group members wrote a name on pieces of paper and drew it from a hat. In 1962, lead singer Phil Cracolici left the group and relaced briefly by another rising star in the record industry, Paul Simon.

This song was written by Little Joe Cook and features his distinctive falsetto lead vocals. In 1957, the group appeared on American Bandstand, and the song went to #22 on the national Pop Chart.

Cook was from Philadelphia and began singing in church. The Thrillers were known for their choreography and performances as well as their singing. Cook’s falsetto was said to influence others, such as Franki Valli and Lou Christie.

Here’s some of the joy in early rock and roll from Jerry Lee Lewis, the wild man, the piano-thumper, the Killer from Ferriday, Louisiana. “Great Balls of Fire” was written by R&B great Otis Blackwell (credited as Jack Hammer), was recorded at Sun Studios in Memphis, and was featured in the 1957 movie Jamboree. The song propelled Lewis into international fame, coming on the heels of “Whole Lotta Shakin’ Goin’ On.” “Great Balls of Fire” sold one million copies in the first ten days after its release and become one of the world’s best-selling singles of all time.

The group changed their name from The Essos (the gasoline brand now known as Exxon) to The Edsels after Ford’s car that was to be “the next big thing.” Oh well. The car wasn’t a hit, but The Edsels did – eventually-- have one with “Rama Lama Ding Dong.” The song came out in 1958 with the erroneous title “Lama Rama Ding Dong,” and after a little airplay, people lost interest. However, the song was revived in 1961 by some DJs in New York, and it went to #21 on the Billboard Hot 100 Chart. The song has since become a doo-wop classic. The members included George Jones, Larry Green, James Reynolds, Harry Green, and Marshall Sewell.

New York-based Laurie Records was looking for an answer to The Drifters. They found it in the soulful sound of The Jarmels, five high school students who met while singing at Mount Olivet Baptist Church in Richmond, VA. When Ben E. King (“Stand By Me”) came to town, they waited backstage and sang for him. King invited them to come to New York where he got them an audition for Laurie Records. The Jarmels’ second single, “A Little Bit Of Soap,” featuring hot and distinctive percussion and beautiful vocals, went to #12 on the Billboard Hot 100.

Remember that group the Dukays? No? Well, neither do we. The Dukays were Gene Chandler’s first vocal group. They sang in the late 1950s and were unknown. However, Chandler and some of the members, including Earl Edwards, kept practicing and warming up with nonsense syllables, such as “doo doo doo Earl” (to include Earl’s name). One day songwriter Bernice Williams heard this vocal exercise and wrote the song “Duke of Earl.” Vee-Jay records offered Chandler a chance to sing the song. providing he left the group. (Bye bye Dukays.) In 1961 the song went to #1 on the Billboard Hot 100. The record was a bridge between Doo-Wop and Soul.

He was a flop with chicks, so he went to see the gypsy. Her potion made him fall in love with everything he saw, and he ended up kissing a policeman. No luck there. “Love Potion No. 9” was written by Jerry Leiber and Mike Stoller. Although there have been many covers of the song, The Clovers, a popular and influential group from Washington, D.C., did the original version in 1959. It reached #23 on the Billboard Hot 100 and the R&B charts.

This romantic song was written by Calvin Carter and Thornton James “Pookie” Hudson (lead vocalist of The Spaniels) in 1953, and, by 1954, it went to #5 on the R&B Chart and #24 on Variety’s Pop Chart. The song was featured in the films American Graffiti and Three Men and a Baby. Sha Na Na performed it as the closing song on their weekly variety show.

From New Orleans, Lawrence Eugene “Larry” Williams was an R&B and rock and roll singer, songwriter, pianist, and producer. He had success – and issues with drug addiction. His classic song about a skinny gal has been covered many times, including by John Lennon, Johnny Winter, The Who, and the Australian band Hush. In 1957, “Bony Moronie” reached #4 on the R&B Chart and #14 on the Pop Singles Chart in 1957.

There have been covers of this song by Bob Marley and The Wailers, Simon and Garfunkel, The Fleetwoods, Less Than Jake, and the Red Hot Chili Peppers. However, the original was by Dion and the Belmonts and is considered one of the great rock and roll songs. It went to #5 on the Billboard Hot 100 in 1959.

The great lyrics, which have helped the song endure over the decades, speak to being in the city and leaving troubles behind when you go up on the roof: “I climb way up to the top of the stairs / And all my cares just drift right into space.” The song was written by Gerry Goffin and the prolific Carole King. In 1963, The Drifters’ recording went to #5 on the Billboard Hot 100 and #4 on the R&B Chart. The Drifters were a New York City group that went through many, many iterations. Carole King is one of the pianists on the record.

This song was banned in Boston because it tells the story of a young couple who fall asleep at the movies and realize they are out way past curfew. In those days, staying out late with a girl was considered risqué. Even though it was banned in Boston, the song went all the way to # 1 on the Billboard Pop chart in 1957. “Wake Up Little Susie” is ranked among Rolling Stone magazine's list of The 500 Greatest Songs of All Time. Go Phil and Don!

Luigi Sacco was a singer who could effortlessly change from normal register to falsetto. On releasing his first hit, “The Gypsy Cried,” Roulette Records changed his name to "Lou Christie" without Sacco's permission. Sacco hated the name. "I was pissed off about it for 20 years. I wanted to keep my name.” Contemporary critics wrote off Christie as an imitator of Frankie Valli, (both men used similar falsetto vocals). Later reviewers have been less harsh, noting that Christie was one of the first singer-songwriters of the era. John Lennon agreed and referred to Christie as "a truly creative person."

This funky, bluesy instrumental always sounds hot. Maybe that’s why it’s been used so many times in radio, TV, movies, and ads. This includes (among many others): American Graffiti, Dragon: The Bruce Lee Story, Get Shorty, Happy Gilmore, A Single Man, Quadrophenia, Memphis Beat, X-Men: First Class, the commercial for Chicken Run, and part of the music loop in Cars Land at Disney California Adventure park. The instrumental was written by Booker T. Jones, Steve Cropper, Lewie Steinberg, and Al Jackson, Jr. In 1962, the instrumental reached #1 on the R&B Chart and #3 on the Billboard Hot 100.

While academics might not be the singer’s strong suit -- whether it’s history, biology, or French -- he does know about love. The song was written by Sam Cooke, Lou Adler, and Herb Alpert. In 1960, it went to #12 Billboard Hot 100 and #2 on the R&B Chart. Artists who have covered the song include Otis Redding and Herman’s Hermits. Rolling Stone Magazine includes it among the 500 Greatest Songs of All Time.

He’s going to keep searching, and he’s “gonna find her,” wherever she may be. He’s even determined to look everywhere and hire great detectives. "Searchin'" was written by Jerry Leiber and Mike Stoller for The Coasters, and they achieved national attention. The song was one of the top hits of 1957, going to #1 on the R&B Chart for many weeks and peaking at #3 on the Pop Singles chart.

If today is your birthday, then have a happy one – even if you’re 16+. The song, written by Luther Dixon and Allyson R. Khent, was a big hit for The Crests, a New York R&B doo-wop group. In 1959, the song went to #2 on the Billboard Hot 100 and #4 on the R&B Chart. It earned The Crests an RIAA Gold Record. “16 Candles” has been a juke box favorite over the years. Also, it was featured in American Graffiti and inspired the title of the 1984 film Sixteen Candles (the Stray Cats do a cover of the song for the movie).

The Del Vikings formed in 1955 in Pittsburgh, where all the members were stationed in the U.S. Air Force. The group throughout the years has had many personnel and label-affiliation changes. For “Come Go With Me,” the members included Clarence Quick, the lead vocalist who also wrote the song, Krips Johnson, Norman Wright, David Lerchey, and Joe Lopes (on guitar). in 1957, the song became a hit, peaking at #4 on the Pop Chart and #2 on the R&B Chart. If you listen closely at the end of the sax solo, you can hear the player sneaking away from the microphone to create is own “fade-out.” The echo effect is called a “slap back,” which is an early doo-wop recording technique used to evoke the sound of city alleyways.

As a child, Brian Hyland loved music; he played the clarinet and guitar and sang in the local church choir. At 14, he started a doo-wop group called the DelFis. Although the group wasn’t a success, Brian got a taste of the recording studio while working on their demo and loved it.

Brian Hyland, who often performed songs by Peter Udell and Gary Geld, heard their song “Sealed With A Kiss.” The record had previously been released in England by a group called The Four Voices and was a flop. Hyland suggested if they picked up the beat, it would be better. He recorded it, and it reached #3 on the Billboard Hot 100.

As a teenager, Barbara George started singing and writing songs for her Baptist church choir in Louisiana. At age 16, she found her way into J&M Studios in New Orleans and recorded her song, “I Know.” She used cornetist Melvin Lastie to play the hot solo. That solo was later used (note for note) by The Shirelles in their cover version of “Everybody Loves A Lover.” “I Know” was a huge hit and went to #3 on the Billboard Hot 100.

The Chordettes were a female singing group originally organized in Sheboygan, Wisconsin. They were known for their barbershop or close harmony and were featured on Arthur Godfrey’s radio program Talent Scouts. Godfrey’s music director and orchestra leader Archie Bleyer founded Cadence Records. He signed up some of Godfrey’s artist’s and made “Mr. Sandman” with The Chordettes. It was their first hit and stayed at #1 for seven weeks. The song, by Pat Ballard, has some great rhymes, such as the popular "Liberace" with "Pagliacci," opera’s sad clown.

Happy birthday! Bobby Vee was born Robert Thomas Velline on April 30, 1943, in Fargo, North Dakota.“Take Good Care Of My Baby” went to#1 on the Billboard Hot 100 for Bobby Vee in 1961. The song, written by Carole King and Gerry Goffin, showcases Bobby Vee’s unique self-harmonization (and a unique pronunciation of the word “dee-scover”). Although Dion, Gary Lewis & The Playboys, Bobby Vinton, and The Beatles re-recorded the song, only Bobby Vee managed to make it a hit.

The song, written by Bob Merill, was a big hit for Jimmie Rodgers in 1957. It went to #1 on the U.S. singles chart and R&B chart. Rodgers was born in Camas, Washingon (and is not related to the country singer of the same name). Rodgers’ mother taught him to play the piano and guitar. He joined a band while serving in the U.S. Air Force in Korea. He was also one of the contestants on Arthur Godrey’s talent show, which led to recording his music.

The song, written by Tommy Roe, was a #1 hit on the U.S. Billboard Hot 100 (in 1962) and went to #1 in Australia and Canada as well. The influence of Buddy Holly is evident, with shades of “Peggy Sue.” Tommy Roe is a singer, songwriter, born in Atlanta, has achieved several RIAA gold records for his songs. He has teamed up for projects with Jerry Lee Lewis and Roy Orbison. One bit of trivia is that he appeared in an episode of the TV show “Green Acres.” And he's still performing and touring.

The song, written by Joey Dee and Henry Glover, came about because of the Twist dance fad that was happening at the time and a nightclub in NYC, called The Peppermint Lounge, where Dee performed. The two parts to the song occurred because the original was too long for a single. Part II is mostly instrumental. The song (Part I) went to #1 on the Billboard Hot 100 chart in 1962. The Peppermint Lounge attracted many celebrities who wanted to twist – and hear the music -- including Marilyn Monroe, Judy Garland, Liberace, Frank Sinatra, Audrey Hepburn, Truman Capote, and Annette Funicello.

Steve Lawrence was better known as one-half of the act “Steve and Eydie” with his wife, Eydie Gorme. The song was written by Carole King and Gerry Goffin for Bobby Vee, as a follow-up to “Take Good Care of My Baby.” Producer by Don Kirshner heard the demo and immediately gave the song to Steve Lawrence. “Go Away Little Girl” was his most successful solo record, going to #1 on the Billboard Hot 100 and staying there for two weeks.

In 1958, Bobby Day and Leon René collaborated to write “Rockin’ Robin.” Day liked the song so much he decided to try his hand as a recording artist and make his own record. The famous piccolo part was played by Plas Johnson, who later played the saxophone solo on “The Pink Panther Theme.” Although Bobby Day wrote many more hits (e.g., “Itty Bitty Pretty One” and “Over and Over”) this was his only hit record as a singer. “Rockin’ Robin” went to #2 on the Billboard Hot 100. The song has been covered by many popular artists, including Chuck Berry, Gene Vincent, The Hollies, Cliff Richard, The Spinners, and, of course, The Muppets.

There are different stories about the origin of the song, credited to Gene Vincent, his manager ”Sheriff Tex” Bill Davis, and Donald Graves. One is that Vincent wrote the song during a six-month stay in Portsmouth Naval Hospital, where he was recovering from a motorcycle accident. He played his guitar and came up with the tune inspired by the newspaper cartoon strip Little Lulu. Another story is that Graves wrote the song and they paid $25 for it. Whatever it was, Capitol Records signed Vincent, as they were searching for someone like Elvis Presley. Vincent, who was born 34 days after Elvis, had the rebel image they were looking for. In 1956, the song peaked at #7 on the Bilboard Pop Chart, #8 on the R&B Chart, and #10 on the C&W Best Seller chart. The Blue Caps were named after the hat President Eisenhower wore to play golf.

So many times a man writes a song to impress a girl. That’s the story behind “Sea of Love,” written by Phil Phillips and George Khoury. Phillips was working at a bellhop at a hotel in Lake Charles, Louisiana, and wanted a certain girl to love him back. He said: ”I felt if I could sing about it – a sea of love where it’s quiet and peaceful – I could really show her how much I loved her and cared for her.” Things didn’t work out with that girl, but the recording went to #1 on the R&B Chart and #2 on the Billboard Hot 100. It sold more than one million copies and was awarded an RIAA gold record. Phillips’ version of the song was used in the 1989 film Sea of Love, which starred Al Pacino and Ellen Barkin.

Today is Ricky’s birthday, as he was born May 8, 1940, in Teaneck, NJ. ( He died in a small plane crash in Texas in 1985.) When Ricky had a record out, Ozzie found that having him perform it on their TV show boosted sales (and their ratings). It was difficult to work it into the plots, so Ozzie decided to have a film of Ricky sing “Travlin’ Man,” with some travelogue scenes in the background. They put it at the end of an episode, and it was an early music video. “Travelin’ Man” went to #1 on the Billboard Hot 100 in 1961.

The song, credited to June Carter Cash and Merle Kilgore, was first recorded by June’s sister Anita Carter. The story goes that Johnny had a dream where he heard the song accompanied by “Mexican horns.” Anita’s version did not sell particularly well, so Johnny recorded it with the addition of mariachi-style horns. In 1963, it was a #1 hit – one of the biggest of Johnny’s career – and eventually earned an RIAA gold record.

The Teenagers, a New York-based, group, recorded “Why Do Fools Fall in Love” on George Goldner’s new Gee Label. They became a household name and pioneered the way for other teenaged vocal groups. In 1956, the song peaked at #1 on the R&B and #6 on the Pop Charts. Lymon, one of the music industry’s great successes and real tragedies, was only 13 and sings with that beautiful, clear high tenor voice. The group was known for their choreography was well as their singing. What does a 13-year-old boy know about love? Enough to have been a fool at 11, Lymon said.

Jan Bradley grew up in Robbins, Illinois. She auditioned for Curtis Mayfield and soon recorded the Mayfield song "Mama Didn't Lie.” It was released nationally in the U.S. by Chess Records in 1963 and went to #14 on the Billboard Hot 100. The vocal is double-tracked. In those days, most studios couldn’t afford the expensive “sel-sync” technology; the vocalist added harmony to a re-record of the entire record. “Mama Didn’t Lie” features an extremely complex bass part where the bass fiddle is alternately bowed (arco) and plucked (pizzicato). It all makes for a wonderful record. Enjoy!

"Shake, Rattle and Roll" was written in 1954 by Charles E. Calhoun (assumed name of Jesse Stone) and recorded by Big Joe Turner. Turner had a long career as a singer, starting in the 1920s and ‘30s through the 1980s. He was also one of the pioneers of rock and roll. Turner’s version of “Shake, Rattle and Roll” was #1 on the R&B Chart and #22 on the Pop Chart. Atlantic Record executives Jerry Wexler and Ahmet Ergeun are in the shouting chorus on the song. Bill Haley & His Comets recorded the song (changing some of the lyrics) and released it in 1954 as well. His versions reached #7 on the Billboard Pop Chart, spending many weeks on the Top 40.

It’s a promise to remain true when the one you love is away in the service. In 1962, the song, written by Luther Dixon and Florence Greenberg, went to #1 on the Billboard Hot 100 and #3 on the R&B Chart. The Shirelles, from Passaic, New Jersey, consisted of schoolmates Shirley Owens, Doris Coley, Addie “Miki” Harris, and Beverly Lee.Their sweet vocals and harmonies make them one of the great girl groups in this first era of rock and roll.

It’s May 14 and the birthday of singer, songwriter, TV personality, and actor Bobby Darin. He wrote and recorded “Dream Lover” in 1959. It went to #2 on the Billboard Hot 100 and went on to become a multi-million seller. The song features Neil Sedaka on the piano. Darin did find a dream lover soon after this song was released; he married Sandra Dee. Due to bouts of rheumatic fever, Darin had a weakened heart and died at the age of 37 in 1973.

Guess we’ve all known someone who talked too much (hope that didn’t refer to us). The song was written by Reginald Hall, Fats Domino’s brother-in-law, for Fats Domino, but he rejected it. Joe Jones’s recording (first on Ric Records, then Roulette) was a Top Five 1960 R&B hit and went to #3 on the Billboard Hot 100.Jones was born in New Orleans. He served in the U.S. Navy and studied at the Juilliard Conservatory of Music. He was a valet and then pianist and arranger for B.B. King. Joes is credited with discovering The Dixie Cups (of “Chapel of Love” fame). He had a career in music production and publishing.

On the brink of the British invasion (Jan. 1964), Vee-Jay Records renamed “It’s In His Kiss” to “The Shoop Shoop Song” in honor of the compelling “shoop shoops” provided by backup singers The Opals. (Also, there had been other earlier versions.) The song features a marimba as part of the '63-'64 Latino sound explosion brought on by the popularity of West Side Story and furthered by groups like The Rocky Fellers in their smash “Killer Joe.” "The Shoop Shoop Song" has the distinction of being covered by many artists, including the following: The Swingin’ Blue Jeans, Cher, Lulu, The Nylons, Kate Taylor featuring James Taylor, The Searchers, The Hollies, The Newbeats, The Supremes, and Aretha Franklin. Like “My Boyfriend’s Back,” it was rejected by the Shirelles, who had so many hits they had to say “no” once in a while.

Ah, Ray Charles. It’s like opening a bottle of fine wine. Elements of gospel, blues, rhythm & blues, rock & roll, soul. Charles was a superb musician and a huge influence in the U.S. and abroad.

In 1959, the song was #1 on the R&B Chart and #6 on the Billboard Hot 100. It was Charles’ first RIAA gold record and is ranked tenth on Rolling Stone’s list of The 500 Greatest Songs of All Time. Charles closed every show after this with the song. He said that "'What'd I Say' is my last song onstage. When I do 'What'd I Say', you don't have to worry about it—that's the end of me; there ain't no encore, no nothin'. I'm finished!"

Del Shannon was the professional name of singer/songwriter Charles Weedon Westover from Grand Rapids, MI. He was best known for his #1 song "Runaway," in 1961. "Hats Off to Larry" charted at #5 on the Billboard Hot100 in 1961.

This song was written by Joseph Royster, Carmella Guida, and Frank Guida. They based it on a 1934 calypso hit from Trinidad called “Ugly Woman,” which also warned of the dangers of marrying a pretty woman. In May 1963 (exactly 50 years ago!), “If You Wanna Be Happy” went to #1 on both the Billboard Hot 100 and R&B singles chart. It became a hit despite being banned on many radio stations, due to the use of the words "Ugly Woman."

Towards the end of the song, a brief dialogue takes place between Soul and a backup singer: "Say Man!!"/ "Hey baby"/ "I saw your wife the other day."/ "Yeah??"/ "Yeah, and she's ugly-y-y-y-y!!!"/ "Yeah, she's ugly, but she sure can cook, baby". Soul's falsetto counterpoint is heard as the song fades out.

It’s the story of Earl and Sue, two kids in love who must part and “cry cry cry their blues away.” The song went to #1 on the R&B Chart and #3 on the Billboard Hot 100 in 1961. The Jive Five formed in Brooklyn in the late 1950s, and included Jerome Hanna, Richard Harris, Thurmon Prophet, and Norman Johnson.

Just whisper, "I love you, and will eternally." The song is a doo-wop classic -- even though it went only to #77 on the U.S. Pop Chart in 1957.

The group, from Mount Vernon, New York, consisted of Jerry and Bob Scholl (brothers), Eddie Quinn, Neil Arean, and Larry Esposito. They originally called themselves the Mellotones, but that name was taken. The “King” came from their manager, Dick Levister, who had been leader of the King Levister Orchestra.

Some songs just have a convoluted history of how they came into national attention, and "Barbara-Ann" is one of them. Fred Fassert wrote this song around 1958 and got the title from the name of his sister. His brother, Chuck Fassert, was a member of the doo-wop group The Regents, and Fred gave it to them. They did not have luck peddling their songs and disbanded. However, in 1961, opportunity came knocking, and their version went to #7 on the R&B Chart and #13 on the Billboard Hot 100 in 1961. (The Beach Boys had a big hit with it in 1965.)

The song, written by Brook Benton, Clyde Otis, and Luchi de Jesus, was first recorded by The Spaniels in 1958. However, the pairing of Benton and Washington has great chemistry. In 1960, their version was #1 on the R&B Chart and #7 on the Billboard Hot 100. Washington was a singer and pianist in a wide variety of styles -- from jazz to blues to pop. Benton was a successful singer, songwriter, and producer.

You’ll know this instrumental when you hear it. It not only was a #1 hit in 1959, it’s been used in films, commercials, and TV shows (e.g., La Bamba, Twelve Monkeys, Charlie’s Angeles: Full Throttle). There have also been many covers, including Betsy Brye, Al Kooper, The Ventures, Deftones, Leo Kottke, Chet Aatkins, Jeff Beck, The Chantays, and the Brian Setzer Orchestra. Santo & Johnny were Santo and Johnny Farina from Brooklyn. Love that steel guitar.

The story goes across time: A girl hopes that the postman brings a letter from her boyfriend who is away, maybe at war. “Please Mr. Postman,” by The Marvelettes, a girl group from Michigan, was their debut single on the Tamla (Motown) label. The song went to #1 on the Billboard Hot 100 (the first Motown song to reach that position) and #1 on the R&B Chart in 1961.

The Marvelettes included Gladys Horton (lead), Wanda Young, Georgeanna Tillman, Wyanetta Cowart, and Katherine Anderson. “Please Mr. Postman” features instrumentation from The Funk Brothers, which included Marvin Gaye on drums.

Life could be a dream (sh-boom). And “Sh-Boom” was for The Chords, a doo-wop group from the Bronx that was discovered singing in a subway. The members consisted of Carl and Claude Feaster, Jimmy Keyes, Floyd McRae, and William “Ricky” Edwards. In 1954, their song, credited to all the group’s members, went to #2 on the R&B Chart and was in the Top 10 on the Pop Chart. It was their only hit. Later in 1954, The Crew-Cuts recorded a more “mainstream” version of the song, which went to #1 on the Pop Chart.

It’s technically not Summer yet, but Memorial Day sort of kicks it off. Built on early American harmonies, “Summertime, Summertime” was accompanied by a harpsichord. It was a hit twice—once in 1958 and again in 1962. It reached #26 on the Billboard Hot 100 in 1958 and #38 in 1962. The song has been covered by many artists and has appeared in commercials, including those for Buick, Ken-L Ration Time Dog Food, and Applebee’s.

Bruce Channel teamed up with good friend Margaret Cobb to write “Hey Baby” in 1959. He performed the song for a few years, and one day Bill Smith, a Fort Worth record producer, asked him to make a demo. Smith released the record on his own label, and it was later picked up by Smash Records. Delbert McClinton played the harmonica part. There is a story that at one of Channel's shows, Channel was supported by a then-unknown Liverpool group, the Beatles. John Lennon was so impressed with the harmonica intro that he asked McClinton how to play it.

Connie Francis recorded this song in 1959 in New York. The hot guitar is played by George Barnes, a world-renowned session player. "Lipstick on Your Collar" was an up-tempo Connie Francis single that reached #5 on the Billboard Hot 100 in July 1959.

In an interview, Francis noted, ‘”Rock 'n' roll is a masculine kind of music. The mistake that many girl singers have made is trying to compete with the men. I've tried for the cute angle in lyrics, things like 'Lipstick on Your Collar' and 'Stupid Cupid.'".

The Olympics –Eddie Lewis, Walter Ward, Walter Hammond, and Melvin King— were all high school buddies from Los Angeles, CA, and recorded "Western Movies" in the summer of 1958. The record was a hit, making it to #8 on the Billboard Hot 100, possibly due to its hot doo-wop harmonies, background gunshots, and ricochet sound effects. The song reflected the nation's preoccupation with wild west-themed movies and TV shows. It tells the story of a man who lost his girl to TV westerns.

The Quotations began doo-wopping in 1958 at Barney's Pool Room on Kings Highway in Brooklyn,. They chose the name "Quotations" from one of the songs they liked to perform - "Quotations of Love.” After being discovered and signed to Verve Records, the group chose to do an up-tempo version of Jimmy Van Heusen's classic "Imagination." The record was released in 1961 and reached Top-40 status by the end of the year. Since “Imagination” was recorded after the first wave of Doo-Wop ended (1959), it is considered to be “Neo-Doo-Wop.” Not to get too dry and technical here…

Don and Phil Everly are both guitarists and use vocal harmony mostly based on parallel thirds. With this, each line can often stand on its own as a melody line. They were the number one act on the Cadence label. The Everlys had a string of major hits from 1956 and in 1959 found success as songwriters with Don's "Till I Kissed You," which hit No. 4 on the Billboard Hot 100. “Till I Kissed You” features instrumental backup by The Crickets, Buddy Holly’s backup band. The brothers had toured extensively with Buddy Holly during 1957 and 1958. They were responsible for the change in style for Holly and The Crickets from Levi's and T-shirts to the Everlys' sharp Ivy League suits. In February 1959, Phil Everly was one of Buddy Holly's pallbearers at his funeral.

Wherever in the world you go, no matter how exotic, the singer says, you belong to me. The Duprees, from Jersey City, weren’t the first to record this song – or the last. (Just a few to do the song were Sue Thompson, Jo Stafford, Patti Page, Dean Martin, Patsy Cline, and the list goes on.) The Duprees’ version features some doo-wop harmonies and a big band arrangement by George Paxton. It went to #7 on the Billboard Top 100 in 1962.

When the one you love doesn’t love you any more, it can seem like the end of the world. Skeeter Davis, born Mary France Penick in Dry Ridge, Kentucky, was a country singer who had crossover pop songs. Her biggest success was with “The End of the World,” written by Arthur Kent and Sylvia Dee. Davis’ version was produced by Chet Atkins and has Floyd Cramer on piano. In 1963, the song peaked at #2 on the Billboard Hot 100, #2 on the Country singles, #1 on Easy Listening, and #4 on the Rhythm and Blues Chart.

He’s run out of money and hopes his woman will help him out. But..she won’t. She has another man—who has money. In 1953, the song, by producer and songwriter for Atlantic Records Jesse Stone, went to #1 on the R&B Chart and was the best-selling R&B record of the year. The lead-in “ah-oom” to the lines made a great hook. Their sound had a big influence on the doo-wop that would emerge throughout the 1950s. There have been many covers of the song, including one by Elvis Presley. It was the first of many hits for The Drifters, who had an ever-evolving personnel. Group members for this record were Clyde McPhatter, Bill Pinkney, Andrew Thrasher, Gerhart Thrasher, and Willie Ferbie.

“Though we're apart / You're part of me still / For you were my thrill / On Blueberry Hill.” A classic. The song was written by Vincent Rose, Al Lewis and Larry Stock for a 1940 Western, titled The Singing Hill. Gene Autry sang the song in the movie. Glenn Miller, Gene Krupa, and Kay Kaiser were among those who recorded versions, as did Louis Armstrong. The version by Fats, though, had that special beat and sound. In 1956, it went to #1 on the R&B Chart and #2 on the Billboard Top 40 Chart. Many covers were to follow, including those by Elvis Presley, Little Richard, Ricky Nelson, Andy Williams, The Beach Boys, and many more. But there’s only one Fats Domino.

Smile and dance with others this evening, but “don’t forget who’s taking you home / and in whose arms you’re gonna be.” The song, written by Doc Pomus and Mort Shuman, comes from a personal experience. In that Doc had polio and was in a wheelchair, including during his wedding. He saw his wife dance with others, but, at the end of the night, she would go home with him. In 1960, the song was #1 on both the Billboard Hot 100 and the R&B Chart.

The song, written by Kal Mann (as Jan Sheldon) and Billy Strange, is about, well, limbo dancing. The Champs had an instrumental version of the song in 1961. The version by Chubby Checker, which has lyrics, became very popular in 1962, going to #2 on the Billboard Hot 100, #1 on the Cash Box Chart, and #3 on the R&B Chart.

Chubby Checker, born Ernest Evans in Philadelphia, is a singer/songwriter/performer known for making the twist popular through his cover of Hank Ballard’s “The Twist.”

The Fascinators, from New York, had a hit in 1957 with “Chapel Bells.” The singers were Italian-American and African-American, and you can hear the sounds of both gospel and Italian Bel Canto styles in the record. The vocal arrangement uses the voices to create the sound of bells.

Bobby Freeman, from San Francisco, is a singer, songwriter, and producer. Freeman began with the Romancers at the age of 14. At 17, in 1958, he wrote and recorded and had a hit with "Do You Want To Dance?" (which was the original title on Josie Records). There have been many covers over the years, including The Beach Boys (as "Do You Wanna Dance?").

One of the well-known and well-loved oldies. This song, written by Bobby Day, was made popular by Thurston Harris. In 1957, Harris’ version went to #2 on the R&B Chart and #6 on the Pop Chart. There have been covers by Frankie Avalon, Frankie Lymon, Clyde McPhatter, The Dave Clark Five, The Jackson Five, and Cliff Richard, among others. The song has been featured in commercials and in the movies The Princess Diaries and Indiana Jones and the King of the Crystal Skull.

Get a job. Who hasn’t heard that from someone? The song is a doo-wop anthem and went to #1 on both the U.S. Pop and R&B charts in 1958. Group member Richard Lewis wrote the song in 1955 when he was in the U.S. army. When Lewis returned home to Philadelphia, he joined a church quartet called the Gospel Tornadoes, which then became a secular group, the Thunderbirds. They recorded for D.J. Kae Williams on Junior Records and changed their name to The Silhouettes. As the song became successful, they sold the recording to Ember Records, which reissued it for national distribution. The group consisted of William Horton, Earl T. Beal, and Raymond Edwards as well as Richard Lewis.

The song, written by Motown president Berry Gordy, Jr., was originally intended for The Temptations. Since they were not available at the time, Gordy recorded it with The Contours. In 1962, the song went to #1 on the R&B Chart and #3 on the Billboard Hot 100. There were many covers, including (to name a few) those by Brian Poole and the Tremeloes, the Dave Clark Five, The Hollies, Paul Revere & the Raiders. In 1988, the song become a hit again due to being featured in the movie Dirty Dancing. The song was a good choice for a film about dancing set in 1963. It then charted at #11.

In 1959, “Mr. Blue” went to #1 on the Billboard Hot 100 and #3 on the R&B Chart, on the heels of their first #1 hit “Come Softly to Me.”

The Fleetwoods, known for their beautiful harmonies and vocals, were high school friends from Olympia, Washington. Group members included Gary Troxel, Gretchen Christopher, and Barbara Ellis.

Thomas, from Cayce, Mississippi, was a musician and entertainer -- singer, songwriter, comedian, DJ, and TV host. In 1963, he had a hit with “Walking the Dog,” which went to #5 on the R&B Chart and #10 on the Billboard Hot 100.

Due to some legal dodges, the song was released as performed by The Crickets, Buddy Holly’s band. But Buddy Holly is singing and playing. Holly and Jerry Allison wrote the song, inspired by the movie The Searchers. In the film, John Wayne’s character often remarks when told that something might happen, “That’ll be the day.” In 1957, the song went to #1 on the Best Sellers in Stores list and #2 on the R&B Chart. In 1958, the Quarrymen recorded a cover version of the song – that is, a demo by John Lennon, Paul McCartney and George Harrison, plus pianist John Lowe and drummer Colin Hanton.