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Blues music influenced Halloween songs such as "I Put a Spell on You". [3] In the 1950s and 1960s, various doo-wop groups, groups influenced by blues music, began to release novelty Halloween-themed songs. "Monster Mash" is an example of such a novelty doo-wop Halloween song. Despite its Halloween themes, doo-wop Halloween music from this era ...
"Rubber Biscuit" is a novelty doo-wop song performed by the vocals-only team the Chips, who recorded it in 1956. It was covered by the Blues Brothers on their 1978 debut album, Briefcase Full of Blues, among many other artists, [1] as well as being featured in the 1973 film Mean Streets.
Like most Terrorvision songs, "Oblivion" contains political themes, but according to bass player Leigh Marklew, the messages were not taken seriously because of the song's doo-wop chorus. [2] Released as the album's first single on 28 March 1994, the song peaked at number 21 on the UK Singles Chart and number 65 in Australia.
Horror punk is a music genre that mixes punk rock and 1950s-influenced doo-wop and rockabilly sounds with morbid and violent imagery and lyrics which are often influenced by horror films and science fiction B-movies. [1] [2] The genre was pioneered by the Misfits in the late 1970s and early 1980s. [3]
Doo-wop (also spelled doowop and doo wop) is a subgenre 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, D.C., and Los Angeles.
The Cadillacs were an American rock and roll and doo-wop group from Harlem, New York, active from 1953 to 1962.The group was noted for their 1955 hit "Speedoo", written by Esther Navarro, which was instrumental in attracting white audiences to black rock and roll performers.
As an alias of The Mothers of Invention, Ruben and the Jets played doo-wop [2] and experimental pop songs. [8] Although the Mothers of Invention's "Jets" recordings generally tried faithfully reproduce the sound of 1950s doo-wop and rock and roll, [2] the arrangements included quotes from Igor Stravinsky pieces and unusual chord changes and tempos.
The premise of the song came from a joke told by the child of a friend of Wooley's, fellow songwriter Don Robertson.Wooley finished composing it within an hour, [5] later describing it as "undoubtedly the worst song he had ever written.”