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The group's next single, "Could This Be Magic", also written by Blandon, was another pop hit, rising to #23 later in 1957 and becoming recognized over the years as a doo-wop classic. This success landed the group a spot on an Alan Freed package and they toured extensively in the U.S. and Canada .
The Drifters' Golden Hits is a 1968 compilation album by American doo wop/R&B vocal group The Drifters.The collection of the bands' later hits charted at #22 on Billboard's "Black Albums" chart and at #122 on the "Pop Albums" chart.
Such composers as Rodgers and Hart (in their 1934 song "Blue Moon"), and Hoagy Carmichael and Frank Loesser (in their 1938 "Heart and Soul") used a I–vi–ii–V-loop chord progression in those hit songs; composers of doo-wop songs varied this slightly but significantly to the chord progression I–vi–IV–V, so influential that it is sometimes referred to as the '50s progression.
Lee Andrews and the Hearts were an American doo-wop quintet from Philadelphia, Pennsylvania, United States, formed in 1953. [1] They recorded on the Gotham, Rainbow, Mainline, Chess, United Artists, Grand and Gowen labels.
The Students were an American doo-wop vocal group, which formed in Cincinnati, Ohio, United States, in 1957. [1] Although they only released four sides, two of them – "I'm So Young" and "Every Day of the Week" – became doo-wop standards.
The Capris are an American doo wop group who became a one-hit wonder in 1961 with "There's a Moon Out Tonight."They experienced a popularity and performing resurgence in the 1980s, when three members reformed and The Manhattan Transfer recorded their song, "Morse Code of Love," which reached the US Hot 100 [1] and the U.S. AC top 20.
The Marcels, a doo-wop group, recorded the track for their album Blue Moon.In 1961, the Marcels had three songs left to record and needed one more. Producer Stu Phillips did not like any of the other songs except one that had the same chord changes as "Heart and Soul" and "Blue Moon".
The Earls are one of the New York City doo-wop success stories. [3] Discovered singing on the street corner in front of subway station, the Earls took the original black doo-wop street corner harmony sound, and refined and expanded it for new audiences. The Earls were known for their "Baby Talk" styling of their background harmony riffs.