A Bit of Doo-wop Wisdom Still in Tune With the Times (2024)

A Bit of Doo-wop Wisdom Still in Tune With the Times (1)

By Fred Bruning

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May 26, 2024

Remember, “Clockwork Orange?”

That was the 1971 Stanley Kubrick movie adaptation of the futuristic 1962 Anthony Burgess novel about a gang of British hoodlums – “droogs” – who enjoy nothing more than a night of “ultra-violence,” sometimes lethal.

Brilliant movie. Scary stuff.

Only six years before the Burgess book, Frankie Lymon and the Teenagers – five kids from Washington Heights, just above Harlem – sang an unusually topical, mostly overlooked, doo-wop song called, “I’m Not a Juvenile Delinquent.”

Lyrics were simple and rhyme-y, no angst or disillusion or bitter indictment of the status quo, just a little good advice.

Do the things that's right
And you'll do nothing wrong
Life will be so nice, you'll be in paradise
I know, because I'm not a juvenile delinquent

There’s one line, wise and unexpected, I remember most after all these years.

It's easy to be good, it's hard to be bad
Stay out of trouble, and you’ll be glad
Take this tip from me, and you will see
How happy you will be

It’s easy to be good, it’s hard to be bad?

Nice sentiment, right? That we’re generally a decent bunch and, only with effort, otherwise.

All things being equal, we’ll do the right thing.

No question, plenty can go flooey. Circ*mstances must be taken into account.

But in that long-ago, rock’n’roll time, I thought Frankie Lymon and the Teenagers had identified something true and uplifting. It wasn’t the first time the boys had pondered eternal verities. Their great hit a few months earlier was, “Why do Fools Fall in Love?” and who knows the answer to that?

And so ends the deeply philosophical portion of the day’s presentation.

Why mention “Clockwork Orange” and dear Frankie Lymon?

Answer, ahead.

But, first, please join us – my wife, Wink, and me – as we enjoy late dinner at a local bistro, crowd thinning but voices of the remaining customers cheery and restorative, the persistent buzz pleasant, invigorating, and no threat to conversation,

Wink and I clinked glasses in that grand and universal tradition and before her first sip of Prosecco or mine of Malbec, Wink said, as, in one way or another, she often does, “Lucky, we are.”

And, for sure, we are fortunate – able to afford, at least once in a while, what so many cannot.

“Shouldn’t forget,” Wink says.

“Shouldn’t. Ever.”

Meal done, we pass on dessert. I have a double espresso.

We speak with manager, a friendly young man we’ve known for years. He tells us he’s had a round of medical stuff – major league – but is doing well.

“Glad to be alive,” he says. “Wife, three kids.”

We hug him and leave. It’s 10:30. Time for pajamas and a new mystery on BritBox.

There are a few little curves on the way back to our house – the road running along the water – and, coming around the last, we saw maybe 10 kids on the other side of the road and two on ours. us.

One boy, taller, older, was tapping the ground with some sort of white rod and yelling – drunk, maybe, who knows? The other kids were laughing but kind of hesitantly. The older boy hit the street again.

I slowed and then stopped.

The boy – 17 or 18, I’d say – looked at us, granddad and grandma, and yelled something.

He stepped in front of the car, blocking us, and smiled, mouth wide and contorted.

He came around to Wink’s window and made another haunting face.

Shouting something – not sure what – he hit the car twice, hard, with his rod. He laughed. I had a sense of the other kids watching, frightened, maybe, as we were.

The big kid roared again, and, then moved on. The others followed.

Wink called the police. “Before they do real damage,” she said.

The vicious boy – the brief, alarming episode, the nicks suffered by our old Subaru but, thankfully, not by us -- made me think of Clockwork Orange. In my imagination at least, the fellow with the rod looked like Malcolm McDowell, who played Alex, leader of the droogs.

Toward the end of the film, Alex slipping toward oblivion, is psychologically “cured” by government authorities but perhaps, after all, out of reach.

Frankie Lymon, sweet fellow, memorable voice, was found dead at age 25 on the floor of his grandmother’s bathroom in Washington Heights. Heroin overdose.

I hope the kid with the stick and sneering smile catches himself quickly.

Easy to be good.

Hard to be bad.

Stay out of trouble and you’ll be glad.

A Bit of Doo-wop Wisdom Still in Tune With the Times (3)

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A Bit of Doo-wop Wisdom Still in Tune With the Times (2024)

FAQs

Why is it called doo-wop? ›

The term doo-wop is derived from the sounds made by the group as they provided harmonic background for the lead singer. The roots of the doo-wop style can be found as early as the records of the Mills Brothers and the Ink Spots in the 1930s and '40s.

What does doo-wop sound like? ›

It features vocal group harmony that carries an engaging melodic line to a simple beat with little or no instrumentation. Lyrics are simple, usually about love, sung by a lead vocal over background vocals, and often featuring, in the bridge, a melodramatically heartfelt recitative addressed to the beloved.

In what kind of music did the 60s doo-wop have its roots? ›

Doo-wop was born in the urban ghettos from blending rhythm and blues, gospel, and popular black vocal group music in the post-World War II era. Teens, usually black males, practiced vocal harmonies in school gyms, on street corners, and at subway entrances, often singing a cappella.

Does doo-wop use instruments? ›

In early doo-wop, the vocals would sometimes get support from a guitar or a single drum. In mid-era doo-wop, instruments start playing a bigger role. We're starting to hear the double bass, saxophone, piano, and even the electric guitar. In some cases, a full orchestra would be present.

When did the doo-wop era end? ›

Doo-wop musicians were young, uneducated, poor and black. music was the only way out. The #1 doo-wop song, according to Funk, was "In the Still of the Night" recorded by the Five Satins in New Haven , CT. Doo-wop ended in 1964 for two reasons.

What are some interesting facts about doo-wop? ›

"Doo-wop" is a form of close-harmony singing, based in rhythm-and-blues. The style became popular in the 1950s, originating among African-American vocal groups in urban centers. One of the most common rhythm phrases used by 1950s groups in performance and on their recordings, "doo-wop" came to name the musical style.

Who is the best doo-wop group? ›

Doo Wop Artists
  • The Cadillacs. 95,512 listeners. ...
  • The Cleftones. 69,469 listeners. ...
  • The Crests. 88,354 listeners. ...
  • The Robins. 102,040 listeners. ...
  • The Harptones. 53,248 listeners. ...
  • The Duprees. 54,026 listeners. ...
  • The Spaniels. 70,514 listeners. ...
  • The Excellents. 31,878 listeners.

What music influenced doo-wop? ›

The hallmark of a doo-wop song is strong vocal harmony, a wide range of vocal parts, nonsense syllables, and a teen melodrama. Doo-wop was born out of the rhythm and blues and swing music styles and the vocal tradition of barbershop music (another genre thought of as "white" that has Black American roots).

Who was the gifted 17 year old doo-wop singer of The Dominos? ›

The gifted 17-year-old Doo-Wop singer of the Dominos was Clyde McPhatter. He was known for his powerful and emotive voice that influenced many singers in the genre. McPhatter's soulful vocals can be heard in popular hits like 'Have Mercy Baby' and 'Sixty Minute Man. '

What is the doo-wop chord prog? ›

The '50s progression (also known as the "Heart and Soul" chords, the "Stand by Me" changes, the doo-wop progression and the "ice cream changes") is a chord progression and turnaround used in Western popular music. The progression, represented in Roman numeral analysis, is I–vi–IV–V.

What doo-wop group was from Pittsburgh? ›

The Skyliners are an American doo-wop group from Pittsburgh. The original lineup was: Jimmy Beaumont (lead), Janet Vogel (soprano), Wally Lester (tenor), Jackie Taylor (bass voice, guitarist), Joe Verscharen (baritone).

When was the doo-wop genre most popular? ›

Doo-wop achieved mainstream popularity in the 1950s and early 1960s. Built upon vocal harmony, doo-wop was one of the most mainstream, pop-oriented R&B styles of the time.

How many singers are usually in a doo-wop group? ›

Doo-wop groups typically consisted of four to six singers of different vocal ranges, including a falsetto tenor, a second tenor, a baritone and a bass. Sometimes there was an additional lead singer who wasn't a group member; sometimes the lead singer was part of the group.

What movie is doo-wop That Thing in? ›

Doo Wop (That Thing) [From "Pitch Perfect 2"]

Were the Mills Brothers doo-wop? ›

The Mills Brothers penetrated the mainstream as no African-American act before them, with songs like “Paper Doll” of 1943 providing them with massive popular hits. Early on in their career, the Mills Brothers started using their voices to imitate instruments, an approach that would become central in the Doo Wop style.

Who is considered the first star of country music? ›

Jimmie Rodgers, known professionally as the “Singing Brakeman” and “America's Blue Yodeler,” was in the first class of inductees honored by the Country Music Hall of Fame and is widely known as “The Father of Country Music.” From many diverse elements—the traditional folk music of his southern upbringing, early jazz, ...

Which is a characteristic of doo-wop? ›

Doo-wop represents a subcategory of vocal group harmony that includes the following musical qualities: group harmony, a wide range of vocal parts, nonsense syllables, a simple beat, light instrumentation, and simple music and lyrics. Above all, the focus is on ensemble singing.

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