Written and Designed by: Tan Shi Ying Marissa (23-O1)
The Lion King & Doo-Wop
‘Wimoweh. Wimoweh. In the jungle-’
The familiar, dynamic, multi-layered harmonies of the song were first written and recorded by Solomon Linda in Zulu, eventually becoming a 1961 million dollar, US no. 1 hit under an adapted version by The Tokens. Fast forward three decades, the song would later become the centrepiece of the Disney classic The Lion King. If you haven’t guessed the song yet, just look to the left (or up) – It’s ‘The Lion Sleeps Tonight’!
If that didn’t succeed in catching your attention, maybe this rendition of the song on TikTok will: The Lion Sleeps Tonight
So, why the sudden interest in The Lion King and how does it relate back to the genre of doo-wop? The Tokens were an American doo-wop band and record production company group from Brooklyn, NYC with four top 40 hits on the Billboard Hot 100 throughout the 1960s; This was already near the tail end of the two to three decades definitive of doo-wop from the late 1940s, so how did it all begin?
Origins of Doo-Wop
Picture this: throw yourself back into the retro aesthetic streets of soda fountains and poodle skirts of 1950s America, with sleek automobiles gliding down wide boulevards, and their chrome accents reflecting the sunlight.
Now to the left, a sidewalk with cafes, restaurants, apparel shops; You see a group of African-American men breaking into song ‘Doo-wop, dee-doo, schoobabadobadee-’, producing swing time off-beat, rhythmic, vocal harmonies reflective of the familiar style of a barbershop quartet. The name ‘doo-wop’ is derived from sounds produced by vocalists acting as substitutes for instruments such as the drums or basses (basically a capella).
Doo-wop as a genre flourished in the post-war era of the late 1940s to the 1960s, spreading across the bustling streets of major urban cities such as Chicago, Detroit, Los Angeles, and New York. The genesis of the genre can largely be traced back to the socio-cultural context of segregation and economic hardship experienced by African-American youths in post-war America. From the late 1940s to the early 1950s, jazz and swing music were frequently heard across radios, serving as inspiration for these youths.
Gathering in small groups (typically of fours), these young musicians would convene at street corners, subway stations, and school locker rooms, where with their voices alone, they would produce intricate harmonies, often supplemented with nonsensical onomatopoeic sounds like ‘doo-wop’ or ‘do wop de waddadee’ which mimicked the sounds of instruments they could not afford. This innovative style of vocal music eventually birthed the distinctive sound of doo-wop, characterised by tight harmonies, rhythmic punctuation, and soulful melodies.
Some early pioneers that established the style and eventual mainstream popularity of doo-wop include The Mills Brothers who popularised the use of onomatopoeia and the distinctive multi-layered harmonies of the genre. Concurrently, groups such as Sonny Til and The Orioles would also gain popularity with their soulful melodies and rhythms. Eventually, other notable groups such as The Ink Spots, The Platters, The Penguins, and The Teenagers would carve their way into the genre, each giving a new dimension of flair and style to the music.
The Evolution & Rise of Doo-Wop
As doo-wop took off in the 1950s, it underwent various transformations, incorporating percussion instruments and faster tempos, which later formed the backbone of rock-n-roll, pop, and even rap genres (i.e. Noah By The Jubalaires) which swept the world in subsequent decades. The mid-era of doo-wop saw the introduction of musical instruments such as the double bass, saxophone, piano, and electric guitar, adding more complexity and dimension to the already rich vocals of the performers.
This period also witnessed the emergence of mixed-race groups such as The Dell-Vikings, which broke down racial barriers within the music industry, and fuelled the genre’s further rise in popularity. This angered white supremacists, as the genre peaked during the period of racial segregation leading up to and during the Civil Rights Movement in America. Eventually, the genre’s influence extended far beyond its African-American roots, as white American teenagers began to form their own doo-wop bands. Certain executives in the entertainment industry viewed rhythm and blues genres such as doo-wop, with deep roots in black culture, as inappropriate and a threat to white American youth, who were increasingly drawn to the genre. Yet, the success of all-white groups like The Crew Cuts, and Danny & the Juniors underscored the genre’s crossover appeal to listeners of that era in spite of the socio-political climate of the 40s-60s in America.
‘Sixteen candles make a lovely light
But not as bright as your eyes tonight
Blow out the candles, make your wish come true
For I’ll be wishing that you love me, too’
16 Candles By The Crests
Beyond its musical contributions, doo-wop has had a profound cultural impact on American society, shaping both the social and aesthetic landscape of the mid-20th century. The genre’s emphasis on vocal harmony and communal singing, alongside their accessible, wide-reaching, transcendental themes on love and youth (i.e. 16 Candles) resonated with audiences and built up a steady fanbase that went beyond only those of African-American lineage.
Influence on Modern Music & Artists
The genre not only layed down the blueprints for today’s modern pop songs, but also directly influenced a variety of other genres such as R&B, rock-n-roll, surf-rock, motown, soul, and even proto-punk (Lou Reed, Jonathan Richman) and punk (the Ramones) artists.
Modern singer-songwriters that have taken inspiration from the genre include Meghan Trainor’s ‘What If I’ (along with most of her title album), Ariana Grande’s ‘Tattooed Heart’, Madison Beer’s ‘Teenager in Love’, Little Mix’s ‘Love Me Like You’, and Rihanna’s ‘Love On The Brain’. Although it may initially be difficult to recognise the similarities between the modern songs above and the seemingly old doo-wop classics of the 50s (it feels so far away!), many elements of these songs, from the rhythmic swing tempos and multi-layered vocals to their themes on puppy love and swoon-worthy romances, are in fact inspired by the doo-wop genre.
‘Let “Smoke Rings” from this “Paper, Doll”
Blow sweet and thick ‘til every thought of
“It Don’t Mean A Thing”’
Almost (Sweet Music) By Hozier
However, that isn’t the only way doo-wop has found its way into modern society. In fact, more directly, it has been referenced in modern songs such as in the lyrics of Hozier’s song ‘Almost (Sweet Music)’, referencing ‘Smoke Rings’ and ‘Paper Doll’ by The Mills Brothers. Doo-wop songs have even been sung as full solo performances in romantic cinema such as Ryan Gosling’s cover of The Mills Brothers’ ‘You Always Hurt The One You Love (Cover)’ in the 2010 movie ‘Blue Valentine’. Singer-songwriters such as Bruno Mars have also expressed their love for and connection to the genre, stating, ‘Doo-wop is a very special word for me. Because I grew up listening to my dad who, as a Fifties rock and roll head, loved doo-wop music.’
In the words of Bobby Robinson, a well-known producer of the 1990s, ‘Doo-wop originally started out as the black teenage expression of the ’50s and rap emerged as the black teenage ghetto expression of the ’70s. [..] It’s kids – to a great extent mixed-up and confused – reaching out to express themselves. They were forcefully trying to express themselves and they made up in fantasy what they missed in reality.’
From its humble origins to its enduring legacy, doo-wop has continued to captivate artists and audiences alike, acting as a medium for self-expression and cross-cultural connection, influencing many aspects of contemporary music and performance we enjoy today.
Recommendations
The Mills Brothers: You Always Hurt The One You Love, Till Then, Paper Doll
The Orioles: Goodnight Sweetheart, Crying In The Chapel
The Ink Spots: I Don’t Want To Set The World On Fire, If I Didn’t Care, Maybe
The Platters: Only You, Smoke Gets In Your Eyes, The Great Pretender
The Penguins: Earth Angel, Memories of El Monte
The Teenagers: Why Do Fools Fall In Love, Goody Goody
The Crests: Sixteen Candles, The Angels Listened In
The Crew Cuts: Sh-boom
References
https://en.wikipedia.org/wiki/Doo-wop
https://www.britannica.com/art/doo-wop-music
https://bertoltpress.com/2020/04/24/doo-wop-music-history/
https://en.wikipedia.org/wiki/Meghan_Trainor
https://en.wikipedia.org/wiki/Yours_Truly_
https://en.wikipedia.org/wiki/Love_on_the_Brain
https://www.lyrics.com/lyric/32224177/Little+Mix/
https://www.theguardian.com/music/2018/mar/23/
The Origin* 