Styles: Doo-Wop 2
The Orioles, Ravens, and Five Keys represented the "pure" doo-wop style characterized by minimal instrumentation, slow tempos, and eight-bar non-blues structures. One or two tenors usually handled lead vocals.
At the same time, the rest of the group, including a typically strong bass singer, filled out the sound singing instrumental parts often in the form of riffs using nonsense syllables called vocables. Below is a video of the group The Orioles, which includes some footage of group members' speaking about their experiences.
The Orioles [ 00:00-00:00 ]
The Ravens continue the tradition of a minimal instrumental accompaniment in their song "My Sugar Is So Refined," which features a piano accompaniment by one of its members. Also, in this quintet, one can hear the three-part linearity: lead singer, three voices harmonizing with vocables and words, and a bass singer.
The Ravens My Sugar Is So Refined (live) 1940s [ 00:00-00:00 ]
Of course, not all doo-wop groups used a minimal accompaniment. For example, in this 1955 video of The Five Keys performing Ling Ting Tong," a big band provides the instrumental accompaniment. Also, as seen here, many doo-wop groups performed choreographed dance routines and showed a flair of entertainment to support the lyrical meaning.
The Five Keys - Ling Ting Tong [ 00:00-00:00 ]
On the other hand, The Dominoes and Midnighters represented a different style of doo-wop, long removed from the streets. This style owed a substantial debt to both blues and gospel and featured instruments much more prominently hammering out a heavy backbeat, ensemble riffs, and grainy tenor sax solos. While the "purer" form of doo-wop groups sang lyrics that typically articulated the innocence of idealized teenage love, the Dominoes and the Midnighters included in their recorded repertoire much more risqué material such as "60 Minute Man" and "Work With Me Annie." Released in 1951 and 1954, respectively, neither one of these recordings crossed over tangibly. Hence, neither generated much of a mainstream outcry about the highly sexualized nature of the lyrics. That would change once such records began to be bought in substantial numbers by White teenagers.
Sweet Lorraine
Just found joy
I'm as happy as a baby boy,
baby boy
With another brand new
choo-choo choy
When I met my sweet Lorraine, Lorraine, Lorraine
Sh-Boom
Oh, life could be a dream
(Sh-boom)
If I could take you up in paradise up above
(Sh-boom)
If you would tell me I'm the only one that you love
Life could be a dream, sweetheart