The Top Ten Biggest Doo-Wop Hits Of All Time

[JoeProBono]

This list represents the biggest and most popular doo-wop songs of all time, as determined by Billboard chart rankings. These are not necessarily the best doo-wop songs ever -- although they're classics all -- but they remain the most popular, the ones that have stuck with us through decades of changing trends and styles. 1. "At The Hop," Danny and the Juniors Singular 711 (11 November 1957) b/w "Sometimes" recorded October 1957, Philadelphia, PA

Originally conceived by the songwriter as "Do The Bop," no less an authority than Dick Clark convinced Danny and the Juniors to rename this song to take advantage of the record/sock hop craze (after all, Danny and the Juvenairs -- as they were known before their manager got to them -- were discovered at a hop). Modeled as a sort of doo-wop take on Jerry Lee Lewis' "Whole Lotta Shakin' Goin' On," this went on to define an era where you could calypso and chicken. 2. "Duke Of Earl," Gene Chandler Vee-Jay 416 (13 January 1962) b/w "Kissin' In The Kitchen" recorded November 1961, New York, NY

Already dated when it was cut, perhaps, but time smooths out those edges in our memory, anyway, and Chandler's whole rep is based on this late-period doo-wop classic. The Dukays, Gene's group, turned their vocal "doo doo doo"s into "Duke"s, and Dukay Earl Edwards provided the finishing touch to the name. The result is a pledge of fidelity only matched in its era by Ben E. King's "Stand By Me." 3. "Blue Moon," The Marcels Colpix 186 (February 1961) b/w "Goodbye To Love" recorded 15 February 1961, New York, NY

Laid down in the last ten minutes of a recording session and done in one unbelievable take, this came about because the Marcel's producer wanted the group to combine the intro of one song, the Collegians' "Zoom Zoom Zoom," with the Rodgers-Hart standard "Heart And Soul." One problem: the band didn't know that song. But they did know another standard by the same team. The rest, as they say, is history. Murray the K made this one a smash, playing the acetate over and over before it was even turned into a record! 4. "The Lion Sleeps Tonight," The Tokens RCA Victor 47-7954 (September 1961) b/w "Tina" recorded 21 July 1961, New York, NY

One of the stranger anomalies in rock history, "Lion" began life as a spontaneous recorded outburst by a Zulu tribesman, morphed into a misinterpreted folk smash, found its way to a Noo Yawk doo-wop group, and eventually wound up in the hands of the Sam Cooke producing duo known as Hugo and Luigi, who added tympani, silly woodwinds, and an opera singer. You have to hear it to believe it. But you already have. 5. "Little Star," The Elegants Apt 25005 (June 1958) b/w "Getting Dizzy" recorded October 1957, New York, NY

Staten Island made its most enduring contribution to New York Italian-American doo-wop with these five teens, who adapted the words if not the actual melody of Mozart's "Twinkle, Twinkle, Little Star" (itself an adaptation) to create one of the era's most breathlessly beautiful odes. Recast as a romantic idyll, it shot up the charts, but the Elegants, like many of their brethren, never found success again. 6. "Stay," Maurice Williams and the Zodiacs Herald 552 (October 1960) b/w "Do You Believe" recorded July 1960, New York, NY

Written way back in '53 by the composer of "Little Darlin'," this was one of the finer entries in doo-wop's latter-day Golden Era; if it sounds flat, that's because the producer wanted the vocals sung just that way so that Joe Average could hum it on the street. And that's just what happened. Matters may have been helped by the abbreviated length (1:36), as this remains the shortest ever Number One record. 7. "Little Darlin'," The Diamonds Mercury 71060 (February 1957) b/w "Faithful And True" recorded February 1957, Chicago, IL

When is a parody not a parody? This white quartet (Canadians, no less!) takes a lot of heat to this day for covering the (black) Gladiolas' original and then inserting a silly spoken-word bridge. But if it's just a joke, then why is it such an improvement, right down to those immortal opening castanets? Writer Maurice Williams went on to front the Zodiacs ("Stay") and the Diamonds went on to "The Stroll. 8. "16 Candles," The Crests Coed 506 (30 November 1958) b/w "Beside You" recorded 12 August 1958, New York, NY

A real crowd favorite, this sweet little number -- originally titled "21 Candles" but quickly changed once the teenage market started booming -- retained its popularity long enough to inspire a Eighties teen sex comedy. The Crests never had another big hit after this ode to the coming-of-age milestone, but leader Johnny Maestro went on to success with the Brooklyn Bridge ("Worst That Could Happen"), while writer Luther Dixon went on to pen hits for the Shirelles. 9. "There Goes My Baby," The Drifters Atlantic 2025 (May 1959) b/w "Oh My Love" recorded 6 March 1959, New York, NY

One of the strangest and yet most breathtaking productions in rock history, this number -- another important soul milestone, but more urbane and filled with Latin inflections and off-tune tympani -- caused Atlantic's Jerry Wexler to threaten to throw the master out the window. There's no denying the dizzying romantic swell of the orchestration, however, which would guide singer Ben E. King through his own solo career. 10. "Come Go With Me," The Del-Vikings Fee Bee 205 (December 1956), Dot 15538 (16 February 1957) b/w "How Can I Find True Love" recorded November 1956, Pittsburgh, PA

Another example of a hit that shouldn't have been; this integrated group of Air Force buddies recorded this classic, written by their bass vocalist, as the b-side. One of the rare doo-wop records from this era that incorporates the feel of a real rock and roll band, it led to two more hits -- rather, two more hits for members using the group name. (It's complicated.)

[Revolting cat!]

No one beats Joey!: https://www.youtube.com/watch?v=M99e_Zjqeos

[Mouton]

yes

[editor-surveyor]

This mess is really hard to read!

[Fiji Hill]

here’s a video of a Shag dance contest from the Spanish Galleon in Myrtle Beach, amateurs, a second grade teacher and a policeman, turning in a very respectable performance to “White Port Lemon Juice” by The Bel Aires:

Those dancers are talented! The also picked a great tune for their dance. The Bel-Aires were from Los Angeles and later became the Vel-Aires. About the time they recorded "White Port Lemon Juice" in 1955, another group from the San Francisco Bay Area put out a record on the same subject:

WPLJ--The Four Deuces

[Kid Shelleen]

1. "At The Hop," Danny and the Juniors

2. "Duke Of Earl," Gene Chandler

3. "Blue Moon," The Marcels

4. "The Lion Sleeps Tonight," The Tokens

5. "Little Star," The Elegants

6. "Stay," Maurice Williams and the Zodiacs

7. "Little Darlin'," The Diamonds

8. "16 Candles," The Crests

9. "There Goes My Baby," The Drifters

10. "Come Go With Me," The Del-Vikings

[editor-surveyor]

Well done! :o)

[driftless2]

"Danny.."

You're taking things a little too seriously. Danny and the Juniors sounded like the garage band next door who made good. They did simple rock very well. No pretentions. I'm speaking as someone who likes Big Mama Thornton's "Hound Dog" better than Elvis's.

[driftless2]

“In The Still of the Night” is not only maybe the greatest doowop song ever, it’s also one of the best rock recordings ever. At least the one by the Five Satins.

[Fiji Hill]

I'm speaking as someone who likes Big Mama Thornton's "Hound Dog" better than Elvis's.

I like Hound Dog by Freddy Bell & the Bell Boys (1955) better than Elvis's.

[neal1960]

I listen to Doo Wop and Carolina beach music here...http://tropicalglen.com/index.html

Lots of music to choose from and it’s free.

[Chickensoup]

I agree. Remember when it was the last song and jr high and highschool dances.

[Fiji Hill]

The Eagles did some pretty good doo-wop.

• Trying to Get to You

• I Told Miself

[Revolting cat!]

I’m recalling historical debates. I suspect there are similar debates today among, say, melodic heavy metal fans. Still, despite their popularity, white Doo Wop groups paled in comparison with the black groups, and Danny and many other mediocrities would have been nowhere without Dick Clark.

Frankly, I’m surprised at the ranking, but then, as my dad said, if it’s popular, there must be something wrong with it. Popular taste is popular taste. And Dion and the Belmonts were much, much better.

[Fiji Hill]

It’s ancient history, but at the time to discerning listeners Danny & the Juniors were the very epitome of everything that’s wrong with white imitative and soulless rock promoted by the likes of payola king Dick Clark, you know Pat Boone singing Tutti Frutti...

No way! Pat Boone's version is crazy, cool and gone!

Tutti Frutti--Pat Boone (1956)

Check out this version by a couple of reet, voot hepcats!

Tutti Frutti--Slim & Slam (1938)

[Lancey Howard]

Okay.
Here is my list of 10 songs, some or all of which could easily make somebody’s “Biggest Doo-Wop Hits Of All Time” list:

1. Flamingos - I Only Have Eyes
2. Gene Chandler - Duke of Earl
3. Lenny Welch - Since I Fell
4. Tymes - So Much In Love
5. Reflections - Romeo and Juliet
6. Skyliners - Since I Don’t Have You
7. Drifters - Save the Last Dance for Me
8. Thurston Harris - Little Bitty Pretty One
9. Randy and the Rainbows - Denise
10. Rays - Silhouettes on the Shade

[Fiji Hill]

Here's a white group that I like. The lyrics contain at least 21 song titles.

Follow the Rock--The Bay Bops (1958)

[Lancey Howard]

(Oh darn... How did I miss that Gene Chandler’s ‘Duke of Earl’ was #2 on the list?)
D’oh!

[quietly desperate]

My faves:

Tell Me Why - Norman Fox and the Rob Roys,
Vision of a Girl - The Safaris
My True Story - The Jive Five

[Fiji Hill]

Here is my list of 10 songs, some or all of which could easily make somebody’s “Biggest Doo-Wop Hits Of All Time” list:

Those are all good choices. My favorite Lenny Welch tune is Rocket to the Moon (1958), and my favorite by the Rays is Tippity Top, from early 1956. If you flip "Silhouettes" over, you'll hear Daddy Cool (1957).

[Revolting cat!]

Et tu, Brute?

I suppose you like Pat Boone’s demolition of Ain’t That a Shame too?