My valentine to my reader at Martinis With A Twist Of Mayhem in 2015! Happy Valentines Day 2023!
Save yourself a session with a psychiatrist! This will put some pep in your step and turn that frown upside down.
Doo Wop music that will entice you to enjoy a lovely mid-tempo dance with a hip-rocking young lady on a dance floor, or enjoy your favorite libation as you sit in your easy chair after a long hard day. ~Gipsy Dancer~ 😍
The popularity of doo-wop music among young singers in urban American communities of the 1950s such as New York City, Chicago, and Baltimore, Maryland, was due in large part to the fact that the music could be performed effectively a cappella. Many young enthusiasts in these communities had little access to musical instruments, so the vocal ensemble was the most popular musical performing unit. Doo-wop groups tended to rehearse in locations that provided echoes—where their harmonies could best be heard. They often rehearsed in hallways, high school bathrooms, and under bridges; when they were ready for public performance, they sang on stoops and street corners, in community center talent shows, and in the hallways of the Brill Building. As a result, many doo-wop records had such vibrant vocal harmonies that they virtually overwhelmed their minimalist instrumental accompaniment. Doo-wop’s appeal for much of the public lay in its artistically powerful simplicity, but this “uncomplicated” type of record also was an ideal, low-budget investment for a small record company to produce. The absence of strings and horns (“sweetening”) in their production gave many of the doo-wop records of the early 1950s an almost haunting sparseness. The Orioles’ “What Are You Doing New Year's Eve?” (1949) and “Crying in the Chapel” (1953), the Harptones’ “A Sunday Kind of Love” (1953), and the Penguins’ “Earth Angel” (1954) are excellent examples of this effect. [Britannica]
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