Rhino -- 50 Years of Doo Wop

The first doo wop song that really blew me away and, basically, got me into rock ’n’ roll was "Blue Moon" by The Marcels. It was the first rock ’n’ roll song that I totally went crazy over. It was so incredible to me that I started getting totally immersed into rock ’n’ roll. I didn’t know then that it was "doo wop," but I thought that "Blue Moon" was one of the greatest records, with the nonsense lyrics and the bass vocal... I remember hearing it in the car when I was 11 or 12, with my mother driving me and my friend to the supermarket. Both of us just started screaming and singing along, even after the song was over, and then my mother started screaming at us. I guess I went from childhood to adolescence at that moment. From there, that propelled me to listen to the radio continually and immerse myself in music and rock ’n’ roll. I later went back and learned all of the original doo wop songs... I’m into it today as much as ever. And "Blue Moon" is still my favorite song.

--Richard Foos, Former President of Rhino Entertainment Company and coproducer of DOO WOP BOX II and II

During the early'60s when I was in my late teens, I was the drummer in a rock 'n' roll band called The Illusions. We were the house band at the Lido Ballroom in Long Beach, CA, at the time. In 1963, we were hired to play back-up on Little Julian Herrera's re-recording of his '50s doo wop hit, "Lonely, Loney Nights." (Herrera was originally discovered by Johnny Otis.) The original record didn't chart very high -- it may have only been a regional hit -- but the hardcore doo wop fans have heard the song. Anyway, our pseudo-agent at the time, who was a local deejay in Long Beach and eventually wound up in a mental hospital, somehow got the deal for us. So we hauled our equipment to the studio on Hollywood Blvd., Julian showed up, and we rehearsed two tracks, one of which was "Lonely, Lonely Nights." Believe it or not, we only had an hour to learn the songs and record them both. Julian was up and happy. We had no problem with him and he was fun to work with. But Larry, our group's leader, went up to Julian's manager afterwards for the check, so we could get our money. And Julian's manager said to Larry, "Your manager told us that you would do this because you're going to get credit on the record in lieu of payment." Of course, our manager failed to mention that to us -- no surprise there. So Larry went to the musician's union and filed a grievance, but we never got paid. But theoretically it may have been the last time that Little Julian was ever in a recording studio because he disappeared off the face of the earth shortly thereafter.

--Tom Brown, Rhino Customer Service Manager

"I remember the days at Journal Square Records, Jersey City, NJ, 1965,listening to the Royal Counts (the Kings before the Persuasions) rehearsebefore their appearances. Stan R. Krause and Catamount Records was thebeginning of the vocal group harmony disease for me" - Tommy Mitchell

I actually don't have a picture of my father for this memory... All I knowis since my beginning 25 years ago, I have grown-up to the sounds ofAcapella and Doo-Wop. I have heard it all, from Frankie Lymon and theTeenagers to the Temptations. My Father, Thomas Mitchell, is probably theall-knowing authority in New Mexico (and maybe other states) for VocalHarmony Music. His vinyl collection is one of the most interesting things Ihave ever seen, and his knowledge about them is tremendous. He can walk inhis "room," pick out any record, and know every song, performer, writer,etc. I can ask him any question about the music during that time, and heknows the answer. While my Sister and I were growing up, any time we broughta friend over, my dad would pull them into his "room" and play music forthem. They were always amazed at the amount of information my dad knewabout doo wop and acapella music. Most would have never heard it before ifit wasn't for my father. Nowadays, when I hear a great song on the radio, Ican play it for my dad and he will pull-out the original. (It goes to showhow much music is re-done these days....) I am very proud of my father forhis accomplishments in life, but mostly I am proud to have a father thatenjoys life, his vinyl and his family. I know this probably doesn't fit inwith your other memory stories, but my dad's acapella and doo wop lifestylemake him an extraordinary and very interesting man--one that keeps the musicalive in younger generations., and is always ready to play you a song, orteach you a few things about "Great Vocal Harmony."

Sincerely,
Jacki Mitchell
Albuquerque New Mexico

It was Christmas of 1960, and I had heard this song that I had heard once before, and I couldn't believe how great it was. I didn't know who did it. All I knew was that it was the greatest Christmas song I had ever heard. I later found out that it was "White Christmas" by The Drifters. I'd also heard it a couple of years before in 1958, because they would bring it out every Christmas and play it on KFWB, which is the station I used to listen to. Well, it was not one of the things that they'd play all the time. It was, like, you'd be lucky to hear it once a week. But I was so shy. I just didn't have the courage to call the radio station and talk to a disc jockey. Today, it's no big deal, but in those days, I thought those people were on pedestals--that you couldn't even get near them. So, instead of calling them, I would sit by my radio day after day just to hear that song because I thought it was so great. And, I swear, kids would come by our house and say, "Can Jimmy come out and play?," and my mom would say, "No, he can't. He's listening to the radio."

--James Austin, Rhino A&R and future coproducer of DOO WOP BOX II and III, in 1959.

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Comments:

I discovered Rhino about the time I discovered cd music and hi fi music. I was the odd woman out who was taught by her hubby about really great equipment. The difference just the wire between the units make and the wire for your loudspeakers. So, hearing the difference made much on cd so awful to listen to. However, here come Rhino into my life, a vast majority of our cd collection is Rhino as I specifically looked for Rhino and they put out some wonderful collections of my youth and the wonderful memories we all have of the music. I am looking forward to the new Doo Wop release too! So much is lost when vinyl turned into cd. The analog recording need to be digitized and cleaned up to get wonderful sound. It's too bad some people ignore hifi because they don't like the way much of the equipment looks, but should they ever get excited by the real sound they can hear via this method and the excellent recording of Rhino, they would be just a hooked as I have been since buying my first cd in 1987, a lot earlier then many of my peers. We stayed young in thought and willing to listed to new music and now the DVD videos. I look forward to increasing our collection with more Rhino and bringing back even more wonderful old music as well as newer music too. Thanks Rhino, Sandra

HISPANIC CONTRIBUTION TO DOO-WOP

The contribution that Hispanics made to the vocal group harmony scene is widely underestimated and misunderstood. There are few, if any books on Hispanic contribution to rock n roll, let alone vocal group history. In fact, there is no publication on Hispanic involvement in the vocal group scene. Perhaps the reason for this is the fact that many Hispanics were in a unique position to play the role as “crossover” in vocal groups. Hispanics were in a cross hair position to straddle the fence on both sides of the racial-ethnic ethos; the reason for this is quite obvious.

The Hispanic racial composition played a major role in the development of group singing. The Hispanic racial-type varies from blonde hair with blues eyes to black and everything in-between. Because of this make up, Latinos were comfortable and at home with white ethnic groups as well as black. The term Hispanic or Latino used here, is used with a broad general stroke that includes all peoples whose roots came from the Iberian peninsular, the Caribbean, and Latin America.

In the early development of the street corner sound, especially on the Eastern Coast of the United States during the 1950s, Hispanics primarily Puerto Ricans, were the main vocalists found singing with black and white ethnic groups. They were involved in many of the popular vocal groups. The Crests, featuring Johnny Maestro included Hispanics, Frankie Lymon and the Teenagers, the Tune Weavers, Vocaleers and the Wrens had members who were Latinos. Some groups like the Claremont’s featuring Vince Castro and the Four Haven Knights had Hispanic members. A number of groups that came later like the Excellents, Valrays, Devotions, and others all played a pivotal role in shaping the group sound. On the West Coast the Jaguars, one of the very first UN groups or interracial groups had Manny Chavez.

Because of the unique position of being able to crossover, some were found in all white groups and identified as white, usually Italian, like the Mystics. Some were associated with black groups like Juan Gutierrez of the Diablo’s and others were viewed as predominantly Latino, like the Eternals. Depending in which area or community Hispanics lived in; some took on the cultural characteristic of the prominent race or ethnic group within the community.

Thus you find, some Hispanics gravitating to black culture, Italian, Jewish or whatever the prominent culture was within their community.
Regardless of whom they sang and performed with, the Hispanic vocalist
contribution to the vocal group harmony scene is significant but understated. Some were involved in managing, recruiting and writing like Raul Cita the Harptones, Cliff Martinez of the Crows, Esther Navarro, the Cadillac’s and Cecilio Rodriquez of the Imperials.

Taken as a whole, the part that they played in the vocal group picture is significant, because they had a part in uniting and building bridges of understanding along racial and ethnic borders that existed during the 1950s and early 60s.

Abraham J. Santiago is the co-author with Steven J. Dunham of the popular book: Acappella Street Corner Vocal Groups: A Brief History And Discography Of 1960s Singing Groups