Word: wop
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...Then Leiber and Stoller turned around and masterminded the lushest, most romantic and musically inventive genre rock had yet heard: the Drifters? song book. Their first effort, the King composition "There Goes My Baby," is still one of pop?s weirdest records: a standard doo-wop lament that has four violins and a cello sawing away (a jarring innovation back then) and, like a distant war drum, a timpani that no one knew how to tune and so hits one note no matter what the chord change. When Wexler first heard this bizarre melange, he was more than disappointed...
...panel of teens that chose records and monitored the troops. At 20 he got on radio and quickly established himself as a pioneer rock archivist, running perhaps the first-ever oldies show. And not something simple, like pre-Army Elvis. Wildly obscure stuff, rhythm 'n blues and doo-wop, mostly, all to the ersatz-black syncopation only a Jewish kid could bring...
...Like NRBQ and the Grateful Dead, whose encyclopedic catalogs provide the only fair comparison, Los Lobos have absorbed everything from rockabilly to Marvin Gaye (whose "What's Going On" ends the album), with field trips through psychedelia, doo-wop, blues, pop and just-plain-out-there studio experimentation. And that's not even counting their mastery of the traditional Mexican music they grew up with, the soundtrack of life in Chicano East L.A. With 86 songs, there's a lot to like here: the earliest forays into the studio with traditional material like "Guantanamera"; the rowdy guitar-driven rock...
...adult counterparts, pre-teen acts such as BreZe and Aaron Carter offer its listeners cheese-fried pop music that is thoroughly ridden with the fingerprints of a teen marketing-machine. Highly fabricated and mechanically produced with a pervasive blend of Backstreet Bop and Color Me Badd hip-hop doo-wop, pre-teen pop follows closely the recipes for commercialized music and suceeds marvelously at achieving lyrical triviality...
...Sheryl Crow and Lenny Kravitz. Bon Jovi, wryly acknowledging that Gore and Lieberman's favorite band was more likely the Beatles than his own Bon Jovi, announced their choice. The three teamed up on a powerful rendition of John Lennon's 1968 political proclamation "Revolution." Not the genteel doo-wop version from the White Album? but the full-blooded primal-scream arrangement of the single. In its original (pre-Nike-jingle) incarnation, the song had been a watershed, and defined which side of the barricades one stood on. Though Crow and Kravitz were still in the toddler and pre-embryonic...